Looking Back to When Hops, Not Wine, Ruled Sonoma County
This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables
From the Soil: Farmworkers Building Fire Resilience
Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food
Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off
A Night on the Town With the Velvet Bandit
Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix
Dealing With the New Reality—and Old Trauma—of Fire Season in Sonoma County
Disney/Pixar Head on Temporary Leave After Possible Misconduct
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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_13928023":{"type":"posts","id":"arts_13928023","meta":{"index":"posts_1591205157","site":"arts","id":"13928023","score":null,"sort":[1681945933000]},"guestAuthors":[],"slug":"kristyn-leach-asian-american-farmer-gohyang-seed-campus-sebastopol","title":"This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables","publishDate":1681945933,"format":"standard","headTitle":"This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables | KQED","labelTerm":{},"content":"\u003cp>The Bay Area’s much-vaunted food scene depends mightily on California farmers — mainly for fresh ingredients, but also for inspiration. In fact, one farmer has inspired our local chefs so deeply that they are now rallying to return the favor: They want to give Kristyn Leach a home — and they want your help.\u003c/p>\n\u003cp>An agricultural nomad for nearly all her adult life, Leach has spent two decades tending land up and down the West Coast, from Olympia, Washington to eastern Alameda County. Eventually, she settled into a pair of primary commitments: supplying a delightful range of chili peppers, perilla, zucchini, roselle and radishes for chef Dennis Lee’s Namu restaurant group, and coordinating \u003ca href=\"https://www.secondgenerationseeds.com/\">Second Generation Seeds\u003c/a>, a growers’ collaborative for preserving heirloom crops of the Asian diaspora.\u003c/p>\n\u003cp>The nonprofit Community Alliance with Family Farmers named Leach 2021’s Ecological Farmer of the Year. People who know her well, however, don’t need awards to affirm Leach’s prominence as a bold visionary and botanical champion — and a foremost voice in the \u003ca href=\"https://www.kqed.org/arts/13897752/radical-family-farms-asian-produce-taiwanese-identity-sonoma\">burgeoning movement of Asian American–run farms\u003c/a> that are shining a spotlight on previously hard-to-find Asian heritage vegetables.\u003c/p>\n\u003cfigure id=\"attachment_13928031\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928031\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald.jpg\" alt=\"Packets of Asian vegetable seeds decorated with illustrations of each corresponding vegetable: lady choi, kamo, suyo long, gaeguri chamoe, roselle and cha jogi.\" width=\"1920\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second Generation Seeds preserves, adapts and breeds heirloom plants of the Asian diaspora, providing seeds for use by farmers and home gardeners. \u003ccite>(Alec MacDonald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chef Steve Joo of Oakland’s \u003ca href=\"https://www.instagram.com/joodooboo/?hl=en\">Joodooboo\u003c/a>, a long-time friend of Leach, accompanied her on a seed-sourcing trip to South Korea in 2014 and has witnessed her conscientious approach to farming over the years.\u003c/p>\n\u003cp>“The thoughtfulness and awareness, curiosity and intelligence that she engages with all of her plants, and how that is evident in the produce that she grows, is a constant reminder to me,” says Joo, who credits her with elevating “the level of mindfulness I have when engaging with the cooking process.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leach’s reputation is firmly rooted, but her work is not: She has always labored on temporary tenant plots, perpetually facing uncertainty about which patch of dirt she might find herself on next.\u003c/p>\n\u003cp>Then last year, a Sonoma farmer turned her on to a more permanent option. In Sebastopol, an eight-acre parcel had become available, and the buyer would have to put the property to agricultural use under the legal mandate of an easement. Leach cobbled together a whopping $1.5 million in integrated capital and, after navigating assorted procedural tangles, prepared for a monumental personal and professional transition.\u003c/p>\n\u003cp>Unfortunately, that transition has now been put on hold. One of Leach’s funders recently decided to pull out, leaving her with a $200,000 hole to fill.\u003c/p>\n\u003cp>This snag threatens to derail a set of ambitious and multifaceted plans that build on the cutting-edge work Leach has performed thus far. Second Generation Seeds stands poised for a robust expansion on the new site, where the breeding of scarce or neglected varietals — such as frog melons or native Korean soybeans — could establish a living seed bank while anchoring a nationwide effort to test seed resilience. Leach has hopes of welcoming stewards-in-residence to the property, providing these guests with an intensive year of training in an immersive version of the remote Seed Fellowships she currently holds online for growers across the country. She also aims to ramp up production of herbs and vegetables, relying on a technique called natural farming that surpasses the environmental standards of organic certification. As she has in the past, she intends to regularly donate harvests to places like the Korean American Coalition to End Domestic Abuse.\u003c/p>\n\u003cp>Leach calls the endeavor the Gohyang Seed Campus.\u003c/p>\n\u003cfigure id=\"attachment_13928036\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928036\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee.jpg\" alt=\"A line of traditional Korean drummers perform a ceremony in an open field.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Leach (center) regularly welcomes community members onto her farm plots to celebrate Chuseok, a Korean harvest festival. \u003ccite>(Dan Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We called it ‘Gohyang’ because that’s the Korean word for home and hometown,” says Leach, who was born in Daegu, South Korea, before joining an adoptive family on Long Island when she was an infant. She explains that with “an emo subtext,” the name “captures a sense of longing and a sense of return.”\u003c/p>\n\u003cp>On the tenant plots she’s farmed, Leach has made a habit out of hosting the fall festival of Chuseok, when Koreans come back to their gohyang for family memorials and harvest feasts. Marveling at how community members have so enthusiastically embraced her gatherings as a proxy for ancestral pilgrimage, she says, “That’s probably one of the more meaningful accomplishments of my life: to be able to have provided a space that people feel that connected to.”\u003c/p>\n\u003cp>If granted the opportunity to launch the Gohyang Seed Campus, Leach wants to continue providing such space for Chuseok and other community events. The welcome mat would always be out at her home — in a literal sense, as the property is where she would reside with her wife and two-year-old daughter.\u003c/p>\n\u003cfigure id=\"attachment_13928040\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach.jpg\" alt=\"Farmer Kristyn Leach holds her two-year-old daughter against a tree-lined backdrop.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Leach and her daughter share a tender moment. \u003ccite>(Sana Javeri Kadri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13897752,arts_13925835,arts_13920714']\u003c/span>They may get the chance to move in after all, thanks to Leach’s culinary buddies, who have launched \u003ca href=\"https://fundrazr.com/GohyangSeedCampus\">an online fundraiser to plug that $200,000 hole\u003c/a>. The campaign has until May 12 to reach its target. To incentivize large contributions, a group of distinguished chefs and industry professionals has put forth a sizable list of donor perks, such as an edible garden consultation from Chez Panisse’s Spencer Huey, a cooking class with Henry Hsu of Oakland-based pop-up \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumplings\u003c/a> and a private dinner prepared by renowned restaurateurs Russell Moore (Camino) and Kelsie Kerr (Standard Fare).\u003c/p>\n\u003cp>Moore will also whip up appetizers for \u003ca href=\"https://fundrazr.com/perks/bRW91?ref=ab_9jJOFV3llRF9jJOFV3llRF\">a fundraising party on Sunday, April 23, at Sister in Oakland\u003c/a>. For a $200 donation, anyone can attend, although space is limited.\u003c/p>\n\u003cp>Joodooboo’s Joo is pitching in both a perk — tofu and banchan subscriptions from his shop — as well as additional appetizers for the party at Sister. Asked why people should join him in backing the cause, he says, “Kristyn Leach is someone who represents the best of who we are, and for someone like that, and a project that she’s dedicating her life to, she deserves some support.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>The kick-off fundraising party for Kristyn Leach’s Gohyang Seed Campus takes place on \u003c/i>\u003ca href=\"https://fundrazr.com/perks/bRW91?ref=ab_9jJOFV3llRF9jJOFV3llRF\">\u003ci>Sunday, April 23\u003c/i>\u003c/a>\u003ci>, from 5–7 p.m. at Sister (3308 Grand Ave.) in Oakland. The deadline for the overall \u003c/i>\u003ca href=\"https://fundrazr.com/GohyangSeedCampus?ref=ab_0CLeH8_ab_0c2TtlNVxis0c2TtlNVxis\">\u003ci>fundraising campaign\u003c/i>\u003c/a>\u003ci> is May 12.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Kristyn Leach is raising money to fund Gohyang Seed Campus, her ambitious Sonoma County farm project.","status":"publish","parent":0,"modified":1705005602,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1100},"headData":{"title":"Farmer Kristyn Leach Wants to Create a Home for Rare Heirloom Asian Vegetables | KQED","description":"Kristyn Leach is raising money to fund Gohyang Seed Campus, her ambitious Sonoma County farm project.","ogTitle":"This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables","ogDescription":"","ogImgId":"","twTitle":"This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables","twDescription":"","twImgId":"","socialTitle":"Farmer Kristyn Leach Wants to Create a Home for Rare Heirloom Asian Vegetables %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Asian American Farmer Wants to Create a Home for Rare Heirloom Asian Vegetables","datePublished":"2023-04-19T23:12:13.000Z","dateModified":"2024-01-11T20:40:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"nprByline":"Alec MacDonald","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13928023/kristyn-leach-asian-american-farmer-gohyang-seed-campus-sebastopol","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s much-vaunted food scene depends mightily on California farmers — mainly for fresh ingredients, but also for inspiration. In fact, one farmer has inspired our local chefs so deeply that they are now rallying to return the favor: They want to give Kristyn Leach a home — and they want your help.\u003c/p>\n\u003cp>An agricultural nomad for nearly all her adult life, Leach has spent two decades tending land up and down the West Coast, from Olympia, Washington to eastern Alameda County. Eventually, she settled into a pair of primary commitments: supplying a delightful range of chili peppers, perilla, zucchini, roselle and radishes for chef Dennis Lee’s Namu restaurant group, and coordinating \u003ca href=\"https://www.secondgenerationseeds.com/\">Second Generation Seeds\u003c/a>, a growers’ collaborative for preserving heirloom crops of the Asian diaspora.\u003c/p>\n\u003cp>The nonprofit Community Alliance with Family Farmers named Leach 2021’s Ecological Farmer of the Year. People who know her well, however, don’t need awards to affirm Leach’s prominence as a bold visionary and botanical champion — and a foremost voice in the \u003ca href=\"https://www.kqed.org/arts/13897752/radical-family-farms-asian-produce-taiwanese-identity-sonoma\">burgeoning movement of Asian American–run farms\u003c/a> that are shining a spotlight on previously hard-to-find Asian heritage vegetables.\u003c/p>\n\u003cfigure id=\"attachment_13928031\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928031\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald.jpg\" alt=\"Packets of Asian vegetable seeds decorated with illustrations of each corresponding vegetable: lady choi, kamo, suyo long, gaeguri chamoe, roselle and cha jogi.\" width=\"1920\" height=\"1392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Second-Generation-Seed-packages-Photo-by-Alec-MacDonald-1536x1114.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Second Generation Seeds preserves, adapts and breeds heirloom plants of the Asian diaspora, providing seeds for use by farmers and home gardeners. \u003ccite>(Alec MacDonald)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chef Steve Joo of Oakland’s \u003ca href=\"https://www.instagram.com/joodooboo/?hl=en\">Joodooboo\u003c/a>, a long-time friend of Leach, accompanied her on a seed-sourcing trip to South Korea in 2014 and has witnessed her conscientious approach to farming over the years.\u003c/p>\n\u003cp>“The thoughtfulness and awareness, curiosity and intelligence that she engages with all of her plants, and how that is evident in the produce that she grows, is a constant reminder to me,” says Joo, who credits her with elevating “the level of mindfulness I have when engaging with the cooking process.”\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>Leach’s reputation is firmly rooted, but her work is not: She has always labored on temporary tenant plots, perpetually facing uncertainty about which patch of dirt she might find herself on next.\u003c/p>\n\u003cp>Then last year, a Sonoma farmer turned her on to a more permanent option. In Sebastopol, an eight-acre parcel had become available, and the buyer would have to put the property to agricultural use under the legal mandate of an easement. Leach cobbled together a whopping $1.5 million in integrated capital and, after navigating assorted procedural tangles, prepared for a monumental personal and professional transition.\u003c/p>\n\u003cp>Unfortunately, that transition has now been put on hold. One of Leach’s funders recently decided to pull out, leaving her with a $200,000 hole to fill.\u003c/p>\n\u003cp>This snag threatens to derail a set of ambitious and multifaceted plans that build on the cutting-edge work Leach has performed thus far. Second Generation Seeds stands poised for a robust expansion on the new site, where the breeding of scarce or neglected varietals — such as frog melons or native Korean soybeans — could establish a living seed bank while anchoring a nationwide effort to test seed resilience. Leach has hopes of welcoming stewards-in-residence to the property, providing these guests with an intensive year of training in an immersive version of the remote Seed Fellowships she currently holds online for growers across the country. She also aims to ramp up production of herbs and vegetables, relying on a technique called natural farming that surpasses the environmental standards of organic certification. As she has in the past, she intends to regularly donate harvests to places like the Korean American Coalition to End Domestic Abuse.\u003c/p>\n\u003cp>Leach calls the endeavor the Gohyang Seed Campus.\u003c/p>\n\u003cfigure id=\"attachment_13928036\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928036\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee.jpg\" alt=\"A line of traditional Korean drummers perform a ceremony in an open field.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Chuseok-2019-Winters-CA-Photo-by-Dan-Lee-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Leach (center) regularly welcomes community members onto her farm plots to celebrate Chuseok, a Korean harvest festival. \u003ccite>(Dan Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We called it ‘Gohyang’ because that’s the Korean word for home and hometown,” says Leach, who was born in Daegu, South Korea, before joining an adoptive family on Long Island when she was an infant. She explains that with “an emo subtext,” the name “captures a sense of longing and a sense of return.”\u003c/p>\n\u003cp>On the tenant plots she’s farmed, Leach has made a habit out of hosting the fall festival of Chuseok, when Koreans come back to their gohyang for family memorials and harvest feasts. Marveling at how community members have so enthusiastically embraced her gatherings as a proxy for ancestral pilgrimage, she says, “That’s probably one of the more meaningful accomplishments of my life: to be able to have provided a space that people feel that connected to.”\u003c/p>\n\u003cp>If granted the opportunity to launch the Gohyang Seed Campus, Leach wants to continue providing such space for Chuseok and other community events. The welcome mat would always be out at her home — in a literal sense, as the property is where she would reside with her wife and two-year-old daughter.\u003c/p>\n\u003cfigure id=\"attachment_13928040\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach.jpg\" alt=\"Farmer Kristyn Leach holds her two-year-old daughter against a tree-lined backdrop.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Kristyn-Leach-and-daughter-Courtesy-Kristyn-Leach-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Leach and her daughter share a tender moment. \u003ccite>(Sana Javeri Kadri)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897752,arts_13925835,arts_13920714","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>They may get the chance to move in after all, thanks to Leach’s culinary buddies, who have launched \u003ca href=\"https://fundrazr.com/GohyangSeedCampus\">an online fundraiser to plug that $200,000 hole\u003c/a>. The campaign has until May 12 to reach its target. To incentivize large contributions, a group of distinguished chefs and industry professionals has put forth a sizable list of donor perks, such as an edible garden consultation from Chez Panisse’s Spencer Huey, a cooking class with Henry Hsu of Oakland-based pop-up \u003ca href=\"https://www.instagram.com/oramasamadumplings/?hl=en\">Oramasama Dumplings\u003c/a> and a private dinner prepared by renowned restaurateurs Russell Moore (Camino) and Kelsie Kerr (Standard Fare).\u003c/p>\n\u003cp>Moore will also whip up appetizers for \u003ca href=\"https://fundrazr.com/perks/bRW91?ref=ab_9jJOFV3llRF9jJOFV3llRF\">a fundraising party on Sunday, April 23, at Sister in Oakland\u003c/a>. For a $200 donation, anyone can attend, although space is limited.\u003c/p>\n\u003cp>Joodooboo’s Joo is pitching in both a perk — tofu and banchan subscriptions from his shop — as well as additional appetizers for the party at Sister. Asked why people should join him in backing the cause, he says, “Kristyn Leach is someone who represents the best of who we are, and for someone like that, and a project that she’s dedicating her life to, she deserves some support.”\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>\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>The kick-off fundraising party for Kristyn Leach’s Gohyang Seed Campus takes place on \u003c/i>\u003ca href=\"https://fundrazr.com/perks/bRW91?ref=ab_9jJOFV3llRF9jJOFV3llRF\">\u003ci>Sunday, April 23\u003c/i>\u003c/a>\u003ci>, from 5–7 p.m. at Sister (3308 Grand Ave.) in Oakland. The deadline for the overall \u003c/i>\u003ca href=\"https://fundrazr.com/GohyangSeedCampus?ref=ab_0CLeH8_ab_0c2TtlNVxis0c2TtlNVxis\">\u003ci>fundraising campaign\u003c/i>\u003c/a>\u003ci> is May 12.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928023/kristyn-leach-asian-american-farmer-gohyang-seed-campus-sebastopol","authors":["byline_arts_13928023"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_4672","arts_14476","arts_10278","arts_14475","arts_3217","arts_585"],"featImg":"arts_13928028","label":"source_arts_13928023"},"arts_13925067":{"type":"posts","id":"arts_13925067","meta":{"index":"posts_1591205157","site":"arts","id":"13925067","score":null,"sort":[1675162823000]},"guestAuthors":[],"slug":"from-the-soil-farmworkers-building-fire-resilience","title":"From the Soil: Farmworkers Building Fire Resilience","publishDate":1675162823,"format":"audio","headTitle":"From the Soil: Farmworkers Building Fire Resilience | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003cem>\u003cb>“From the Soil” is our\u003c/b>\u003ca style=\"font-weight: bold\" href=\"https://www.kqed.org/arts/13924924/rightnowish-presents-from-the-soil\"> six-part series\u003c/a>\u003cb>, about land and life in Northern California. \u003c/b>\u003c/em>\u003c/p>\n\u003cp>On a crisp afternoon at the Bouverie Preserve in Glen Ellen, a group of twenty one farmworkers suit up in firefighter gear. Women and men take turns helping each other strap on backpacks and fire helmets in preparation for another intense day of prescribed burn trainings. These are carefully planned low intensity fires set under specific environmental conditions, intended to reduce the risk of catastrophic wildfires.\u003c/p>\n\u003cp>Many of these immigrant and Indigenous farmworkers typically work in the grape fields throughout Sonoma County, but extreme drought, flooding, and massive wildfires have made these jobs more precarious.\u003c/p>\n\u003cfigure id=\"attachment_13925211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925211 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04909-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Luis Duce, a fire training specialist, instructs the group on how to properly wrap fire hoses. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the need for alternative jobs that provide safety training and fair wages, a coalition of organizations including \u003ca href=\"https://www.northbayjobswithjustice.org/\">North Bay Jobs with Justice\u003c/a>, \u003ca href=\"https://egret.org/\">Audubon Canyon Ranch, \u003c/a>and \u003ca href=\"https://resilienceforce.org/\">Resilience Force\u003c/a> teamed up to create paid opportunities that tackle our climate crisis head on. Part of this work includes certifying farmworkers to do prescribed burns on private lands throughout the North Bay, as a way to prevent the build up of fuel before fire season.\u003c/p>\n\u003cp>[aside postID='education_534674' label='More On Prescribed Burns']\u003c/p>\n\u003cp>Prescribed burns are not a new practice by any means. They are rooted in many cultures. Some of these farmworkers have already practiced prescribed burns in their homelands in Mexico and Central America, and bring this ancestral ecological knowledge to their new line of work.\u003c/p>\n\u003cp>In this way, farmworkers are leading the charge in climate justice organizing, championing the need for vegetation and fire management jobs.\u003c/p>\n\u003cfigure id=\"attachment_13925213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925213 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04923-800x533.jpg\" alt=\"A man holds a yellow fire hose to a large container of water. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crispín López Cruz pumps water into the water tank using a fire hose. \u003ccite>(Pendarivs Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this episode of Rightnowish, we speak with farmworkers Maria Salinas, Sandra de León, and Crispín López Cruz about what it means to create a fire resilient future, and how they are applying traditional ecological knowledge to their efforts. We also hear from North Bay Jobs with Justice organizer Aura Aguilar, on the necessity of good paying jobs for farmworkers who seek to restore ecological balance amidst climate chaos.\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IsroDl\">Read the full episode transcript.\u003c/a>\u003c/p>\n\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=KQINC7328567408&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited and translated excerpts of Marisol’s conversation with Maria Salinas, Sandra de León, and Crispín López Cruz. Listen to the podcast to hear the full conversation. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maria Salinas:\u003c/strong>\u003cspan style=\"font-weight: 400\"> In Oaxaca, where I’m from, before we do a prescribed burn we really make sure that we clean up the area first. Then we do the burn and we use the ashes to serve as nutrients for the earth so that we can then grow other crops such as corn. After the burn, you can see that there is regrowth. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It can be really scary living here in this county with the prospect of there being wildfires. As a mother of four, I just want my children to be able to not have fear, but also to focus on mutual help with the community, taking care of one another, and having a connection with the land.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04893-800x533.jpg\" alt=\"A farmworker learning firefighting and firelighting practices filling up the water tank on an all terrain vehicle. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmworkers practice filling a water tank strapped to an ATV. \u003ccite>(Pendarvis Harshaw /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sandra de León: \u003c/b>\u003cspan style=\"font-weight: 400\">In the grape fields, we make the land work harder than it should be working. We don’t let it just produce what it wants to produce or what it needs to produce. We push it past its limit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’m learning here in this [prescribed burn] training is that fire is not bad for the land. Fire, when done thoughtfully, can actually help promote regrowth, can really take care of the land and help it stabilize. Everything that I’m learning, what I really want to do is share it with other people so that they can also know how to take care of the land. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925221 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04939-800x533.jpg\" alt=\"A woman and man wearing a fire helmet and gloves connect two fire hoses together. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers connect two firehoses during a firefighting and prescribed burn training. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Crispín López Cruz:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Oaxaca, my family’s farmland would often become oversaturated with water during times of heavy rain. I helped my grandpa fix the erosion that was happening. He taught me that we could cut up pieces of oak tree and put branches [in the soil] in a way that would block too much water from reaching all of the crops and ultimately washing the soil away. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than anything I like to take care of the earth because it is what gives life for every human being.\u003c/span>\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":"In Sonoma County, Farmworkers take on climate change using prescribed burns and vegetation management.","status":"publish","parent":0,"modified":1705005919,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":831},"headData":{"title":"From the Soil: Farmworkers Building Fire Resilience | KQED","description":"In Sonoma County, Farmworkers take on climate change using prescribed burns and vegetation management.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"From the Soil: Farmworkers Building Fire Resilience","datePublished":"2023-01-31T11:00:23.000Z","dateModified":"2024-01-11T20:45:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC7328567408.mp3?updated=1676604070","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925067/from-the-soil-farmworkers-building-fire-resilience","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cb>“From the Soil” is our\u003c/b>\u003ca style=\"font-weight: bold\" href=\"https://www.kqed.org/arts/13924924/rightnowish-presents-from-the-soil\"> six-part series\u003c/a>\u003cb>, about land and life in Northern California. \u003c/b>\u003c/em>\u003c/p>\n\u003cp>On a crisp afternoon at the Bouverie Preserve in Glen Ellen, a group of twenty one farmworkers suit up in firefighter gear. Women and men take turns helping each other strap on backpacks and fire helmets in preparation for another intense day of prescribed burn trainings. These are carefully planned low intensity fires set under specific environmental conditions, intended to reduce the risk of catastrophic wildfires.\u003c/p>\n\u003cp>Many of these immigrant and Indigenous farmworkers typically work in the grape fields throughout Sonoma County, but extreme drought, flooding, and massive wildfires have made these jobs more precarious.\u003c/p>\n\u003cfigure id=\"attachment_13925211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925211 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04909-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04909-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jose Luis Duce, a fire training specialist, instructs the group on how to properly wrap fire hoses. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing the need for alternative jobs that provide safety training and fair wages, a coalition of organizations including \u003ca href=\"https://www.northbayjobswithjustice.org/\">North Bay Jobs with Justice\u003c/a>, \u003ca href=\"https://egret.org/\">Audubon Canyon Ranch, \u003c/a>and \u003ca href=\"https://resilienceforce.org/\">Resilience Force\u003c/a> teamed up to create paid opportunities that tackle our climate crisis head on. Part of this work includes certifying farmworkers to do prescribed burns on private lands throughout the North Bay, as a way to prevent the build up of fuel before fire season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"education_534674","label":"More On Prescribed Burns "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prescribed burns are not a new practice by any means. They are rooted in many cultures. Some of these farmworkers have already practiced prescribed burns in their homelands in Mexico and Central America, and bring this ancestral ecological knowledge to their new line of work.\u003c/p>\n\u003cp>In this way, farmworkers are leading the charge in climate justice organizing, championing the need for vegetation and fire management jobs.\u003c/p>\n\u003cfigure id=\"attachment_13925213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925213 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04923-800x533.jpg\" alt=\"A man holds a yellow fire hose to a large container of water. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04923-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crispín López Cruz pumps water into the water tank using a fire hose. \u003ccite>(Pendarivs Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On this episode of Rightnowish, we speak with farmworkers Maria Salinas, Sandra de León, and Crispín López Cruz about what it means to create a fire resilient future, and how they are applying traditional ecological knowledge to their efforts. We also hear from North Bay Jobs with Justice organizer Aura Aguilar, on the necessity of good paying jobs for farmworkers who seek to restore ecological balance amidst climate chaos.\u003c/p>\n\u003cp>\u003ca href=\"http://bit.ly/3IsroDl\">Read the full episode transcript.\u003c/a>\u003c/p>\n\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=KQINC7328567408&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited and translated excerpts of Marisol’s conversation with Maria Salinas, Sandra de León, and Crispín López Cruz. Listen to the podcast to hear the full conversation. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Maria Salinas:\u003c/strong>\u003cspan style=\"font-weight: 400\"> In Oaxaca, where I’m from, before we do a prescribed burn we really make sure that we clean up the area first. Then we do the burn and we use the ashes to serve as nutrients for the earth so that we can then grow other crops such as corn. After the burn, you can see that there is regrowth. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It can be really scary living here in this county with the prospect of there being wildfires. As a mother of four, I just want my children to be able to not have fear, but also to focus on mutual help with the community, taking care of one another, and having a connection with the land.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04893-800x533.jpg\" alt=\"A farmworker learning firefighting and firelighting practices filling up the water tank on an all terrain vehicle. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04893-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Farmworkers practice filling a water tank strapped to an ATV. \u003ccite>(Pendarvis Harshaw /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sandra de León: \u003c/b>\u003cspan style=\"font-weight: 400\">In the grape fields, we make the land work harder than it should be working. We don’t let it just produce what it wants to produce or what it needs to produce. We push it past its limit.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’m learning here in this [prescribed burn] training is that fire is not bad for the land. Fire, when done thoughtfully, can actually help promote regrowth, can really take care of the land and help it stabilize. Everything that I’m learning, what I really want to do is share it with other people so that they can also know how to take care of the land. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13925221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13925221 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC04939-800x533.jpg\" alt=\"A woman and man wearing a fire helmet and gloves connect two fire hoses together. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC04939-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers connect two firehoses during a firefighting and prescribed burn training. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Crispín López Cruz:\u003c/b>\u003cspan style=\"font-weight: 400\"> In Oaxaca, my family’s farmland would often become oversaturated with water during times of heavy rain. I helped my grandpa fix the erosion that was happening. He taught me that we could cut up pieces of oak tree and put branches [in the soil] in a way that would block too much water from reaching all of the crops and ultimately washing the soil away. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More than anything I like to take care of the earth because it is what gives life for every human being.\u003c/span>\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/13925067/from-the-soil-farmworkers-building-fire-resilience","authors":["11528","11491"],"programs":["arts_8720"],"categories":["arts_1","arts_835","arts_235","arts_21759"],"tags":["arts_19899","arts_1407","arts_8700","arts_3051","arts_19685","arts_3217"],"featImg":"arts_13925210","label":"arts_8720"},"arts_13917165":{"type":"posts","id":"arts_13917165","meta":{"index":"posts_1591205157","site":"arts","id":"13917165","score":null,"sort":[1659723067000]},"guestAuthors":[],"slug":"preeti-mistry-wants-to-show-that-wine-pairing-isnt-just-for-white-food","title":"Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food","publishDate":1659723067,"format":"standard","headTitle":"Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food | KQED","labelTerm":{},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">For as long as Preeti Mistry has been a professional cook, restaurant people have talked about the same handful of cuisines in the context of wine pairing: French. Italian. Maybe some take on California cuisine that’s also rooted in European fine dining traditions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wouldn’t it be something, Mistry thought, if you could go out to a fancy wine dinner and the restaurant served you something more interesting—and less stereotypically Eurocentric—than a plate of braised short ribs over polenta?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the idea behind the former \u003c/span>\u003ca href=\"https://www.juhubeachclub.com/\">\u003cspan style=\"font-weight: 400\">Juhu Beach Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> chef’s new collaboration with Healdsburg-based \u003c/span>\u003ca href=\"https://www.jwine.com/\">\u003cspan style=\"font-weight: 400\">J Vineyards & Winery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: “\u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003cspan style=\"font-weight: 400\">Shifting the Lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a chef’s residency program that aims to recenter the conversation around food and wine pairing, and fine dining in general, while giving the spotlight to chefs of color. The summer-long series features a different BIPOC woman as a guest chef each month, who will create a five- to seven-course tasting menu with wine pairings to serve at J Winery’s elegant “Bubble Room” dining room. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jenny Dorsey, a Chinese American fine dining chef who runs a \u003c/span>\u003ca href=\"https://www.studioatao.org/about-us\">\u003cspan style=\"font-weight: 400\">nonprofit\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dedicated to inspiring social change in the food industry, \u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens-chef-jenny-dorsey.html\">\u003cspan style=\"font-weight: 400\">kicked the series off in July\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Mistry themself is taking over for the month of August. Their residency will run Thursday through Sunday from Aug. 18–28, with seatings between 11am and 4pm each day, plus a special \u003c/span>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.206849232.214939539.1659568774-764472049.1658153707\">\u003cspan style=\"font-weight: 400\">VIP dinner and Q&A session\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, Aug. 20.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917180\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg\" alt=\"Three chefs huddle around a plate a food, adding sauces and garnishes.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">Mistry (right) and Jenny Dorsey (center) are two of the chefs featured in the Shifting the Lens residency series. Here, they finish plating a dish along with J Winery chef Forest Kellogg. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Mistry says, is to counter the narrative that food and wine pairing is an art that only applies to white, European cuisines—and not to, say, Chinese food or Mexican food or soul food. For instance, for the longest time the conventional wisdom around Indian food has been that you shouldn’t even bother with wine. “Just drink beer or cocktails” is the advice you’ll typically get, Mistry explains. The other typical approach would be to pair Indian food with a very sweet, fruit-forward wine like a Syrah or a Gewurztraminer—“to throw sweetness at the spice,” as Mistry puts it. “‘Meh,’ I say. So basic.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead, Mistry prefers to serve acidic, structured red wines and floral white wines with Indian food—Pinot Noirs and Chardonnays, for instance. “I don’t want the wine to envelop the food and mask the flavors,” Mistry says. “I want the wine to stand up to the food.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tasting menu format also gives Mistry the opportunity to present dishes that are more prettily plated and nuanced than what they used to serve at their more casual restaurants—food that’s a little bit “fancier.” Dishes might include khichdi, deep-fried Jimmy Nardello peppers with chickpea batter and a tomato rasam soup poured tableside. It’ll be a mostly vegetarian menu with one meat course, Mistry says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917181\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg\" alt=\"Liquid is poured into a pani puri.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-768x384.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An elegant take on pani puri. \u003ccite>(Courtesy of J Vineyard & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">J Winery’s head winemaker, Nicole Hitchcock, has also created a special “Shifted Lens” brut rosé that’s available for purchase as part of the personalized gift boxes that each resident chef put together.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry is known for being an outspoken critic of the ways the American restaurant industry has long been dominated—to its detriment—by white, male fine dining chefs. In fact, one of Mistry’s long-term goals is to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/7/24/21337715/preeti-mistry-farmer-radical-family-farms-juhu-beach-club-blue-hill-stone-barns\">\u003cspan style=\"font-weight: 400\">farm-based restaurant with an extensive BIPOC-focused chef’s residency program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> similar to the one they’ve created in Healdsburg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The part that stuck with me was who gets these opportunities,” Mistry says. “The Bubble Room is a very beautiful room, very elegant. It might make some people nervous if they’re not used to these types of spaces.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917182\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg\" alt=\"An elegant dining room with chandeliers and white tablecloths.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">The wine pairing meals will take place in J Winery’s elegant Bubble Room. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But why shouldn’t chefs of color who aren’t cooking Eurocentric cuisines also have access to those kinds of spaces? For the residency program, Mistry actively sought out BIPOC women chefs who are doing meaningful social justice work beyond what they put on the plate. In addition to Dorsey, New York City-based chef \u003c/span>\u003ca href=\"https://www.instagram.com/shenarrigreens/?hl=en\">\u003cspan style=\"font-weight: 400\">Shenarri Freeman\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who cooks vegan soul food, will close out this year’s inaugural series in September.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13916965,arts_13895601,arts_13906189']“In my early twenties, coming to Sonoma, I was enamored with both wine and fine dining. But there was a significant part of that world that didn’t love me back,” Mistry says. “This is an opportunity to actually do something about it and bring people in.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry believes the residency program is a chance to do things differently—and better—than much of the industry at large. The chefs who participate in the program are fairly compensated, Mistry says. And while the Bubble Room’s own kitchen is helmed by a white man, the whole kitchen team spends two weeks working shoulder to shoulder with each guest chef, learning not just how to execute the menu but also the cultural history of the dishes, and how to correctly pronounce “zongzi,” for instance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spend so much time complaining about cultural appropriation,” Mistry says. “But there is a way to appreciate other cultures and do it right.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Preeti Mistry’s “Shifting the Lens” residency at J Winery (\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">11447 Old Redwood Hwy, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Healdsburg) will run from Aug. 18–28, with seatings for the $200 tasting menu Thursday through Sunday between 11am and 4pm. The \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.48522790.1624968386.1659479532-764472049.1658153707\">\u003ci>\u003cspan style=\"font-weight: 400\">VIP dinner\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> ($250) is on Saturday, Aug. 20, 6–9pm. Make reservations in advance via \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/\">\u003ci>\u003cspan style=\"font-weight: 400\">Tock\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or the \u003c/span>\u003c/i>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003ci>\u003cspan style=\"font-weight: 400\">J Winery website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"BIPOC chefs take the lead in J Winery’s ‘Shifting the Lens’ residency program.","status":"publish","parent":0,"modified":1705006526,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1048},"headData":{"title":"Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food | KQED","description":"BIPOC chefs take the lead in J Winery’s ‘Shifting the Lens’ residency program.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Preeti Mistry Wants to Show That Wine Pairing Isn’t Just for White Food","datePublished":"2022-08-05T18:11:07.000Z","dateModified":"2024-01-11T20:55:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13917165/preeti-mistry-wants-to-show-that-wine-pairing-isnt-just-for-white-food","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">For as long as Preeti Mistry has been a professional cook, restaurant people have talked about the same handful of cuisines in the context of wine pairing: French. Italian. Maybe some take on California cuisine that’s also rooted in European fine dining traditions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Wouldn’t it be something, Mistry thought, if you could go out to a fancy wine dinner and the restaurant served you something more interesting—and less stereotypically Eurocentric—than a plate of braised short ribs over polenta?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the idea behind the former \u003c/span>\u003ca href=\"https://www.juhubeachclub.com/\">\u003cspan style=\"font-weight: 400\">Juhu Beach Club\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> chef’s new collaboration with Healdsburg-based \u003c/span>\u003ca href=\"https://www.jwine.com/\">\u003cspan style=\"font-weight: 400\">J Vineyards & Winery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">: “\u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003cspan style=\"font-weight: 400\">Shifting the Lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a chef’s residency program that aims to recenter the conversation around food and wine pairing, and fine dining in general, while giving the spotlight to chefs of color. The summer-long series features a different BIPOC woman as a guest chef each month, who will create a five- to seven-course tasting menu with wine pairings to serve at J Winery’s elegant “Bubble Room” dining room. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jenny Dorsey, a Chinese American fine dining chef who runs a \u003c/span>\u003ca href=\"https://www.studioatao.org/about-us\">\u003cspan style=\"font-weight: 400\">nonprofit\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> dedicated to inspiring social change in the food industry, \u003c/span>\u003ca href=\"https://www.jwine.com/shifting-the-lens-chef-jenny-dorsey.html\">\u003cspan style=\"font-weight: 400\">kicked the series off in July\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, Mistry themself is taking over for the month of August. Their residency will run Thursday through Sunday from Aug. 18–28, with seatings between 11am and 4pm each day, plus a special \u003c/span>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.206849232.214939539.1659568774-764472049.1658153707\">\u003cspan style=\"font-weight: 400\">VIP dinner and Q&A session\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, Aug. 20.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917180\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917180\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg\" alt=\"Three chefs huddle around a plate a food, adding sauces and garnishes.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chefs-in-Kitchen-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">Mistry (right) and Jenny Dorsey (center) are two of the chefs featured in the Shifting the Lens residency series. Here, they finish plating a dish along with J Winery chef Forest Kellogg. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The idea, Mistry says, is to counter the narrative that food and wine pairing is an art that only applies to white, European cuisines—and not to, say, Chinese food or Mexican food or soul food. For instance, for the longest time the conventional wisdom around Indian food has been that you shouldn’t even bother with wine. “Just drink beer or cocktails” is the advice you’ll typically get, Mistry explains. The other typical approach would be to pair Indian food with a very sweet, fruit-forward wine like a Syrah or a Gewurztraminer—“to throw sweetness at the spice,” as Mistry puts it. “‘Meh,’ I say. So basic.”\u003c/span>\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>\u003cspan style=\"font-weight: 400\">Instead, Mistry prefers to serve acidic, structured red wines and floral white wines with Indian food—Pinot Noirs and Chardonnays, for instance. “I don’t want the wine to envelop the food and mask the flavors,” Mistry says. “I want the wine to stand up to the food.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tasting menu format also gives Mistry the opportunity to present dishes that are more prettily plated and nuanced than what they used to serve at their more casual restaurants—food that’s a little bit “fancier.” Dishes might include khichdi, deep-fried Jimmy Nardello peppers with chickpea batter and a tomato rasam soup poured tableside. It’ll be a mostly vegetarian menu with one meat course, Mistry says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917181\" class=\"wp-caption alignnone\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg\" alt=\"Liquid is poured into a pani puri.\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/STL_Preeti_Dish-768x384.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An elegant take on pani puri. \u003ccite>(Courtesy of J Vineyard & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">J Winery’s head winemaker, Nicole Hitchcock, has also created a special “Shifted Lens” brut rosé that’s available for purchase as part of the personalized gift boxes that each resident chef put together.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry is known for being an outspoken critic of the ways the American restaurant industry has long been dominated—to its detriment—by white, male fine dining chefs. In fact, one of Mistry’s long-term goals is to create a \u003c/span>\u003ca href=\"https://sf.eater.com/2020/7/24/21337715/preeti-mistry-farmer-radical-family-farms-juhu-beach-club-blue-hill-stone-barns\">\u003cspan style=\"font-weight: 400\">farm-based restaurant with an extensive BIPOC-focused chef’s residency program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> similar to the one they’ve created in Healdsburg.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The part that stuck with me was who gets these opportunities,” Mistry says. “The Bubble Room is a very beautiful room, very elegant. It might make some people nervous if they’re not used to these types of spaces.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13917182\" class=\"wp-caption alignnone\" style=\"max-width: 2208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg\" alt=\"An elegant dining room with chandeliers and white tablecloths.\" width=\"2208\" height=\"1472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2.jpg 2208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/J-Bubble-Room-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2208px) 100vw, 2208px\">\u003cfigcaption class=\"wp-caption-text\">The wine pairing meals will take place in J Winery’s elegant Bubble Room. \u003ccite>(Courtesy of J Vineyards & Winery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But why shouldn’t chefs of color who aren’t cooking Eurocentric cuisines also have access to those kinds of spaces? For the residency program, Mistry actively sought out BIPOC women chefs who are doing meaningful social justice work beyond what they put on the plate. In addition to Dorsey, New York City-based chef \u003c/span>\u003ca href=\"https://www.instagram.com/shenarrigreens/?hl=en\">\u003cspan style=\"font-weight: 400\">Shenarri Freeman\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who cooks vegan soul food, will close out this year’s inaugural series in September.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916965,arts_13895601,arts_13906189","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“In my early twenties, coming to Sonoma, I was enamored with both wine and fine dining. But there was a significant part of that world that didn’t love me back,” Mistry says. “This is an opportunity to actually do something about it and bring people in.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mistry believes the residency program is a chance to do things differently—and better—than much of the industry at large. The chefs who participate in the program are fairly compensated, Mistry says. And while the Bubble Room’s own kitchen is helmed by a white man, the whole kitchen team spends two weeks working shoulder to shoulder with each guest chef, learning not just how to execute the menu but also the cultural history of the dishes, and how to correctly pronounce “zongzi,” for instance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We spend so much time complaining about cultural appropriation,” Mistry says. “But there is a way to appreciate other cultures and do it right.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Preeti Mistry’s “Shifting the Lens” residency at J Winery (\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">11447 Old Redwood Hwy, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Healdsburg) will run from Aug. 18–28, with seatings for the $200 tasting menu Thursday through Sunday between 11am and 4pm. The \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/event/338918/dinner-and-conversation-with-chef-preeti-mistry?_ga=2.48522790.1624968386.1659479532-764472049.1658153707\">\u003ci>\u003cspan style=\"font-weight: 400\">VIP dinner\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> ($250) is on Saturday, Aug. 20, 6–9pm. Make reservations in advance via \u003c/span>\u003c/i>\u003ca href=\"https://www.exploretock.com/jvineyardswinery/\">\u003ci>\u003cspan style=\"font-weight: 400\">Tock\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> or the \u003c/span>\u003c/i>\u003ca href=\"https://www.jwine.com/shifting-the-lens.html\">\u003ci>\u003cspan style=\"font-weight: 400\">J Winery website\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917165/preeti-mistry-wants-to-show-that-wine-pairing-isnt-just-for-white-food","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_1297","arts_6786","arts_3217","arts_18250","arts_585","arts_2845"],"featImg":"arts_13917177","label":"source_arts_13917165"},"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_13885625":{"type":"posts","id":"arts_13885625","meta":{"index":"posts_1591205157","site":"arts","id":"13885625","score":null,"sort":[1599048037000]},"guestAuthors":[],"slug":"a-night-on-the-town-with-the-velvet-bandit","title":"A Night on the Town With the Velvet Bandit","publishDate":1599048037,"format":"audio","headTitle":"A Night on the Town With the Velvet Bandit | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\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>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The street artist's colorful wheat-pasted paintings perfectly capture the mood of 2020.","status":"publish","parent":0,"modified":1705020194,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1397},"headData":{"title":"A Night on the Town With the Velvet Bandit | KQED","description":"The street artist's colorful wheat-pasted paintings perfectly capture the mood of 2020.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Night on the Town With the Velvet Bandit","datePublished":"2020-09-02T12:00:37.000Z","dateModified":"2024-01-12T00:43:14.000Z","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/fd002a75-91b8-4b7d-a6cc-ac2a01019294/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13885625/a-night-on-the-town-with-the-velvet-bandit","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\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>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885625/a-night-on-the-town-with-the-velvet-bandit","authors":["185"],"categories":["arts_1","arts_2303","arts_835","arts_235","arts_70"],"tags":["arts_2767","arts_10126","arts_10342","arts_10278","arts_903","arts_2721","arts_3217"],"featImg":"arts_13885641","label":"arts"},"arts_13885595":{"type":"posts","id":"arts_13885595","meta":{"index":"posts_1591205157","site":"arts","id":"13885595","score":null,"sort":[1598990835000]},"guestAuthors":[],"slug":"marcus-shelby-named-new-artistic-director-of-healdsburg-jazz-festival-replacing-jessica-felix","title":"Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix","publishDate":1598990835,"format":"standard","headTitle":"Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\u003c/p>\n\u003cp>https://youtu.be/CwOZkMm3uGc\u003c/p>\n\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The bassist, composer and bandleader is committed to bringing ‘the highest degree of talent,’ he says.","status":"publish","parent":0,"modified":1705020197,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":485},"headData":{"title":"Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix | KQED","description":"The bassist, composer and bandleader is committed to bringing ‘the highest degree of talent,’ he says.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix","datePublished":"2020-09-01T20:07:15.000Z","dateModified":"2024-01-12T00:43:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13885595/marcus-shelby-named-new-artistic-director-of-healdsburg-jazz-festival-replacing-jessica-felix","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\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/CwOZkMm3uGc'\n title='//www.youtube.com/embed/CwOZkMm3uGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\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>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13885595/marcus-shelby-named-new-artistic-director-of-healdsburg-jazz-festival-replacing-jessica-felix","authors":["185"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_6786","arts_1420","arts_3584","arts_3217"],"featImg":"arts_13885599","label":"arts"},"arts_13868785":{"type":"posts","id":"arts_13868785","meta":{"index":"posts_1591205157","site":"arts","id":"13868785","score":null,"sort":[1571942383000]},"guestAuthors":[],"slug":"dealing-with-the-new-normal-and-old-trauma-of-fire-season-in-sonoma-county","title":"Dealing With the New Reality—and Old Trauma—of Fire Season in Sonoma County","publishDate":1571942383,"format":"standard","headTitle":"Dealing With the New Reality—and Old Trauma—of Fire Season in Sonoma County | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In my house, we keep a basket of face masks near our front door. We’ve kept them there since 2017, when the Tubbs Fire \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">blazed through my city\u003c/a> of Santa Rosa, and since 2018, when the Camp Fire rained ash down on us. Both times, the air in town was thick with smoke.\u003c/p>\n\u003cp>Just yesterday, I looked at the face masks near the front door, and thought, hopefully, “Maybe we can put those away.”\u003c/p>\n\u003cp>You probably already know what happened next: late in the night, the \u003ca href=\"https://www.kqed.org/news/11782251/kincade-fire-sonoma-county-geyserville-healdsburg\" target=\"_blank\" rel=\"noopener noreferrer\">Kincade Fire broke out on Geyser Peak\u003c/a> in Sonoma County, and spread rapidly from 100 acres, to 300 acres, to 10,000 acres. And, if you’re like me, you were glued to your phone, following reports from the area, distressed and unable to sleep.\u003c/p>\n\u003cp>https://twitter.com/DanielleVenton/status/1187411370326708224\u003c/p>\n\u003cp>Smoke, ash, power outages, refreshing fire maps in the middle of the night—this is the reality of what we now casually call “fire season” here in Sonoma County. And with each new fire comes painful memories, raw nerves and buried trauma. It’s not enough to get our emergency kits ready and make plans for evacuation, like our local news outlets \u003ca href=\"https://twitter.com/KQED/status/1187394325904125952\" target=\"_blank\" rel=\"noopener noreferrer\">dutifully remind us\u003c/a> to do. Preparing for fire season also means planning mentally, emotionally, psychologically, and resisting the constant low hum of panic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That sort of panic is why, last night, emergency operations were flooded with calls from county residents reporting the fire as \u003ca href=\"https://twitter.com/wittmershaus/status/1187261204026146816\" target=\"_blank\" rel=\"noopener noreferrer\">much closer\u003c/a> than it really was. From Santa Rosa, looking in the northeast direction at a giant plume of orange and yellow, I myself had the same rush of recollection to 2017 when Fountaingrove and much of Wikiup in the hills burned completely.\u003c/p>\n\u003cp>The sensation was unsettling: I knew from news reports that the fire was 24 miles away, but with memories of my \u003ca href=\"https://www.kqed.org/arts/13814248/one-month-later\" target=\"_blank\" rel=\"noopener noreferrer\">childhood home turned to ash\u003c/a> and family friends \u003ca href=\"https://www.kqed.org/arts/13814248/one-month-later\" target=\"_blank\" rel=\"noopener noreferrer\">not making it out\u003c/a> of the blaze in time, it sure felt closer. Because the \u003cem>feeling\u003c/em> is still close.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1187257556210610176\u003c/p>\n\u003cp>We use a lot of phrases to describe this feeling. “Fire PTSD.” “Ripping an open wound.” “Triggering.” Or, most commonly, people call it “the new normal”—though, I can tell you, it sure doesn’t seem normal.\u003c/p>\n\u003cp>I can also tell you that you’re not alone if you’re feeling this way every October. My best advice is to call on friends, and to talk through not just your feelings but the information at hand. If all you do is follow news reports on Twitter, naturally your sense of dread will increase. Friends can convey the same information about wind direction, response teams and other conditions in a way that’s encouraging instead of anxiety-inducing.\u003c/p>\n\u003cp>Also, consider calling or texting the \u003ca href=\"https://www.samhsa.gov/find-help/disaster-distress-helpline\" target=\"_blank\" rel=\"noopener noreferrer\">National Disaster Distress Hotline\u003c/a>, which offers 24-hour, bilingual counseling to people going though emotional distress related to disasters. To talk with a trained crisis counselor, call 1-800-985-5990. (For Spanish, press 2.) To text with a crisis counselor, text “TalkWithUs” (for Spanish, “Hablamos”) to 66746.\u003c/p>\n\u003cp>Additionally, evacuation centers are often staffed with psychologists, like \u003ca href=\"https://twitter.com/mkimreporter/status/1187419840685867009\" target=\"_blank\" rel=\"noopener noreferrer\">the one in Healdsburg today\u003c/a>. You don’t need to have a burned-down home to stop by for a helpful visit with one of them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Remember: it always feels better to talk about it with someone.\u003c/p>\n\n","blocks":[],"excerpt":"How residents can overcome panic and painful memories during fire season. ","status":"publish","parent":0,"modified":1705021921,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":586},"headData":{"title":"Dealing With the New Reality—and Old Trauma—of Fire Season in Sonoma County | KQED","description":"How residents can overcome panic and painful memories during fire season. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dealing With the New Reality—and Old Trauma—of Fire Season in Sonoma County","datePublished":"2019-10-24T18:39:43.000Z","dateModified":"2024-01-12T01:12:01.000Z","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/13868785/dealing-with-the-new-normal-and-old-trauma-of-fire-season-in-sonoma-county","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In my house, we keep a basket of face masks near our front door. We’ve kept them there since 2017, when the Tubbs Fire \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">blazed through my city\u003c/a> of Santa Rosa, and since 2018, when the Camp Fire rained ash down on us. Both times, the air in town was thick with smoke.\u003c/p>\n\u003cp>Just yesterday, I looked at the face masks near the front door, and thought, hopefully, “Maybe we can put those away.”\u003c/p>\n\u003cp>You probably already know what happened next: late in the night, the \u003ca href=\"https://www.kqed.org/news/11782251/kincade-fire-sonoma-county-geyserville-healdsburg\" target=\"_blank\" rel=\"noopener noreferrer\">Kincade Fire broke out on Geyser Peak\u003c/a> in Sonoma County, and spread rapidly from 100 acres, to 300 acres, to 10,000 acres. And, if you’re like me, you were glued to your phone, following reports from the area, distressed and unable to sleep.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1187411370326708224"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Smoke, ash, power outages, refreshing fire maps in the middle of the night—this is the reality of what we now casually call “fire season” here in Sonoma County. And with each new fire comes painful memories, raw nerves and buried trauma. It’s not enough to get our emergency kits ready and make plans for evacuation, like our local news outlets \u003ca href=\"https://twitter.com/KQED/status/1187394325904125952\" target=\"_blank\" rel=\"noopener noreferrer\">dutifully remind us\u003c/a> to do. Preparing for fire season also means planning mentally, emotionally, psychologically, and resisting the constant low hum of panic.\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>That sort of panic is why, last night, emergency operations were flooded with calls from county residents reporting the fire as \u003ca href=\"https://twitter.com/wittmershaus/status/1187261204026146816\" target=\"_blank\" rel=\"noopener noreferrer\">much closer\u003c/a> than it really was. From Santa Rosa, looking in the northeast direction at a giant plume of orange and yellow, I myself had the same rush of recollection to 2017 when Fountaingrove and much of Wikiup in the hills burned completely.\u003c/p>\n\u003cp>The sensation was unsettling: I knew from news reports that the fire was 24 miles away, but with memories of my \u003ca href=\"https://www.kqed.org/arts/13814248/one-month-later\" target=\"_blank\" rel=\"noopener noreferrer\">childhood home turned to ash\u003c/a> and family friends \u003ca href=\"https://www.kqed.org/arts/13814248/one-month-later\" target=\"_blank\" rel=\"noopener noreferrer\">not making it out\u003c/a> of the blaze in time, it sure felt closer. Because the \u003cem>feeling\u003c/em> is still close.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1187257556210610176"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>We use a lot of phrases to describe this feeling. “Fire PTSD.” “Ripping an open wound.” “Triggering.” Or, most commonly, people call it “the new normal”—though, I can tell you, it sure doesn’t seem normal.\u003c/p>\n\u003cp>I can also tell you that you’re not alone if you’re feeling this way every October. My best advice is to call on friends, and to talk through not just your feelings but the information at hand. If all you do is follow news reports on Twitter, naturally your sense of dread will increase. Friends can convey the same information about wind direction, response teams and other conditions in a way that’s encouraging instead of anxiety-inducing.\u003c/p>\n\u003cp>Also, consider calling or texting the \u003ca href=\"https://www.samhsa.gov/find-help/disaster-distress-helpline\" target=\"_blank\" rel=\"noopener noreferrer\">National Disaster Distress Hotline\u003c/a>, which offers 24-hour, bilingual counseling to people going though emotional distress related to disasters. To talk with a trained crisis counselor, call 1-800-985-5990. (For Spanish, press 2.) To text with a crisis counselor, text “TalkWithUs” (for Spanish, “Hablamos”) to 66746.\u003c/p>\n\u003cp>Additionally, evacuation centers are often staffed with psychologists, like \u003ca href=\"https://twitter.com/mkimreporter/status/1187419840685867009\" target=\"_blank\" rel=\"noopener noreferrer\">the one in Healdsburg today\u003c/a>. You don’t need to have a burned-down home to stop by for a helpful visit with one of them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Remember: it always feels better to talk about it with someone.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13868785/dealing-with-the-new-normal-and-old-trauma-of-fire-season-in-sonoma-county","authors":["185"],"categories":["arts_2303","arts_235"],"tags":["arts_2767","arts_1118","arts_2721","arts_973","arts_3217"],"featImg":"arts_13868791","label":"arts"},"arts_13815587":{"type":"posts","id":"arts_13815587","meta":{"index":"posts_1591205157","site":"arts","id":"13815587","score":null,"sort":[1511298555000]},"guestAuthors":[],"slug":"disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct","title":"Disney/Pixar Head on Temporary Leave After Possible Misconduct","publishDate":1511298555,"format":"standard","headTitle":"Disney/Pixar Head on Temporary Leave After Possible Misconduct | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n","blocks":[],"excerpt":"Days before the release of 'Coco,' Lasseter — a Sonoma resident — issued a memo announcing his temporary leave","status":"publish","parent":0,"modified":1705029066,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":890},"headData":{"title":"Disney/Pixar Head on Temporary Leave After Possible Misconduct | KQED","description":"Days before the release of 'Coco,' Lasseter — a Sonoma resident — issued a memo announcing his temporary leave","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Disney/Pixar Head on Temporary Leave After Possible Misconduct","datePublished":"2017-11-21T21:09:15.000Z","dateModified":"2024-01-12T03:11:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13815587/disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\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>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13815587/disneypixar-head-john-lasseter-announces-temporary-leave-after-possible-misconduct","authors":["11371"],"programs":["arts_1272"],"categories":["arts_74","arts_235"],"tags":["arts_1448","arts_3114","arts_596","arts_3217"],"featImg":"arts_13815585","label":"arts_1272"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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