Marc Haefele Commentator, Off-Ramp
Marc Haefele is an arts, politics, and literature commentator for KPCC's Off Ramp.
Haefele was a staff writer for LA Weekly, City News of Los Angeles, and the Morristown (NJ) Record. He has written for the New York Times, Los Angeles Times, Philadelphia Daily News, the Boston Review, Nomada de Buenos Aires and many other publications.
He cohosted the KPFK weekday morning drive time show in 1999-2000, and for the subsequent decade was city hall commentator for KPCC.
In the later 60s and early 70s, Haefele worked for Random House, then Doubleday publishers in New York, where his writers included Philip K. Dick, Steven King, Tom Disch, Marge Piercy, Kate Millett and Josephine Saxton. While at LA Weekly, he won the LA Press Club's Best Column award. He has shared Golden Mikes with his KPCC colleagues.
He has an M.A. in history from NYU and Cal State Los Angeles.
Haefele lives in Santa Monica.
Stories by Marc Haefele
Chagall’s stage work is a singular combination of great artistry and just plain fun. You don't need to like classical music or ballet to enjoy it ... and be sure to take the kids.
“The Sky is a Great Space” fills the Hammer gallery from floor to ceiling. It draws you in and sneaks up on you. Look back over your shoulder: there is the unexpected, staring down at you.
In 1915, painter Alexei Jawlensky nick-named aspiring young artist Emilie Esther Scheyer “Galka,” Russian for “jackdaw.” Like her namesake, she spent her life surrounding herself with beautiful things and the people who made them.
He spent 10 years painting here after leaving Europe, then Chicago, and Kleitsch's sudden death in 1931 leaves you wondering what he might soon have become.
It's amazing that nobody has ever done an exhibit of what amounts to the most spectacular pictures of an entire century, granting us immensely enlarged snapshots from 300 years in the past.
What does this immense, immaculate swath of thwarted representation actually represent? Trying to answer that question bears heavily on your mind. And that’s a worthwhile experience.
"There is a good deal more here that shows us how Goode keeps returning, and keeps progressing, as he enters his eighties, painting strong. Staying ahead of us."
Offenbach died before completing "Tales of Hoffmann." But this is as close to a Composer’s Cut of this problematic masterpiece as we are likely ever to hear.
Proust wrote that there is no such thing as a beautiful prison. And so it is with Parker Center. It exactly represents a miserable policing policy that twice in 27 years caused the policed population to rise up and burn the city.
The evening of the Rodney King verdict of April 29 seemed baleful, overcast with clouds of ambient anger. There was a powerful sense of something gone very wrong.
As the 1900s closed, Jean Dubuffet's work was occluded by the likes of Pollack, De Kooning, and Rothko. They retain their pioneering prominence in the public eye, but he was more pioneer than they.
The audience for LA Opera’s “Abduction from the Seraglio’’ had been treated to a perfect, yet not-overly-familiar, necklace of Mozart arias and ensembles. It was a great night for our local opera company. And yet…
They’re just … pots, and there’s something so pleasing about a good display of perfect ceramic pots … simple, useful, and strikingly beautiful.
A moving, transcendent exhibit at an obscure gallery by an L.A. art power couple: the art of Maxine Kim and Jan Stussy sits on a mysterious median. Its figures cry in the language of humanity, but its embodiments are far from human.
"Breaking News" at the Getty shows, relentlessly, how easily and often newspeople fail in the simple, but immense task of conveying what is actually going on in the world.