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
Artist Robert Cremean's new exhibit at the Pasadena Museum of California Art takes off from the myth of Procrustes, a hotelier who lopped off his guests' limbs to fit the bed. Don't even ask about turn-down service.
Tapestries are what we too often hurry past in a museum to get to the paintings. But in the past, these woven masterpieces seemed at least as important to the ruling elites as anything on canvas.
Marc Haefele reviews the first English recording of the short opera "The Long Christmas Dinner," by Paul Hindemith and Thornton Wilder.
Off-Ramp commentator Marc Haefele reviews the L.A. Opera's production of Norma: "If only the production had been as pleasant to look at as it was to hear!"
In Philip K Dick's books, Ursula Le Guin wrote, "there are no heroes ... but there are heroics … what counts is the honesty, constancy, kindness and patience of ordinary people."
This is 21st century opera, folks, with diverse but harmonically enticing tunes that invoke Britten, Puccini, Wagner, Glass and even Sondheim, plus generic, late-model film music.
A new show at the Getty Villa shows the Greece of 200 years ago — an ancient, empty, alien landscape of a long lost civilization, fallen into a ruin of broken columns and shattered pediments.
The DWP and the city are like a binary star system. They rotate around one another rather than working in sync.
‘’I told myself,’’ German artist Otto Dix said, ‘‘that life is not colorful at all. It is much darker, quieter in its tonality, much simpler. I wanted to depict things as they really are."
Billed as “Manzanar: The Wartime Photographs of Ansel Adams,” the show is actually far more comprehensive than its title implies, including works by three photographers and a sketch artist.
The greatness of most of these pieces is their molding into forever the rages, delights, and puzzlements of a period so far gone from us. And yet as close as Irv the punch-drunk boxer.
Suzanne Lummis, one of Los Angeles' most venerated poets, has two new books this year. Marc Haefele talked to her about L.A. poets, Philip Levine and what makes a bad poem bad.
You know Oliver Sacks as a calm neurologist and author, but Sacks had manic years in '60s SoCal, when he was a gay, body-building, motorbike-riding resident at UCLA Medical Center.
In del Sarto's painting “The Sacrifice of Isaac,” it’s in their faces for us to see. They may trust in God, but they can never again trust one another.
Sister Corita illuminated her quoted apothegms like a medieval monk illuminating the letters of a manuscript in the flaming colors of counter-cultural pop.