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
Marc Haefele reports that not only are fans of the San Diego Opera rallying to keep it from closing, but that the decision to close the company may have been made unlawfully.
A reading list on Byzantium, fiction and non-fiction, to go with the Getty Center and Getty Villa's blockbuster Byzantium exhibits.
At the Getty Center and Villa: What civilization lasted 1,100 years that hardly anyone thinks of as a civilization? Byzantium. And, they invented the fork.
The Gardner Museum got a $118 million renovation by architect Renzo Piano, who brought us the Resnick Pavilion and Broad Contemporary Art Museum at LACMA.
"They didn’t just come to enjoy the great music. They came to share love."
He ran naked through the streets yelling “Eureka.” He was the greatest thinker of ancient times. Now Archimedes is at the Huntington, with ancient wisdom and a new puzzle.
After a Clark Library performance, Marc Haefele writes, "I’ll die happy if I ever get to hear the rest of Shostakovich’s chamber music played like this."
Marc Haefele reviews the LA Opera production of "Billy Budd," an unfinished work by Melville turned into a sprawling opera by Benjamin Britten in 1951.
We talk with pop-art icon Wayne Thiebaud, now 93, subject of two new SoCal exhibits. He's known for paintings of baked goods, and says he's happy to be known as "the old pie man."
We have our iPhones. Queen Victoria never learned to use a camera, but she had every important photographer in the realm on-call. Same result, though: a whole lot of pictures.
"I never had the courage to thank Sid Caesar for keeping my dysfunctional family somewhat functional."
One of the L.A. Opera's proudest accomplishments has finally gone on the record: Franz Schreker’s not-quite-forgotten masterpiece, “The Stigmatized.”
More than any other living architect, Moshe Safdie has tried to change the face of the inhabited world, and he’s done this on nearly every continent.
Some of Ramos Martínez’ most affecting scenes are spread over the pages of our own L.A. Times — which in the 1930s was editorially committed to deporting poor Mexican migrants.
It’s the most comprehensive Calder show in decades. Then why doesn’t the whole equal the sum of its parts? Because the LACMA exhibit feels caged by its own production values, says Marc Haefele.