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"content": "\u003cp>When we think of a musical instrument that most closely mimics the human soul in a state of upheaval, the violin comes most readily to mind. If the guitar gently weeps, the violin wails, uncontrollably.\u003c/p>\n\u003cp>So it’s heartening to hear how the \u003ca href=\"http://www.lovelandviolinshop.com/\" target=\"_blank\" rel=\"noopener\">Loveland Violin Shop\u003c/a> in Santa Rosa is helping to put violins back in people’s hands after the Tubbs Fire so cruelly took them away.\u003c/p>\n\u003cp>Shop owner Mick Loveland was out of town when the blaze scorched Sonoma County. (At the time of reporting this story, he was traveling abroad.) His 28-year-old son, Julian Loveland, happened to be at his parents’ Santa Rosa home, watering the plants, when the fire spread to the neighborhood. “It was raining embers at the front of house,” Julian says. “I could see whole wall of flames.”\u003c/p>\n\u003cfigure id=\"attachment_13813886\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1.jpg\" alt=\"The Loveland family home in Santa Rosa.\" width=\"796\" height=\"1181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-375x556.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-520x772.jpg 520w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">The Loveland family home in Santa Rosa. \u003ccite>(Photo: Julian Loveland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julian grabbed whatever he could from the house and drove away as the flames engulfed the Loveland’s property.\u003c/p>\n\u003cp>“It’s emotional for my parents, because they’ve been in that house since 1980, and a whole lifetime of memories were enclosed in there,” Julian says. “It’s the house I grew up in.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”s8nNM5mkZwOWHAJy5KhWqAV3sSITSXnZ”]\u003c/p>\n\u003cp>Though the house is gone, the violin shop, which has been in downtown Santa Rosa since 1980, remains intact. If the fire had made it a mile further south, Sonoma County’s only violin store would have been turned into ash.\u003c/p>\n\u003cp>Julian, who learned the craft of the luthier from his father and works at the store, says a conservative estimate of the business’ inventory at the time of the fire amounted to at least $500,000 of instruments and bows. Among the shop’s holdings are a violin made by Bernardus Calcanius of Genoa in 1743 and a rare James Tubbs bow from England.\u003c/p>\n\u003cp>“This list would go on to include dozens of other instruments by makers who may be less well known, but whose works are still coveted by professional string players today,” Julian says.\u003c/p>\n\u003cfigure id=\"attachment_13813888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-800x600.jpg\" alt=\"Julian Loveland behind the counter at the Loveland Violin Shop.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Loveland behind the counter at the Loveland Violin Shop. \u003ccite>(Photo: Kelley Boyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people start to pull their lives back together since the fire, Sonoma County’s string players have been reaching out to the Loveland Violin Shop. Julian says he and his colleagues have received at least two dozen phone calls from people who lost homes with violins.\u003c/p>\n\u003cp>“So many of our customers were affected by this,” Julian says. “Some people grabbed their instruments in two minutes and managed to flee with them. Some weren’t able to do that.”\u003c/p>\n\u003cp>One such customer is violin teacher Karen VanDeventer, who’s been coming to the store for more than 30 years, since moving to Santa Rosa from San Jose. She taught in the public middle school in the nearby town of Windsor until she retired a few years ago. She now coaches a few students privately, and continues to play in chamber groups.\u003c/p>\n\u003cfigure id=\"attachment_13813857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-800x857.jpg\" alt=\"Violin teacher Karen VanDeventer has been a Loveland Violin Shop customer for around 30 years.\" width=\"800\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-800x857.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-768x822.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1020x1092.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1920x2056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1180x1263.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-960x1028.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-240x257.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-375x401.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-520x557.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violin teacher Karen VanDeventer has been a Loveland Violin Shop customer for more than 30 years. \u003ccite>(Photo: Charles VanDeventer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>VanDeventer and her husband lost their home in the Larkfield neighborhood of Santa Rosa in the Tubbs fire, including her two violins and her piano. A man in her church gifted her an old instrument, and she went directly to the Loveland Violin Shop to furnish herself with new strings, rosin and a chin rest.\u003c/p>\n\u003cp>VanDeventer was in a state of particular anguish about the loss of her beloved Heberlein violin, which she’d had in her possession for many years. When he heard the news, Mick Loveland rummaged around in his store and put a Heberlein down on the counter in front of her. “I burst into tears and said, ‘I can’t do that yet,’” VanDeventer says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" class=\"alignright size-full wp-image-13813910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Though VanDeventer wasn’t ready to buy a new violin that day, she appreciated Mick Loveland’s customer care. “I thought it was sweet he looked around and had one he could show me. I might go back one day, and that might be the one I wind up with.”\u003c/p>\n\u003cp>He gave her a big discount on her accessories, anyway. “He was always super supportive and still is,” VanDeventer says.\u003c/p>\n\u003cp>Beyond offering discounts on accessories, Julian Loveland says the store has been providing musical instruments to anyone who lost one in the fire, and his team are busy writing appraisals to help replace instruments for those who lacked the necessary documentation to put in insurance claims for their losses.\u003c/p>\n\u003cp>“We have already supplied a dozen or more instruments, with more to come,” Julian says. “We have ordered additional instruments to meet demand.”\u003c/p>\n\u003cp>The store has been particularly vigilant about meeting the needs of young musicians. “You can imagine how much of a shock it would be for a child to lose their violin,” Julian Loveland says. “There have been a number of occasions where a kid’s violin was lost and we just put another in their hands.”\u003c/p>\n\u003cfigure id=\"attachment_13813973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-800x452.jpg\" alt=\"Around 200 instruments from the Luther Burbank Center for the Arts' musical lending library were destroyed in the Tubbs Fire.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 200 instruments from the Luther Burbank Center for the Arts’ musical lending library were destroyed in the Tubbs Fire. \u003ccite>(Will Bucquoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Loveland Violin Store has also been working with the \u003ca href=\"https://lutherburbankcenter.org/\">Luther Burbank Center for the Arts\u003c/a>, a major performing arts hub in Santa Rosa which lost its education facility in the fire. The Luther Burbank Center’s Music for Schools program maintained a musical instrument lending library which loaned out violins and other instruments to more than 300 local children who might not otherwise have access to musical instruction.\u003c/p>\n\u003cp>“I would go borrow things for kids from there,” VanDeventer says of the valuable community resource. The fire destroyed more 200 instruments from the collection, including some 80 violins. The total value of the loss is estimated at $120,000.\u003c/p>\n\u003cp>“After we lost so many instruments in the fire, we have been scrambling to find instruments for our students,” says Ray Gargano, director of education and community engagement at the Burbank Center. “Loveland’s was the first place we contacted, because they have been such a great partner through the years and we knew they would take care of us.”\u003c/p>\n\u003cp>VanDeventer was able to return to teaching her private students last week, using a space a friend loaned her as her music studio.\u003c/p>\n\u003cp>“It’s wonderful to see our community pulling together,” VanDeventer says. “So many of us turn to music for solace anyway, and if you’re one of the ones getting to play, that helps you and other people.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Santa Rosa store has helped put string instruments back in people’s hands after the Tubbs Fire.",
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"title": "Amidst its Own Loss, a Santa Rosa Violin Shop Assists Fire Victims | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we think of a musical instrument that most closely mimics the human soul in a state of upheaval, the violin comes most readily to mind. If the guitar gently weeps, the violin wails, uncontrollably.\u003c/p>\n\u003cp>So it’s heartening to hear how the \u003ca href=\"http://www.lovelandviolinshop.com/\" target=\"_blank\" rel=\"noopener\">Loveland Violin Shop\u003c/a> in Santa Rosa is helping to put violins back in people’s hands after the Tubbs Fire so cruelly took them away.\u003c/p>\n\u003cp>Shop owner Mick Loveland was out of town when the blaze scorched Sonoma County. (At the time of reporting this story, he was traveling abroad.) His 28-year-old son, Julian Loveland, happened to be at his parents’ Santa Rosa home, watering the plants, when the fire spread to the neighborhood. “It was raining embers at the front of house,” Julian says. “I could see whole wall of flames.”\u003c/p>\n\u003cfigure id=\"attachment_13813886\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1.jpg\" alt=\"The Loveland family home in Santa Rosa.\" width=\"796\" height=\"1181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1.jpg 796w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-768x1139.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-375x556.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Courtesy-Julian-Loveland-1-520x772.jpg 520w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">The Loveland family home in Santa Rosa. \u003ccite>(Photo: Julian Loveland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Julian grabbed whatever he could from the house and drove away as the flames engulfed the Loveland’s property.\u003c/p>\n\u003cp>“It’s emotional for my parents, because they’ve been in that house since 1980, and a whole lifetime of memories were enclosed in there,” Julian says. “It’s the house I grew up in.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though the house is gone, the violin shop, which has been in downtown Santa Rosa since 1980, remains intact. If the fire had made it a mile further south, Sonoma County’s only violin store would have been turned into ash.\u003c/p>\n\u003cp>Julian, who learned the craft of the luthier from his father and works at the store, says a conservative estimate of the business’ inventory at the time of the fire amounted to at least $500,000 of instruments and bows. Among the shop’s holdings are a violin made by Bernardus Calcanius of Genoa in 1743 and a rare James Tubbs bow from England.\u003c/p>\n\u003cp>“This list would go on to include dozens of other instruments by makers who may be less well known, but whose works are still coveted by professional string players today,” Julian says.\u003c/p>\n\u003cfigure id=\"attachment_13813888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-800x600.jpg\" alt=\"Julian Loveland behind the counter at the Loveland Violin Shop.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/photo-2-by-kelley-boyer-1.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julian Loveland behind the counter at the Loveland Violin Shop. \u003ccite>(Photo: Kelley Boyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As people start to pull their lives back together since the fire, Sonoma County’s string players have been reaching out to the Loveland Violin Shop. Julian says he and his colleagues have received at least two dozen phone calls from people who lost homes with violins.\u003c/p>\n\u003cp>“So many of our customers were affected by this,” Julian says. “Some people grabbed their instruments in two minutes and managed to flee with them. Some weren’t able to do that.”\u003c/p>\n\u003cp>One such customer is violin teacher Karen VanDeventer, who’s been coming to the store for more than 30 years, since moving to Santa Rosa from San Jose. She taught in the public middle school in the nearby town of Windsor until she retired a few years ago. She now coaches a few students privately, and continues to play in chamber groups.\u003c/p>\n\u003cfigure id=\"attachment_13813857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813857 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-800x857.jpg\" alt=\"Violin teacher Karen VanDeventer has been a Loveland Violin Shop customer for around 30 years.\" width=\"800\" height=\"857\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-800x857.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-160x171.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-768x822.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1020x1092.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1920x2056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-1180x1263.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-960x1028.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-240x257.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-375x401.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Kareh-VanDeVenter-520x557.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violin teacher Karen VanDeventer has been a Loveland Violin Shop customer for more than 30 years. \u003ccite>(Photo: Charles VanDeventer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>VanDeventer and her husband lost their home in the Larkfield neighborhood of Santa Rosa in the Tubbs fire, including her two violins and her piano. A man in her church gifted her an old instrument, and she went directly to the Loveland Violin Shop to furnish herself with new strings, rosin and a chin rest.\u003c/p>\n\u003cp>VanDeventer was in a state of particular anguish about the loss of her beloved Heberlein violin, which she’d had in her possession for many years. When he heard the news, Mick Loveland rummaged around in his store and put a Heberlein down on the counter in front of her. “I burst into tears and said, ‘I can’t do that yet,’” VanDeventer says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" class=\"alignright size-full wp-image-13813910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Though VanDeventer wasn’t ready to buy a new violin that day, she appreciated Mick Loveland’s customer care. “I thought it was sweet he looked around and had one he could show me. I might go back one day, and that might be the one I wind up with.”\u003c/p>\n\u003cp>He gave her a big discount on her accessories, anyway. “He was always super supportive and still is,” VanDeventer says.\u003c/p>\n\u003cp>Beyond offering discounts on accessories, Julian Loveland says the store has been providing musical instruments to anyone who lost one in the fire, and his team are busy writing appraisals to help replace instruments for those who lacked the necessary documentation to put in insurance claims for their losses.\u003c/p>\n\u003cp>“We have already supplied a dozen or more instruments, with more to come,” Julian says. “We have ordered additional instruments to meet demand.”\u003c/p>\n\u003cp>The store has been particularly vigilant about meeting the needs of young musicians. “You can imagine how much of a shock it would be for a child to lose their violin,” Julian Loveland says. “There have been a number of occasions where a kid’s violin was lost and we just put another in their hands.”\u003c/p>\n\u003cfigure id=\"attachment_13813973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813973\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-800x452.jpg\" alt=\"Around 200 instruments from the Luther Burbank Center for the Arts' musical lending library were destroyed in the Tubbs Fire.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/wb_LBCMusicLibraryAA002A_10312017-046_pe-e1510075090471-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">More than 200 instruments from the Luther Burbank Center for the Arts’ musical lending library were destroyed in the Tubbs Fire. \u003ccite>(Will Bucquoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Loveland Violin Store has also been working with the \u003ca href=\"https://lutherburbankcenter.org/\">Luther Burbank Center for the Arts\u003c/a>, a major performing arts hub in Santa Rosa which lost its education facility in the fire. The Luther Burbank Center’s Music for Schools program maintained a musical instrument lending library which loaned out violins and other instruments to more than 300 local children who might not otherwise have access to musical instruction.\u003c/p>\n\u003cp>“I would go borrow things for kids from there,” VanDeventer says of the valuable community resource. The fire destroyed more 200 instruments from the collection, including some 80 violins. The total value of the loss is estimated at $120,000.\u003c/p>\n\u003cp>“After we lost so many instruments in the fire, we have been scrambling to find instruments for our students,” says Ray Gargano, director of education and community engagement at the Burbank Center. “Loveland’s was the first place we contacted, because they have been such a great partner through the years and we knew they would take care of us.”\u003c/p>\n\u003cp>VanDeventer was able to return to teaching her private students last week, using a space a friend loaned her as her music studio.\u003c/p>\n\u003cp>“It’s wonderful to see our community pulling together,” VanDeventer says. “So many of us turn to music for solace anyway, and if you’re one of the ones getting to play, that helps you and other people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Allen Sudduth has returned to the remains of his home six times. He already knows he lost everything — including all his musical instruments, collected over a 50-year span of playing and performing — after the Tubbs Fire ripped through his neighborhood of Coffey Park. But he can’t stay away.\u003c/p>\n\u003cp>“[My wife] Kris and I snuck in the day after the fire. It was still hot, but we had to see,” Sudduth explains. “It takes a while to say goodbye.”\u003c/p>\n\u003cp>Sudduth, a guitarist, songwriter and recording engineer, is one of many musicians in the artist-centric community of Santa Rosa who lost prized instruments in the fire. “My favorite guitar was a Telecaster that I put together 10 years ago with the help of a lot of really great people. It was just right,” Sudduth says. “Everything I had — amps and effects and guitars — was just the way I wanted it.”\u003c/p>\n\u003cp>While the loss is hard to process, Sudduth has seen firsthand the goodwill in his musical community, and the ways Sonoma County musicians step up during tragedy to help one of their own. \u003c/p>\n\u003cfigure id=\"attachment_13813930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-800x533.jpg\" alt=\"Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth sort through the remains of their home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth sort through the remains of their home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life of Music\u003c/h2>\n\u003cp>Sudduth was born just five miles away from Coffey Park, at Santa Rosa Memorial Hospital, in 1952. He began playing in bands at the age of 13 in the 1960s, with his first gigs held at school dances and the local Boys’ Club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the early ’70s, while playing with the local rock band Synergy, Sudduth learned about record production — a path that deepened when Sudduth landed a position at a studio in San Francisco.\u003c/p>\n\u003cp>“I loved recording, so I applied for a job at \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" rel=\"noopener\" target=\"_blank\">Wally Heider Recording\u003c/a> in San Francisco, which was one of the top places in the world at that point,” Sudduth says. “I wanted to produce, and I wanted to learn enough engineering to be able to communicate with a real engineer. But it became my career.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r5FFiqqsw-s\u003c/p>\n\u003caside class=\"aligncenter noborder\">\n\u003ci>The Imposters “Don’t Get Mad,” produced by Allen Sudduth\u003c/i>\u003cbr>\n\u003c/aside>\n\u003cp>Sudduth went on to become an in-demand studio engineer at Wally Heider, and at Prairie Sun Studios in Cotati, working with local luminaries like John Fogerty and Tom Waits. He spent so much time in recording studios that he met his wife in one: for the recording of a “live” \u003ca href=\"http://www.roy-rogers.com/\" rel=\"noopener\" target=\"_blank\">Roy Rogers\u003c/a> set, Sudduth set up a bar and invited 40 people to watch the performance. One of the people who showed up became his wife. (The music bug even caught his kids: his 31-year-old daughter Laura is a singer/actress in New York, and his son Ben, 28, is a musician and analyst for Pandora.)\u003c/p>\n\u003cp>As the years went on and the studio business declined, Sudduth pursued less engineering work and started his own business. Today, he still does some studio work, but “I’ve just done sessions that I \u003cem>wanted\u003c/em> to do,” he says, “and I’m much happier that way,” Sudduth says.\u003c/p>\n\u003cp>At his house in Coffey Park, where he lived for 35 years, he also kept a set of vintage drums and a collection of reel-to-reel tapes from past sessions, including all of Synergy’s master recordings. \u003c/p>\n\u003cp>“There was even a great live tape, but none of that exists anymore,” Sudduth says.\u003c/p>\n\u003cfigure id=\"attachment_13813990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-800x533.jpg\" alt=\"Laura Sudduth finds a pair of dimond earings she recived in the eight grade amost the remains of her childhood home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laura Sudduth finds a pair of diamond earrings she received in the eighth grade amidst the remains of her childhood home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Grabbing One Guitar\u003c/h2>\n\u003cp>When the fire hit his home in the early morning of Oct. 9, Sudduth and his wife jumped in a car and drove south to a sister’s house. Before he ran out the door, Sudduth grabbed one guitar: his dad’s 1939 Martin D-28. Sudduth grew up playing the guitar, and says it’s irreplaceable.\u003c/p>\n\u003cp>“Over the years I had told my wife, ‘If anything ever happens, I’m grabbing the Martin,'” Sudduth says. “When it came time to go, we grabbed just a few things and I just automatically grabbed that. It couldn’t be replaced because of its sentimentality.” \u003c/p>\n\u003cfigure id=\"attachment_13813944\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Burnt-tapes.jpg\" alt='Reel-to-reel tapes destroyed in the fire. \"Too long in the convection oven,\" Sudduth remarked.' width=\"720\" height=\"960\" class=\"size-full wp-image-13813944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Reel-to-reel tapes destroyed in the fire (‘Too long in the convection oven,’ Sudduth quipped). \u003ccite>(Allen Sudduth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond sentimental value, guitars like Sudduth’s Martin regularly sell for \u003ca href=\"https://reverb.com/price-guide/guide/5344-martin-d-28-1939-natural\" rel=\"noopener\" target=\"_blank\">tens of thousands of dollars\u003c/a>. Sudduth kept a file of serial numbers and pertinent receipts for all his vintage instruments, but that, too, burned in the fire. Luckily, the luthiers and other repair shops he’d hired kept meticulous records, so he’s been able to pull together an accurate list of his collection for the insurance company. \u003c/p>\n\u003cp>Before he began filling out his claim, he spoke to a cousin who had to deal with insurance after losing everything in a fire a few years ago, and who gave Sudduth the perfect advice.\u003c/p>\n\u003cp>“He said, ‘The claim is not closed until you say it is,’” Sudduth says. “Meaning I shouldn’t feel pressured to do anything, by any timeline or anything like that.”\u003c/p>\n\u003ch2>Back to Playing Loud\u003c/h2>\n\u003cp>Today, weeks after the fire, Sudduth already has five new guitars — even before full reimbursement from his insurance company — thanks to the North Bay music community.\u003c/p>\n\u003cp>The help began when Sonoma County fixture Jim Corbett, a.k.a. “\u003ca href=\"http://mrmusicfoundation.org/\" rel=\"noopener\" target=\"_blank\">Mr. Music\u003c/a>,” asked Sudduth to play with him at an upcoming \u003ca href=\"https://www.facebook.com/photo.php?fbid=10212375155792039&set=pcb.10212375161872191\" rel=\"noopener\" target=\"_blank\">Peacetown benefit concert\u003c/a> in Sebastopol. The group, called the SoCoAllStars, included many beloved local musicians like Sudduth, Corbett, Frank Hayhurst of Zone Music, multi-instrumentalist Alan Watt and others. \u003c/p>\n\u003cp>Before the show on Oct. 21, Sudduth spent the day sifting through the ashes at his burned home. After a quick shower, Sudduth arrived at the venue, Ives Park, a few minutes before he was due to play. His friends told him not to worry about bringing any equipment, that it would be waiting for him on stage.\u003c/p>\n\u003cfigure id=\"attachment_13813967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SudduthFam-800x533.jpg\" alt=\"Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth stand amongst the remains of their home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth stand amongst the remains of their home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Somebody handed me a guitar, it was plugged into a great amp, and I turned to my friend and I said, ‘I’m gonna play f-cking loud,” Sudduth says. \u003c/p>\n\u003cp>The band played a blistering set to a crowd of around 1,500 people. For 45 minutes, Sudduth was able to forget all of his worries. Afterward, Hayhurst walked him off stage and took him aside.\u003c/p>\n\u003cp>“He took off this cool old guitar that he’d shown me backstage, and he said, ‘Here, this is yours,'” Sudduth says. \u003c/p>\n\u003cp>After the show, Corbett wrote Sudduth a check for $500 to buy a new amplifier. He was also given new guitars from the manager at Prairie Sun Studios and the owner of the Last Record Store.\u003c/p>\n\u003cp>“We’re in a temporary home right now,” Sudduth says, “so my biggest problem as far as guitars goes is finding where I’m gonna stash these while I’m living somewhere else.”\u003c/p>\n\u003cp>And though he pines for some of what he lost, Sudduth says the experience has taught him that “everything is replaceable.” \u003c/p>\n\u003cp>“It really hurts,” Sudduth says, “but it’s kind of liberating in a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Hear Sudduth play guitar on a song he co-wrote with Doug Jayne, “A Place Called Home”:\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/347020493″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"excerpt": "After the fire destroyed his Coffey Park home, Allan Sudduth saw firsthand the goodwill of Sonoma County's musical community.",
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"title": "What a Local Guitar Hero Learned When He Lost Everything | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Allen Sudduth has returned to the remains of his home six times. He already knows he lost everything — including all his musical instruments, collected over a 50-year span of playing and performing — after the Tubbs Fire ripped through his neighborhood of Coffey Park. But he can’t stay away.\u003c/p>\n\u003cp>“[My wife] Kris and I snuck in the day after the fire. It was still hot, but we had to see,” Sudduth explains. “It takes a while to say goodbye.”\u003c/p>\n\u003cp>Sudduth, a guitarist, songwriter and recording engineer, is one of many musicians in the artist-centric community of Santa Rosa who lost prized instruments in the fire. “My favorite guitar was a Telecaster that I put together 10 years ago with the help of a lot of really great people. It was just right,” Sudduth says. “Everything I had — amps and effects and guitars — was just the way I wanted it.”\u003c/p>\n\u003cp>While the loss is hard to process, Sudduth has seen firsthand the goodwill in his musical community, and the ways Sonoma County musicians step up during tragedy to help one of their own. \u003c/p>\n\u003cfigure id=\"attachment_13813930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-800x533.jpg\" alt=\"Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth sort through the remains of their home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Allen-Sudduth-daughter-Laura-Sudduth-spouse-Kris-Sudduth-and-son-Ben-Sudduth-sort-through-the-remains-of-their-home-in-Coffee-park-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth sort through the remains of their home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life of Music\u003c/h2>\n\u003cp>Sudduth was born just five miles away from Coffey Park, at Santa Rosa Memorial Hospital, in 1952. He began playing in bands at the age of 13 in the 1960s, with his first gigs held at school dances and the local Boys’ Club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the early ’70s, while playing with the local rock band Synergy, Sudduth learned about record production — a path that deepened when Sudduth landed a position at a studio in San Francisco.\u003c/p>\n\u003cp>“I loved recording, so I applied for a job at \u003ca href=\"https://ww2.kqed.org/arts/2016/11/10/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound/\" rel=\"noopener\" target=\"_blank\">Wally Heider Recording\u003c/a> in San Francisco, which was one of the top places in the world at that point,” Sudduth says. “I wanted to produce, and I wanted to learn enough engineering to be able to communicate with a real engineer. But it became my career.”\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/r5FFiqqsw-s'\n title='//www.youtube.com/embed/r5FFiqqsw-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003caside class=\"aligncenter noborder\">\n\u003ci>The Imposters “Don’t Get Mad,” produced by Allen Sudduth\u003c/i>\u003cbr>\n\u003c/aside>\n\u003cp>Sudduth went on to become an in-demand studio engineer at Wally Heider, and at Prairie Sun Studios in Cotati, working with local luminaries like John Fogerty and Tom Waits. He spent so much time in recording studios that he met his wife in one: for the recording of a “live” \u003ca href=\"http://www.roy-rogers.com/\" rel=\"noopener\" target=\"_blank\">Roy Rogers\u003c/a> set, Sudduth set up a bar and invited 40 people to watch the performance. One of the people who showed up became his wife. (The music bug even caught his kids: his 31-year-old daughter Laura is a singer/actress in New York, and his son Ben, 28, is a musician and analyst for Pandora.)\u003c/p>\n\u003cp>As the years went on and the studio business declined, Sudduth pursued less engineering work and started his own business. Today, he still does some studio work, but “I’ve just done sessions that I \u003cem>wanted\u003c/em> to do,” he says, “and I’m much happier that way,” Sudduth says.\u003c/p>\n\u003cp>At his house in Coffey Park, where he lived for 35 years, he also kept a set of vintage drums and a collection of reel-to-reel tapes from past sessions, including all of Synergy’s master recordings. \u003c/p>\n\u003cp>“There was even a great live tape, but none of that exists anymore,” Sudduth says.\u003c/p>\n\u003cfigure id=\"attachment_13813990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-800x533.jpg\" alt=\"Laura Sudduth finds a pair of dimond earings she recived in the eight grade amost the remains of her childhood home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Laura-Sudduth-finds-a-pair-of-dimond-earings-she-recived-in-the-eight-grade-amost-the-remains-of-her-childhood-home-in-Coffee-park-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laura Sudduth finds a pair of diamond earrings she received in the eighth grade amidst the remains of her childhood home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Grabbing One Guitar\u003c/h2>\n\u003cp>When the fire hit his home in the early morning of Oct. 9, Sudduth and his wife jumped in a car and drove south to a sister’s house. Before he ran out the door, Sudduth grabbed one guitar: his dad’s 1939 Martin D-28. Sudduth grew up playing the guitar, and says it’s irreplaceable.\u003c/p>\n\u003cp>“Over the years I had told my wife, ‘If anything ever happens, I’m grabbing the Martin,'” Sudduth says. “When it came time to go, we grabbed just a few things and I just automatically grabbed that. It couldn’t be replaced because of its sentimentality.” \u003c/p>\n\u003cfigure id=\"attachment_13813944\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Burnt-tapes.jpg\" alt='Reel-to-reel tapes destroyed in the fire. \"Too long in the convection oven,\" Sudduth remarked.' width=\"720\" height=\"960\" class=\"size-full wp-image-13813944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Burnt-tapes-520x693.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Reel-to-reel tapes destroyed in the fire (‘Too long in the convection oven,’ Sudduth quipped). \u003ccite>(Allen Sudduth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond sentimental value, guitars like Sudduth’s Martin regularly sell for \u003ca href=\"https://reverb.com/price-guide/guide/5344-martin-d-28-1939-natural\" rel=\"noopener\" target=\"_blank\">tens of thousands of dollars\u003c/a>. Sudduth kept a file of serial numbers and pertinent receipts for all his vintage instruments, but that, too, burned in the fire. Luckily, the luthiers and other repair shops he’d hired kept meticulous records, so he’s been able to pull together an accurate list of his collection for the insurance company. \u003c/p>\n\u003cp>Before he began filling out his claim, he spoke to a cousin who had to deal with insurance after losing everything in a fire a few years ago, and who gave Sudduth the perfect advice.\u003c/p>\n\u003cp>“He said, ‘The claim is not closed until you say it is,’” Sudduth says. “Meaning I shouldn’t feel pressured to do anything, by any timeline or anything like that.”\u003c/p>\n\u003ch2>Back to Playing Loud\u003c/h2>\n\u003cp>Today, weeks after the fire, Sudduth already has five new guitars — even before full reimbursement from his insurance company — thanks to the North Bay music community.\u003c/p>\n\u003cp>The help began when Sonoma County fixture Jim Corbett, a.k.a. “\u003ca href=\"http://mrmusicfoundation.org/\" rel=\"noopener\" target=\"_blank\">Mr. Music\u003c/a>,” asked Sudduth to play with him at an upcoming \u003ca href=\"https://www.facebook.com/photo.php?fbid=10212375155792039&set=pcb.10212375161872191\" rel=\"noopener\" target=\"_blank\">Peacetown benefit concert\u003c/a> in Sebastopol. The group, called the SoCoAllStars, included many beloved local musicians like Sudduth, Corbett, Frank Hayhurst of Zone Music, multi-instrumentalist Alan Watt and others. \u003c/p>\n\u003cp>Before the show on Oct. 21, Sudduth spent the day sifting through the ashes at his burned home. After a quick shower, Sudduth arrived at the venue, Ives Park, a few minutes before he was due to play. His friends told him not to worry about bringing any equipment, that it would be waiting for him on stage.\u003c/p>\n\u003cfigure id=\"attachment_13813967\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/SudduthFam-800x533.jpg\" alt=\"Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth stand amongst the remains of their home in Coffey Park\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13813967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/SudduthFam-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Sudduth, daughter Laura Sudduth, spouse Kris Sudduth and son Ben Sudduth stand amongst the remains of their home in Coffey Park. \u003ccite>(Estefany Gonzales)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Somebody handed me a guitar, it was plugged into a great amp, and I turned to my friend and I said, ‘I’m gonna play f-cking loud,” Sudduth says. \u003c/p>\n\u003cp>The band played a blistering set to a crowd of around 1,500 people. For 45 minutes, Sudduth was able to forget all of his worries. Afterward, Hayhurst walked him off stage and took him aside.\u003c/p>\n\u003cp>“He took off this cool old guitar that he’d shown me backstage, and he said, ‘Here, this is yours,'” Sudduth says. \u003c/p>\n\u003cp>After the show, Corbett wrote Sudduth a check for $500 to buy a new amplifier. He was also given new guitars from the manager at Prairie Sun Studios and the owner of the Last Record Store.\u003c/p>\n\u003cp>“We’re in a temporary home right now,” Sudduth says, “so my biggest problem as far as guitars goes is finding where I’m gonna stash these while I’m living somewhere else.”\u003c/p>\n\u003cp>And though he pines for some of what he lost, Sudduth says the experience has taught him that “everything is replaceable.” \u003c/p>\n\u003cp>“It really hurts,” Sudduth says, “but it’s kind of liberating in a way.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Hear Sudduth play guitar on a song he co-wrote with Doug Jayne, “A Place Called Home”:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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\">W\u003c/span>hile the hills still burned, and while her listeners remained on watch for high winds and possible evacuations, Robin Pressman knew exactly which song to open her first show back on the radio since the fires: “I Wish It Would Rain,” by Nanci Griffith.\u003c/p>\n\u003cp>Pressman feels the region’s loss as much as anyone. Like many of her listeners, she also lost everything in the Oct. 8 fire, when her house in the Foothills in Santa Rosa burned to the ground overnight. \u003c/p>\n\u003cfigure id=\"attachment_13813737\" class=\"wp-caption alignright\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.imagine.jpg\" alt=\"Robin Pressman at John Lennon's 'Strawberry Fields' memorial site in New York.\" width=\"636\" height=\"636\" class=\"size-full wp-image-13813737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-150x150.jpg 150w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Robin Pressman at John Lennon’s ‘Strawberry Fields’ memorial site in New York. \u003ccite>(Courtesy Robin Pressman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pressman has been on the air in Sonoma County for 24 years; she was previously the program director at KRCB in Rohnert Park and the host of “Our Roots are Showing” before coming to KRSH (“The Krush”) in Santa Rosa. In the weeks after the fire, Pressman’s weekly program on KRSH, “\u003ca href=\"http://www.krsh.com/pages/21774565.php\" rel=\"noopener\" target=\"_blank\">The Sunday Muse\u003c/a>,” has turned into a communal source of comfort and understanding.\u003c/p>\n\u003cp>In the studio on a recent morning, it’s clear that the solace found in music runs both ways.\u003c/p>\n\u003cp>“This is Robin Pressman on the Krush, and we’re trying to stay upbeat here as we dig ourselves out, and continue, and try to see if life goes on,” Pressman announces, between songs. “That song we just heard was Audrey Auld, one of our dear departed favorites, with ‘Cryin’ the Blues,’ which is \u003cem>not\u003c/em> what we’re going to spend a lot of time doing around here with the music at all. No, no — music is for keeping us up and going.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With that, she plays her next selection, a song about finding one’s way out of loss performed by Dar Williams, Lucy Kaplansky and Richard Shindell, called “By Way of Sorrow”:\u003c/p>\n\u003cblockquote>\u003cp>You have come by way of sorrow\u003cbr>\nYou have come by way of tears\u003cbr>\nBut you’ll reach your destiny\u003cbr>\nMeant to find you all these years\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13813757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.Vibert.jpg\" alt=\"The remains of Pressman's house, with Mt. St. Helena in the distance.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13813757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Pressman’s house, with Mt. St. Helena in the distance. \u003ccite>(Catherine Vibert)\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>ressman’s house had been, well, more than a house. It often hosted living room concerts by touring singer-songwriters on the folk circuit, with dozens of people gathered inside to listen. When it burned, Pressman and her husband Peter, along with a roommate, lost all their belongings, including their chickens, a large art collection, and Pressman’s massive music library of CDs. \u003c/p>\n\u003cp>“I really quickly made my peace with the things, my possessions,” she says. “We were in that house for nearly 18 years; Peter and I have been together for 31 years. Stuff where you remember when you bought it, or the antique stuff — that part I didn’t spend much time dwelling on. It’s the art that is really hurting my heart. We really did create that space, where it was meaningful for us to have that art.”\u003c/p>\n\u003cp>The lost artwork includes pieces by friends and family, including her mother’s bronze sculptures, her great grandmother’s needlepoint ducks, and works by her great-grand-uncle, the Poland-born artist \u003ca href=\"http://marekszwarc.com/\" rel=\"noopener\" target=\"_blank\">Marek Szwarc\u003c/a>. Though she’s walked up the long driveway to see what little is left, on this day she has yet to sift through the ashes like so many others in the area are doing, searching for any recognizable remains.\u003c/p>\n\u003cp>“So now I’m thinking, ‘I’ve got nothing… maybe I don’t need anything,'” she says. “Maybe I’ll just be a nomad for a while.”\u003c/p>\n\u003cfigure id=\"attachment_13813742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.Inline-800x500.jpg\" alt=\"Robin Pressman on KRSH-FM.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13813742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robin Pressman on KRSH-FM. \u003ccite>(Gabe Meline/KRSH)\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>ressman does need CDs, however, to play on her radio show, and her collection contained many small-run pressings and CD-Rs by independent folk and acoustic artists that are long out of print. In a microcosm of the community’s goodwill in the wake of the fires, replacements have been donated to her from friends, listeners, and well-wishing strangers.\u003c/p>\n\u003cp>She also received an offer she couldn’t pass up: fellow radio host \u003ca href=\"http://www.krsh.com/pages/21774584.php\" rel=\"noopener\" target=\"_blank\">Bill Frater\u003c/a> gave her four boxes of CDs once owned by mutual friend \u003ca href=\"http://www.pressdemocrat.com/news/3883017-181/laurie-schaeffer-sonoma-county-concert\" rel=\"noopener\" target=\"_blank\">Laurie Schaeffer\u003c/a>, a listening-room concert promoter whose name is hallowed in Sonoma County music circles. A passionate supporter of folk music, Schaeffer died in 2015, and playing her CDs, for Pressman, becomes an act of one loss repairing another.\u003c/p>\n\u003cp>“There was a while, after she died, when I would do my show and I would have a new CD, and I couldn’t help but think ‘What’s the point?’ Because I knew Laurie would love it, and she wasn’t there to hear it.”\u003c/p>\n\u003cfigure id=\"attachment_13813740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-800x510.jpg\" alt=\"A recording of the first house concert hosted by Robin Pressman, with the folksinger Cheryl Wheeler, at her former house in 1997.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-13813740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A recording of the first house concert booked by Laurie Schaeffer, with the folksinger Cheryl Wheeler, at Robin Pressman’s former house near Lake Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The phone rings, and it’s another regular listener calling with good wishes. “Hi Lynn! Oh, so nice to hear from you… Awww, do you? How fantastic… I remember! That was the first time you called me… 18 years ago? Wow… Yes, we’re OK. And you survived? You’re still here?… That’s good, thank you. OK, gotta go.”\u003c/p>\n\u003cp>Four or five such calls come in over the first hour of Pressman’s show, and for a moment, it feels like Santa Rosa is still at its heart a small town. From the stack of donated CDs, she pops in a recording of Kate Wolf at the Great American Music Hall, singing “Everybody’s Lookin’ for the Same Thing,” a song about the notes people leave on the bulletin board outside the hardware store.\u003c/p>\n\u003cp>“There’s a lot of that happening right now,” Pressman announces over the airwaves, “I hope you’re finding what you need if you were impacted by the fire, and I hope that life is beginning to return to a little bit of normalcy. Happy to be here on the radio on Sunday morning – that’s normalcy for me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Robin Pressman hosts ‘The Sunday Muse’ on KRSH-FM from 11am-1pm Sundays. \u003ca href=\"http://www.krsh.com/pages/21774565.php\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"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\">W\u003c/span>hile the hills still burned, and while her listeners remained on watch for high winds and possible evacuations, Robin Pressman knew exactly which song to open her first show back on the radio since the fires: “I Wish It Would Rain,” by Nanci Griffith.\u003c/p>\n\u003cp>Pressman feels the region’s loss as much as anyone. Like many of her listeners, she also lost everything in the Oct. 8 fire, when her house in the Foothills in Santa Rosa burned to the ground overnight. \u003c/p>\n\u003cfigure id=\"attachment_13813737\" class=\"wp-caption alignright\" style=\"max-width: 636px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.imagine.jpg\" alt=\"Robin Pressman at John Lennon's 'Strawberry Fields' memorial site in New York.\" width=\"636\" height=\"636\" class=\"size-full wp-image-13813737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine.jpg 636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.imagine-150x150.jpg 150w\" sizes=\"(max-width: 636px) 100vw, 636px\">\u003cfigcaption class=\"wp-caption-text\">Robin Pressman at John Lennon’s ‘Strawberry Fields’ memorial site in New York. \u003ccite>(Courtesy Robin Pressman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pressman has been on the air in Sonoma County for 24 years; she was previously the program director at KRCB in Rohnert Park and the host of “Our Roots are Showing” before coming to KRSH (“The Krush”) in Santa Rosa. In the weeks after the fire, Pressman’s weekly program on KRSH, “\u003ca href=\"http://www.krsh.com/pages/21774565.php\" rel=\"noopener\" target=\"_blank\">The Sunday Muse\u003c/a>,” has turned into a communal source of comfort and understanding.\u003c/p>\n\u003cp>In the studio on a recent morning, it’s clear that the solace found in music runs both ways.\u003c/p>\n\u003cp>“This is Robin Pressman on the Krush, and we’re trying to stay upbeat here as we dig ourselves out, and continue, and try to see if life goes on,” Pressman announces, between songs. “That song we just heard was Audrey Auld, one of our dear departed favorites, with ‘Cryin’ the Blues,’ which is \u003cem>not\u003c/em> what we’re going to spend a lot of time doing around here with the music at all. No, no — music is for keeping us up and going.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With that, she plays her next selection, a song about finding one’s way out of loss performed by Dar Williams, Lucy Kaplansky and Richard Shindell, called “By Way of Sorrow”:\u003c/p>\n\u003cblockquote>\u003cp>You have come by way of sorrow\u003cbr>\nYou have come by way of tears\u003cbr>\nBut you’ll reach your destiny\u003cbr>\nMeant to find you all these years\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13813757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.Vibert.jpg\" alt=\"The remains of Pressman's house, with Mt. St. Helena in the distance.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13813757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Vibert-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The remains of Pressman’s house, with Mt. St. Helena in the distance. \u003ccite>(Catherine Vibert)\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>ressman’s house had been, well, more than a house. It often hosted living room concerts by touring singer-songwriters on the folk circuit, with dozens of people gathered inside to listen. When it burned, Pressman and her husband Peter, along with a roommate, lost all their belongings, including their chickens, a large art collection, and Pressman’s massive music library of CDs. \u003c/p>\n\u003cp>“I really quickly made my peace with the things, my possessions,” she says. “We were in that house for nearly 18 years; Peter and I have been together for 31 years. Stuff where you remember when you bought it, or the antique stuff — that part I didn’t spend much time dwelling on. It’s the art that is really hurting my heart. We really did create that space, where it was meaningful for us to have that art.”\u003c/p>\n\u003cp>The lost artwork includes pieces by friends and family, including her mother’s bronze sculptures, her great grandmother’s needlepoint ducks, and works by her great-grand-uncle, the Poland-born artist \u003ca href=\"http://marekszwarc.com/\" rel=\"noopener\" target=\"_blank\">Marek Szwarc\u003c/a>. Though she’s walked up the long driveway to see what little is left, on this day she has yet to sift through the ashes like so many others in the area are doing, searching for any recognizable remains.\u003c/p>\n\u003cp>“So now I’m thinking, ‘I’ve got nothing… maybe I don’t need anything,'” she says. “Maybe I’ll just be a nomad for a while.”\u003c/p>\n\u003cfigure id=\"attachment_13813742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.Inline-800x500.jpg\" alt=\"Robin Pressman on KRSH-FM.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13813742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robin Pressman on KRSH-FM. \u003ccite>(Gabe Meline/KRSH)\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>ressman does need CDs, however, to play on her radio show, and her collection contained many small-run pressings and CD-Rs by independent folk and acoustic artists that are long out of print. In a microcosm of the community’s goodwill in the wake of the fires, replacements have been donated to her from friends, listeners, and well-wishing strangers.\u003c/p>\n\u003cp>She also received an offer she couldn’t pass up: fellow radio host \u003ca href=\"http://www.krsh.com/pages/21774584.php\" rel=\"noopener\" target=\"_blank\">Bill Frater\u003c/a> gave her four boxes of CDs once owned by mutual friend \u003ca href=\"http://www.pressdemocrat.com/news/3883017-181/laurie-schaeffer-sonoma-county-concert\" rel=\"noopener\" target=\"_blank\">Laurie Schaeffer\u003c/a>, a listening-room concert promoter whose name is hallowed in Sonoma County music circles. A passionate supporter of folk music, Schaeffer died in 2015, and playing her CDs, for Pressman, becomes an act of one loss repairing another.\u003c/p>\n\u003cp>“There was a while, after she died, when I would do my show and I would have a new CD, and I couldn’t help but think ‘What’s the point?’ Because I knew Laurie would love it, and she wasn’t there to hear it.”\u003c/p>\n\u003cfigure id=\"attachment_13813740\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-800x510.jpg\" alt=\"A recording of the first house concert hosted by Robin Pressman, with the folksinger Cheryl Wheeler, at her former house in 1997.\" width=\"800\" height=\"510\" class=\"size-medium wp-image-13813740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-960x611.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD-520x331.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Pressman.CherylWheelerCD.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A recording of the first house concert booked by Laurie Schaeffer, with the folksinger Cheryl Wheeler, at Robin Pressman’s former house near Lake Sonoma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The phone rings, and it’s another regular listener calling with good wishes. “Hi Lynn! Oh, so nice to hear from you… Awww, do you? How fantastic… I remember! That was the first time you called me… 18 years ago? Wow… Yes, we’re OK. And you survived? You’re still here?… That’s good, thank you. OK, gotta go.”\u003c/p>\n\u003cp>Four or five such calls come in over the first hour of Pressman’s show, and for a moment, it feels like Santa Rosa is still at its heart a small town. From the stack of donated CDs, she pops in a recording of Kate Wolf at the Great American Music Hall, singing “Everybody’s Lookin’ for the Same Thing,” a song about the notes people leave on the bulletin board outside the hardware store.\u003c/p>\n\u003cp>“There’s a lot of that happening right now,” Pressman announces over the airwaves, “I hope you’re finding what you need if you were impacted by the fire, and I hope that life is beginning to return to a little bit of normalcy. Happy to be here on the radio on Sunday morning – that’s normalcy for me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Robin Pressman hosts ‘The Sunday Muse’ on KRSH-FM from 11am-1pm Sundays. \u003ca href=\"http://www.krsh.com/pages/21774565.php\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "womens-audio-mission-hosts-first-audio-conference-for-women",
"title": "Women's Audio Mission Hosts First Audio Conference for Women",
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"content": "\u003cp>Women’s Audio Mission is fighting an uphill battle.\u003c/p>\n\u003cp>The San Francisco nonprofit has made a name for itself by engaging with women and girls through audio engineering and production programming. They’ve achieved significant traction in the Bay Area, instructing upwards of 8,000 aspiring audio engineers and producers in its 14 years. There’s still a ways to go.\u003c/p>\n\u003cp>Only seven percent of members registered in the Audio Engineers Society, as of 2016, report that they are women. Only six women — total — have been nominated for their work in record production at the GRAMMYs, with little relief in sight.\u003c/p>\n\u003cp>[contextly_sidebar id=”SmUxvFEzdhLds9E6cFBOrSIMbQ8igunO”]\u003c/p>\n\u003cp>WAM is ratcheting up its efforts to a national scale with the introduction of WAMCon, the first conference for college-age and older women and non-binary folks interested in working in the audio industry. It condenses their mission statement into a hefty two days, taking place on Nov. 3 and 4 in Boston.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>WAM has regular webcasts, a thriving support network on Facebook and a presence at AEX, an audio engineering conference, but with WAMCon, their mission to ameliorate the dearth of women and non-binary folks in audio is truly going national.\u003c/p>\n\u003cp>For WAM director Terri Winston, WAMCon will serve as a testing ground.\u003c/p>\n\u003cp>“It’s the first time we’re doing this,” Winston said. “And we want to see what the response is like.”\u003c/p>\n\u003cp>At the conference, WAM will feature its first slate of women in podcasting. It is a field that is a more equitable space than recorded and live music, but not by much. About a fifth of the top 100 podcasts are hosted by women, according to statistics issued at WNYC’s podcasting festival, \u003cem>Werk It\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11311001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-800x450.jpg\" alt=\"Tracy Clayton and Heben Nigatu of 'Another Round podcast'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11311001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Clayton and Heben Nigatu of ‘Another Round podcast’ \u003ccite>(Courtesy of BuzzFeed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the emergence of prominent podcasts hosted and produced by women — \u003cem>Death, Sex and Money\u003c/em>, \u003cem>Serial\u003c/em>, \u003cem>2 Dope Queens\u003c/em> and \u003cem>Another Round\u003c/em> — present the possibility for an audio space where gender plurality is the norm.\u003c/p>\n\u003cp>WAM is hosting women podcast producers for the conference’s first-day panel. It is a syndicate of women whose interests and passions are far-ranging: Chiquita Paschal, before her current stint at Gimlet’s \u003cem>Uncivil\u003c/em>, was a central member of \u003cem>Another Round\u003c/em>’s cheerfully empowering Pod Squad. WBUR’s Amory Sivertson has made tenderness a central tenet in her work by producing \u003cem>Dear Sugar\u003c/em>, and, now \u003cem>Modern Love\u003c/em>, while Cynthia Graber’s successful culinary podcast\u003cem> GastroPod\u003c/em> presents the best-case scenario for independently-created podcasts.\u003c/p>\n\u003cp>But while the uptick of well-crafted podcasts for diverse audiences have envisioned a feasible path forward for women in the industry, audio engineering and production have remained stagnant to a frustrating degree.\u003c/p>\n\u003cp>The sound engineers and producers WAM has lined up have mastered and engineered the works of legend. Susan Rogers’ fingerprints, for instance, graced Prince’s mid-‘80s run of celebrated albums, while Leanne Ungar can count a slew of greats — the Temptations, Leonard Cohen and Laurie Anderson, to cite a few — as some of her clients.\u003c/p>\n\u003cp>But the landscape for women within the boys’ club of audio engineering is unforgiving. It is a space that elbows out women, even if the stars and the visionaries who drive the music are.\u003c/p>\n\u003cp>For Kelley Coyne, an audio engineer who works for WAM as a program coordinator, this creates a troublesome feedback loop of gender-based exclusion in audio engineering. Women don’t see themselves reflected in the field, she says, and, as a result, fewer women think of it as a viable career option.\u003c/p>\n\u003cp>“Having a support network,” she says, whether on Facebook, one-day workshops, and events such as WAMCon, “makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13703769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg\" alt=\"Kelley Coyne\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13703769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That just may be the case. For Winston, gender inclusivity in audio is a process littered with bottlenecks. Even with the involvement of women behind the boards, she notes, there’s a strong likelihood that men will still be the gatekeepers of the industry.\u003c/p>\n\u003cp>On the second day of WAMCon, the coordinators flip the script for a for-women-by-women interactive recording session. The session will be bereft of men — even the in-house band, the group Lady Pills, is comprised of just women.\u003c/p>\n\u003cp>“When you have women on the production side of recording, they’re the ones who make sure that women and girls’ points of view are being represented,” Winston said.\u003c/p>\n\u003cp>Coyne agrees, noting that gender equity leads to better output. “Any time you have more diversity in the studio,” she says, “there’s gonna be more creativity and more ideas, which is really important for any industry so it doesn’t get stagnant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WAMCon is a drastic step for WAM’s expansion, and the organization plans to go further. Winston says WAM hopes to extend WAMCon beyond its two-day span if all goes well. Better yet, they may open a branch somewhere in the East Coast. If the gospel that WAM is preaching hasn’t gone national (at least, yet), then they can at least broadcast it on two coasts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Women’s Audio Mission is fighting an uphill battle.\u003c/p>\n\u003cp>The San Francisco nonprofit has made a name for itself by engaging with women and girls through audio engineering and production programming. They’ve achieved significant traction in the Bay Area, instructing upwards of 8,000 aspiring audio engineers and producers in its 14 years. There’s still a ways to go.\u003c/p>\n\u003cp>Only seven percent of members registered in the Audio Engineers Society, as of 2016, report that they are women. Only six women — total — have been nominated for their work in record production at the GRAMMYs, with little relief in sight.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>WAM is ratcheting up its efforts to a national scale with the introduction of WAMCon, the first conference for college-age and older women and non-binary folks interested in working in the audio industry. It condenses their mission statement into a hefty two days, taking place on Nov. 3 and 4 in Boston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>WAM has regular webcasts, a thriving support network on Facebook and a presence at AEX, an audio engineering conference, but with WAMCon, their mission to ameliorate the dearth of women and non-binary folks in audio is truly going national.\u003c/p>\n\u003cp>For WAM director Terri Winston, WAMCon will serve as a testing ground.\u003c/p>\n\u003cp>“It’s the first time we’re doing this,” Winston said. “And we want to see what the response is like.”\u003c/p>\n\u003cp>At the conference, WAM will feature its first slate of women in podcasting. It is a field that is a more equitable space than recorded and live music, but not by much. About a fifth of the top 100 podcasts are hosted by women, according to statistics issued at WNYC’s podcasting festival, \u003cem>Werk It\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11311001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-800x450.jpg\" alt=\"Tracy Clayton and Heben Nigatu of 'Another Round podcast'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11311001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Galentine-Podcast-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tracy Clayton and Heben Nigatu of ‘Another Round podcast’ \u003ccite>(Courtesy of BuzzFeed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the emergence of prominent podcasts hosted and produced by women — \u003cem>Death, Sex and Money\u003c/em>, \u003cem>Serial\u003c/em>, \u003cem>2 Dope Queens\u003c/em> and \u003cem>Another Round\u003c/em> — present the possibility for an audio space where gender plurality is the norm.\u003c/p>\n\u003cp>WAM is hosting women podcast producers for the conference’s first-day panel. It is a syndicate of women whose interests and passions are far-ranging: Chiquita Paschal, before her current stint at Gimlet’s \u003cem>Uncivil\u003c/em>, was a central member of \u003cem>Another Round\u003c/em>’s cheerfully empowering Pod Squad. WBUR’s Amory Sivertson has made tenderness a central tenet in her work by producing \u003cem>Dear Sugar\u003c/em>, and, now \u003cem>Modern Love\u003c/em>, while Cynthia Graber’s successful culinary podcast\u003cem> GastroPod\u003c/em> presents the best-case scenario for independently-created podcasts.\u003c/p>\n\u003cp>But while the uptick of well-crafted podcasts for diverse audiences have envisioned a feasible path forward for women in the industry, audio engineering and production have remained stagnant to a frustrating degree.\u003c/p>\n\u003cp>The sound engineers and producers WAM has lined up have mastered and engineered the works of legend. Susan Rogers’ fingerprints, for instance, graced Prince’s mid-‘80s run of celebrated albums, while Leanne Ungar can count a slew of greats — the Temptations, Leonard Cohen and Laurie Anderson, to cite a few — as some of her clients.\u003c/p>\n\u003cp>But the landscape for women within the boys’ club of audio engineering is unforgiving. It is a space that elbows out women, even if the stars and the visionaries who drive the music are.\u003c/p>\n\u003cp>For Kelley Coyne, an audio engineer who works for WAM as a program coordinator, this creates a troublesome feedback loop of gender-based exclusion in audio engineering. Women don’t see themselves reflected in the field, she says, and, as a result, fewer women think of it as a viable career option.\u003c/p>\n\u003cp>“Having a support network,” she says, whether on Facebook, one-day workshops, and events such as WAMCon, “makes it more accessible.”\u003c/p>\n\u003cfigure id=\"attachment_13703769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg\" alt=\"Kelley Coyne\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13703769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/kelley-edited-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Coyne \u003ccite>(Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That just may be the case. For Winston, gender inclusivity in audio is a process littered with bottlenecks. Even with the involvement of women behind the boards, she notes, there’s a strong likelihood that men will still be the gatekeepers of the industry.\u003c/p>\n\u003cp>On the second day of WAMCon, the coordinators flip the script for a for-women-by-women interactive recording session. The session will be bereft of men — even the in-house band, the group Lady Pills, is comprised of just women.\u003c/p>\n\u003cp>“When you have women on the production side of recording, they’re the ones who make sure that women and girls’ points of view are being represented,” Winston said.\u003c/p>\n\u003cp>Coyne agrees, noting that gender equity leads to better output. “Any time you have more diversity in the studio,” she says, “there’s gonna be more creativity and more ideas, which is really important for any industry so it doesn’t get stagnant.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>WAMCon is a drastic step for WAM’s expansion, and the organization plans to go further. Winston says WAM hopes to extend WAMCon beyond its two-day span if all goes well. Better yet, they may open a branch somewhere in the East Coast. If the gospel that WAM is preaching hasn’t gone national (at least, yet), then they can at least broadcast it on two coasts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After the Hurricane, a Puerto Rican Musician Uses her Harp to Heal",
"headTitle": "After the Hurricane, a Puerto Rican Musician Uses her Harp to Heal | KQED",
"content": "\u003cp>Gentle harmonies from her harp fill the air at Oakland’s Dimond Park as María José Montijo, or MaJo, projects her angelic voice in unison with the instrument. Her lyrics evoke images of the Oakland redwoods, her homeland of Puerto Rico, and, most recently, the hurricane that tore apart the rain forests and beaches where she grew up.\u003c/p>\n\u003cp>MaJo wrote the song “Colonia de Desastre,” which means “Disaster Colony,” after Hurricane Maria hit Puerto Rico in late September. For weeks, she anxiously waited to hear if her loved ones had survived. MaJo translated the song’s lyrics from Spanish to English with tears in her eyes, “I didn’t know anything about you for seven days / My heart started to die slowly / Nobody’s coming to save us / You’re hungry, you’re thirsty, you’re sick, and you’re dying.”\u003c/p>\n\u003cp>As a Puerto Rican woman living in diaspora, Montijo is using her music to raise money for Puerto Rican relief efforts and promote healing in people watching the devastation from afar, including herself.\u003c/p>\n\u003cp>“There’s heartbreak because there’s so much devastation and people are suffering so much right now and people are not getting the help that they need,” MaJo says. “[The hurricane] has created an impulse in the whole diaspora of coming together and helping and fundraising and getting supplies over there, because the response has been so inept and vile from the federal and local government.”\u003c/p>\n\u003cfigure id=\"attachment_13813369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813369\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9656-800x533.jpg\" alt=\"María José Montijo stands among the trees in the park near her home in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo stands among the trees in the park near her home in Oakland. \u003ccite>(Audrey Garces)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo will perform alongside other artists and healers at two upcoming events in solidarity with Puerto Rico. Berkeley’s La Peña Cultural Center will host the first one on Nov. 3, \u003ca href=\"https://www.facebook.com/events/794322800757960/?acontext=%7B%22action_history%22%3A%5B%7B%22mechanism%22%3A%22bookmarks%22%2C%22surface%22%3A%22bookmarks_menu%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%2C%7B%22surface%22%3A%22dashboard%22%2C%22mechanism%22%3A%22calendar_tab_event%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%5D%2C%22ref%22%3A46%2C%22source%22%3A2%7D\">Canto a Puerto Rico\u003c/a>, which features a multicultural art sale and benefit concert to raise funds for grassroots organizations in Puerto Rico. Local artists will perform traditional music styles like Cuban \u003cem>trova\u003c/em>, Latin American \u003cem>aguinaldo\u003c/em>, and Puerto Rican \u003cem>bomba\u003c/em>, followed by a dance party to cap off the evening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MaJo also organized a donation-based event at Shift Acupuncture in Oakland on Nov. 10 that promotes healing through music and traditional Chinese medicine. The artist works as an acupuncturist by day. As she performs her music, attendees will receive acupuncture as a way to decompress and engage in self-care. Proceeds from the event will go to several grassroots organizations, which are listed on the \u003ca href=\"https://www.facebook.com/events/839248112922474/\">Facebook event\u003c/a> page for people who can’t attend but want to contribute.\u003c/p>\n\u003cp>“The thing is with all these natural disasters and tragedies that are happening, it’s just so much for the nervous system to handle,” she says. “Even if you’re not in the experience, you’re reading the news and picking up on it, and it’s causing a lot of vicarious trauma.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/251285347″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>MaJo hopes her music will heal others, and she is continuously on a healing journey of her own. Her lyrics and rhythms continue to evolve to reflect her life experiences and spirituality. On her 2014 EP, \u003cem>Estrellas\u003c/em>, and 2016 single, “Glaciar,” you can hear Carribean rhythms along with the \u003cem>clave\u003c/em>, a rhythmic pattern used in Afro-Cuban music. Imagery of the mountains, rain forests, and rivers of MaJo’s beloved homeland fill her lyrics as she honors the island that shaped her as a musician.\u003c/p>\n\u003cp>For “every Puerto Rican child that grew up near the beach, it’s like we’re sirens in our imagination,” MaJo says. “It’s like places of power for me that I call to again and again in my music, and again and again in my life to give me strength being far away.”\u003c/p>\n\u003cp>MaJo says she’s heartbroken being over 3,000 miles away as loved ones are left without power, food, and clean water. (According to \u003ca href=\"https://www.buzzfeed.com/nidhiprakash/puerto-rico-natural-causes?utm_term=.qpv25ljMJ#.buP2kb4z1\" target=\"_blank\" rel=\"noopener\">a recent report\u003c/a>, Hurricane Maria’s death toll could be as great as 911 people.) She says she didn’t hear from some of her close friends until a month after the hurricane hit.\u003c/p>\n\u003cp>“The lack of respect and lack of acknowledgement of the dignity of Puerto Rican people has made me become more political in how I write songs,” she says. “Especially as women of color, it’s important to prioritize self-care — and play and joy and pleasure — especially when a tragedy is happening because we need to stay strong.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rxbIuTO0hD0&w=560&h=315\u003c/p>\n\u003cp>MaJo plans to begin working on a new album in the near future, but for now, she’ll continue to organize with other musicians and activists to help those back at home. Sometime in the coming months, she plans to travel to Puerto Rico and bring the healing powers of music and acupuncture to locals.\u003c/p>\n\u003cp>As she sits on her couch in Oakland, a few blocks away from Dimond Park, she finishes translating the lyrics of “Colonia de Desastre,” reciting, “New life is in union / It’s a seed that grows out from the destruction.”\u003c/p>\n\u003cp>“That’s the good thing about everything, is the possibility of building a more sustainable future,” she says. “It’s that hope of people coming together, which is not even really a hope, because it’s what is happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more information about Canto a Puerto Rico at La Peña Cultural center, click here. For more information about Music and Medicine at Shift Acupuncture, click \u003ca href=\"https://www.facebook.com/events/839248112922474/?acontext=%7B%22action_history%22%3A%5B%7B%22surface%22%3A%22dashboard%22%2C%22mechanism%22%3A%22calendar_tab_event%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%5D%2C%22source%22%3A2%7D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9630-2-800x533.jpg\" alt=\"María José Montijo plays her harp at Dimond Park in Oakland.\" width=\"0\" height=\"0\">\u003c/p>\n\n",
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"excerpt": "For Oakland singer María José Montijo, music is medicine. ",
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"title": "After the Hurricane, a Puerto Rican Musician Uses her Harp to Heal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gentle harmonies from her harp fill the air at Oakland’s Dimond Park as María José Montijo, or MaJo, projects her angelic voice in unison with the instrument. Her lyrics evoke images of the Oakland redwoods, her homeland of Puerto Rico, and, most recently, the hurricane that tore apart the rain forests and beaches where she grew up.\u003c/p>\n\u003cp>MaJo wrote the song “Colonia de Desastre,” which means “Disaster Colony,” after Hurricane Maria hit Puerto Rico in late September. For weeks, she anxiously waited to hear if her loved ones had survived. MaJo translated the song’s lyrics from Spanish to English with tears in her eyes, “I didn’t know anything about you for seven days / My heart started to die slowly / Nobody’s coming to save us / You’re hungry, you’re thirsty, you’re sick, and you’re dying.”\u003c/p>\n\u003cp>As a Puerto Rican woman living in diaspora, Montijo is using her music to raise money for Puerto Rican relief efforts and promote healing in people watching the devastation from afar, including herself.\u003c/p>\n\u003cp>“There’s heartbreak because there’s so much devastation and people are suffering so much right now and people are not getting the help that they need,” MaJo says. “[The hurricane] has created an impulse in the whole diaspora of coming together and helping and fundraising and getting supplies over there, because the response has been so inept and vile from the federal and local government.”\u003c/p>\n\u003cfigure id=\"attachment_13813369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813369\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9656-800x533.jpg\" alt=\"María José Montijo stands among the trees in the park near her home in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/IMG_9656-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">María José Montijo stands among the trees in the park near her home in Oakland. \u003ccite>(Audrey Garces)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montijo will perform alongside other artists and healers at two upcoming events in solidarity with Puerto Rico. Berkeley’s La Peña Cultural Center will host the first one on Nov. 3, \u003ca href=\"https://www.facebook.com/events/794322800757960/?acontext=%7B%22action_history%22%3A%5B%7B%22mechanism%22%3A%22bookmarks%22%2C%22surface%22%3A%22bookmarks_menu%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%2C%7B%22surface%22%3A%22dashboard%22%2C%22mechanism%22%3A%22calendar_tab_event%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%5D%2C%22ref%22%3A46%2C%22source%22%3A2%7D\">Canto a Puerto Rico\u003c/a>, which features a multicultural art sale and benefit concert to raise funds for grassroots organizations in Puerto Rico. Local artists will perform traditional music styles like Cuban \u003cem>trova\u003c/em>, Latin American \u003cem>aguinaldo\u003c/em>, and Puerto Rican \u003cem>bomba\u003c/em>, followed by a dance party to cap off the evening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MaJo also organized a donation-based event at Shift Acupuncture in Oakland on Nov. 10 that promotes healing through music and traditional Chinese medicine. The artist works as an acupuncturist by day. As she performs her music, attendees will receive acupuncture as a way to decompress and engage in self-care. Proceeds from the event will go to several grassroots organizations, which are listed on the \u003ca href=\"https://www.facebook.com/events/839248112922474/\">Facebook event\u003c/a> page for people who can’t attend but want to contribute.\u003c/p>\n\u003cp>“The thing is with all these natural disasters and tragedies that are happening, it’s just so much for the nervous system to handle,” she says. “Even if you’re not in the experience, you’re reading the news and picking up on it, and it’s causing a lot of vicarious trauma.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/251285347″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/251285347″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>MaJo hopes her music will heal others, and she is continuously on a healing journey of her own. Her lyrics and rhythms continue to evolve to reflect her life experiences and spirituality. On her 2014 EP, \u003cem>Estrellas\u003c/em>, and 2016 single, “Glaciar,” you can hear Carribean rhythms along with the \u003cem>clave\u003c/em>, a rhythmic pattern used in Afro-Cuban music. Imagery of the mountains, rain forests, and rivers of MaJo’s beloved homeland fill her lyrics as she honors the island that shaped her as a musician.\u003c/p>\n\u003cp>For “every Puerto Rican child that grew up near the beach, it’s like we’re sirens in our imagination,” MaJo says. “It’s like places of power for me that I call to again and again in my music, and again and again in my life to give me strength being far away.”\u003c/p>\n\u003cp>MaJo says she’s heartbroken being over 3,000 miles away as loved ones are left without power, food, and clean water. (According to \u003ca href=\"https://www.buzzfeed.com/nidhiprakash/puerto-rico-natural-causes?utm_term=.qpv25ljMJ#.buP2kb4z1\" target=\"_blank\" rel=\"noopener\">a recent report\u003c/a>, Hurricane Maria’s death toll could be as great as 911 people.) She says she didn’t hear from some of her close friends until a month after the hurricane hit.\u003c/p>\n\u003cp>“The lack of respect and lack of acknowledgement of the dignity of Puerto Rican people has made me become more political in how I write songs,” she says. “Especially as women of color, it’s important to prioritize self-care — and play and joy and pleasure — especially when a tragedy is happening because we need to stay strong.”\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/rxbIuTO0hD0'\n title='//www.youtube.com/embed/rxbIuTO0hD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MaJo plans to begin working on a new album in the near future, but for now, she’ll continue to organize with other musicians and activists to help those back at home. Sometime in the coming months, she plans to travel to Puerto Rico and bring the healing powers of music and acupuncture to locals.\u003c/p>\n\u003cp>As she sits on her couch in Oakland, a few blocks away from Dimond Park, she finishes translating the lyrics of “Colonia de Desastre,” reciting, “New life is in union / It’s a seed that grows out from the destruction.”\u003c/p>\n\u003cp>“That’s the good thing about everything, is the possibility of building a more sustainable future,” she says. “It’s that hope of people coming together, which is not even really a hope, because it’s what is happening.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more information about Canto a Puerto Rico at La Peña Cultural center, click here. For more information about Music and Medicine at Shift Acupuncture, click \u003ca href=\"https://www.facebook.com/events/839248112922474/?acontext=%7B%22action_history%22%3A%5B%7B%22surface%22%3A%22dashboard%22%2C%22mechanism%22%3A%22calendar_tab_event%22%2C%22extra_data%22%3A%22%5B%5D%22%7D%5D%2C%22source%22%3A2%7D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813373\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/IMG_9630-2-800x533.jpg\" alt=\"María José Montijo plays her harp at Dimond Park in Oakland.\" width=\"0\" height=\"0\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Trans Singer Encounters Mother (and Bathroom Laws) on Tour in the South",
"headTitle": "Trans Singer Encounters Mother (and Bathroom Laws) on Tour in the South | KQED",
"content": "\u003cp>Joyce Arterberry takes her seat front and center in the Civic Auditorium in Knoxville, Tennessee. She’s driven five and a half hours from Indianapolis, Indiana with her daughter Amy to see her son, Tom Kennard, perform with the San Francisco Gay Men’s Chorus on tour.\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/Kennard.mp3\u003c/p>\n\u003cp>Getting ready backstage, Tom is excited and nervous. He’s fretting about the seats he bought for Joyce and Amy. He’s one of 250 singers on the tour and wants to make sure his mom and sister get a good view of him up there under the lights. “Do you think they can they see me?” he asks anxiously. Tom’s also wondering whether his mom will like the scarf he crocheted for her as a gift. “She picked green to go with her pea coat,” he says. He plans to present it to her after the show.\u003c/p>\n\u003cp>Joyce is also excited — she’s had her hair done specially for the occasion — and, similarly, a little bit nervous: It’s been many years since she last saw her 67-year-old son sing.\u003c/p>\n\u003cfigure id=\"attachment_13813001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813001\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-800x1067.jpg\" alt=\"Amy Martinez and Joyce Arterberry traveled five and half hours by car from Indianapolis to Knoxville to hear family member Tom Kennard sing with the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Martinez and Joyce Arterberry traveled five and half hours by car from Indianapolis to Knoxville to hear family member Tom Kennard sing with the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They had a talent show in our grade school when Tom was in the first grade,” Joyce, who’s in her mid 80s, recalls of that last experience. “And he sang the hymn ‘Do Lord.’ I think that’s when he really decided he could sing in front of people.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A lot has happened between mother and son in the intervening decades.\u003c/p>\n\u003cp>One of Tom’s earliest memories is of his mom dressing him up like a porcelain doll when he was a child, before his transition. “She always had me in these frilly dresses and frilly socks,” recalls Tom. “She was very girly.”\u003c/p>\n\u003cp>He wasn’t having any of it, preferring baseball and fishing to playing with kitchen sets and dolls. “\u003cspan style=\"font-weight: 400\">I was not interested,” Tom says. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> was just kind of stereotypical boy\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>Joyce is something of a traditionalist — a churchgoer who met her husband, Bill, in high school in Indiana. They had five children together, of which Tom was the oldest. The couple was married for 67 years before Bill passed away.\u003c/p>\n\u003cfigure id=\"attachment_13813002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-800x451.jpeg\" alt=\"Tom Kennard before his transition from female to male, age 30, at a lesbian bar in Indianapolis.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777.jpeg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard and friend before his transition from female to male, age 30, at a lesbian bar in Indianapolis. \u003ccite>(Photo: Courtesy of Tom Kennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it was tough on Joyce when Tom came out as a lesbian in his 20s, and even tougher when, at age 47, he decided to take hormones and eventually undergo gender reassignment surgery. Tom sent his mom a letter to share his news when he could no longer disguise the fact that his voice was getting deeper.\u003c/p>\n\u003cp>“Honestly I was very shocked,” Joyce recalls. “\u003cspan style=\"font-weight: 400\">I just couldn’t believe it because I had brought up this beautiful girl, and \u003c/span>I had a hard time accepting it.”\u003c/p>\n\u003cp>She’s since come around.\u003c/p>\n\u003cfigure id=\"attachment_13813005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-800x451.jpg\" alt=\"Tom Kennard with his sister Amy Martinez and mom Joyce Arterberry in Knoxville, Tennessee.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard with his sister Amy Martinez and mom Joyce Arterberry in Knoxville, Tennessee. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The process took many years, during which she lost two of her children. One died of a heart attack at 54, and the other at 23, in a car accident. “I realized after awhile that I loved my child, and that I didn’t want to lose my child,” Joyce says of coming to terms with Tom’s new life as a man. “So it’s worked out. If he’s happy, then I’m happy.”\u003c/p>\n\u003cp>Making human connections is one of the reasons the San Francisco Gay Men’s Chorus chose to undertake its 40th anniversary season “Lavender Pen Tour” in October. The country’s biggest and oldest gay choir changed its international travel plans soon after the 2016 presidential election to instead visit five Southern states and undertake a series of concerts and outreach events in places where LGBTQ rights are in conflict with conservative Christian views.\u003c/p>\n\u003cfigure id=\"attachment_13810866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-800x451.jpg\" alt=\"Members of The San Francisco Gay Mens Chorus and the Oakland Interfaith Gospel Choir gather on the steps of the Mississippi State Capitol to sing.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of The San Francisco Gay Mens Chorus and the Oakland Interfaith Gospel Choir gather on the steps of the Mississippi State Capitol to sing. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such state is Mississippi, where the Religious Liberty Accommodations Act took effect a couple of days after the chorus performed in Jackson, the state capital. The controversial piece of legislation gives business owners the right to refuse service to LGBTQ people due to religious views.\u003c/p>\n\u003cp>Nevertheless, the chorus’s concerts in Jackson and other cities on the week-long tour attracted rapturous crowds.\u003c/p>\n\u003cp>There are close to a thousand people in the audience at Knoxville Civic Auditorium. The mayor of Knoxville is there, and everyone seems to be having a great time. During the chorus’s two-hour set, performed in collaboration with the Oakland Interfaith Gospel Choir and Knoxville’s own gay men’s vocal ensemble, they seem openly moved by the earnest torch songs calling for acceptance and love, and laugh expansively at the hilarious and slightly risqué comedic numbers.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1YNqoqoOi5Q?rel=0&controls=0]\u003c/p>\n\u003cp>Once the curtain goes down, Tom rushes to the lobby to find his mom and sister, who greet him with affection and delight.\u003c/p>\n\u003cp>“You were so wonderful,” Joyce says.\u003c/p>\n\u003cp>“Thanks mom,” Tom replies. “You have to get the new album.”\u003c/p>\n\u003cp>“I told Amy, I need a new needle for my little record player.”\u003c/p>\n\u003cp>Like any mother, Joyce is worried about her child’s safety. Especially since the chorus is headed to North Carolina, \u003cspan style=\"font-weight: 400\">where there’s an ongoing battle around whether trans people must use the bathroom that matches the gender on their birth certificate. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-800x450.jpg\" alt=\"Tom Kennard is one of the lower basses in the San Francisco Gay Mens Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard is one of the lower basses in the San Francisco Gay Mens Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Tom would be mistaken for a woman in the men’s restroom. He’s bald, and sings low bass in the choir. In fact, he’s brought a T-shirt with the slogan “You Can Pee Next To Me” on tour, hoping it will prompt conversations with locals about transgender rights. “We’ll see what happens,” Tom says. “Or if people even get it.”\u003c/p>\n\u003cp>Mostly though, Tom is just happy his mom got to see him sing — and relieved that she likes her new crocheted scarf.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-800x449.jpg\" alt=\"Transgender member of the San Francisco Gay Men's Chorus Tom Kennard poses in the men's bathroom at a rest stop en route from Birmingham, AL to Knoxville, TN. Kennard was one of a group of 250 singers traveling through the south on the choir's 'Lavender Pen Tour'.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106.jpg 901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The last time SF Gay Men's Chorus bass singer Tom Kennard performed for his mom was before his transition, more than 60 years ago. ",
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"description": "The last time SF Gay Men's Chorus bass singer Tom Kennard performed for his mom was before his transition, more than 60 years ago. ",
"title": "Trans Singer Encounters Mother (and Bathroom Laws) on Tour in the South | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joyce Arterberry takes her seat front and center in the Civic Auditorium in Knoxville, Tennessee. She’s driven five and a half hours from Indianapolis, Indiana with her daughter Amy to see her son, Tom Kennard, perform with the San Francisco Gay Men’s Chorus on tour.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Getting ready backstage, Tom is excited and nervous. He’s fretting about the seats he bought for Joyce and Amy. He’s one of 250 singers on the tour and wants to make sure his mom and sister get a good view of him up there under the lights. “Do you think they can they see me?” he asks anxiously. Tom’s also wondering whether his mom will like the scarf he crocheted for her as a gift. “She picked green to go with her pea coat,” he says. He plans to present it to her after the show.\u003c/p>\n\u003cp>Joyce is also excited — she’s had her hair done specially for the occasion — and, similarly, a little bit nervous: It’s been many years since she last saw her 67-year-old son sing.\u003c/p>\n\u003cfigure id=\"attachment_13813001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813001\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-800x1067.jpg\" alt=\"Amy Martinez and Joyce Arterberry traveled five and half hours by car from Indianapolis to Knoxville to hear family member Tom Kennard sing with the San Francisco Gay Men's Chorus.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Amy-and-Joyce-e1509307703516-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amy Martinez and Joyce Arterberry traveled five and half hours by car from Indianapolis to Knoxville to hear family member Tom Kennard sing with the San Francisco Gay Men’s Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They had a talent show in our grade school when Tom was in the first grade,” Joyce, who’s in her mid 80s, recalls of that last experience. “And he sang the hymn ‘Do Lord.’ I think that’s when he really decided he could sing in front of people.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lot has happened between mother and son in the intervening decades.\u003c/p>\n\u003cp>One of Tom’s earliest memories is of his mom dressing him up like a porcelain doll when he was a child, before his transition. “She always had me in these frilly dresses and frilly socks,” recalls Tom. “She was very girly.”\u003c/p>\n\u003cp>He wasn’t having any of it, preferring baseball and fishing to playing with kitchen sets and dolls. “\u003cspan style=\"font-weight: 400\">I was not interested,” Tom says. “I\u003c/span>\u003cspan style=\"font-weight: 400\"> was just kind of stereotypical boy\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>Joyce is something of a traditionalist — a churchgoer who met her husband, Bill, in high school in Indiana. They had five children together, of which Tom was the oldest. The couple was married for 67 years before Bill passed away.\u003c/p>\n\u003cfigure id=\"attachment_13813002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-800x451.jpeg\" alt=\"Tom Kennard before his transition from female to male, age 30, at a lesbian bar in Indianapolis.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-at-30-in-lesbian-bar-in-Indianapolis-e1509307944777.jpeg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard and friend before his transition from female to male, age 30, at a lesbian bar in Indianapolis. \u003ccite>(Photo: Courtesy of Tom Kennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it was tough on Joyce when Tom came out as a lesbian in his 20s, and even tougher when, at age 47, he decided to take hormones and eventually undergo gender reassignment surgery. Tom sent his mom a letter to share his news when he could no longer disguise the fact that his voice was getting deeper.\u003c/p>\n\u003cp>“Honestly I was very shocked,” Joyce recalls. “\u003cspan style=\"font-weight: 400\">I just couldn’t believe it because I had brought up this beautiful girl, and \u003c/span>I had a hard time accepting it.”\u003c/p>\n\u003cp>She’s since come around.\u003c/p>\n\u003cfigure id=\"attachment_13813005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-800x451.jpg\" alt=\"Tom Kennard with his sister Amy Martinez and mom Joyce Arterberry in Knoxville, Tennessee.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-Joyce-and-Amy-e1509308259195-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard with his sister Amy Martinez and mom Joyce Arterberry in Knoxville, Tennessee. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The process took many years, during which she lost two of her children. One died of a heart attack at 54, and the other at 23, in a car accident. “I realized after awhile that I loved my child, and that I didn’t want to lose my child,” Joyce says of coming to terms with Tom’s new life as a man. “So it’s worked out. If he’s happy, then I’m happy.”\u003c/p>\n\u003cp>Making human connections is one of the reasons the San Francisco Gay Men’s Chorus chose to undertake its 40th anniversary season “Lavender Pen Tour” in October. The country’s biggest and oldest gay choir changed its international travel plans soon after the 2016 presidential election to instead visit five Southern states and undertake a series of concerts and outreach events in places where LGBTQ rights are in conflict with conservative Christian views.\u003c/p>\n\u003cfigure id=\"attachment_13810866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-800x451.jpg\" alt=\"Members of The San Francisco Gay Mens Chorus and the Oakland Interfaith Gospel Choir gather on the steps of the Mississippi State Capitol to sing.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SFGMC-and-OIGC-in-Jackson-e1507499258297-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of The San Francisco Gay Mens Chorus and the Oakland Interfaith Gospel Choir gather on the steps of the Mississippi State Capitol to sing. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such state is Mississippi, where the Religious Liberty Accommodations Act took effect a couple of days after the chorus performed in Jackson, the state capital. The controversial piece of legislation gives business owners the right to refuse service to LGBTQ people due to religious views.\u003c/p>\n\u003cp>Nevertheless, the chorus’s concerts in Jackson and other cities on the week-long tour attracted rapturous crowds.\u003c/p>\n\u003cp>There are close to a thousand people in the audience at Knoxville Civic Auditorium. The mayor of Knoxville is there, and everyone seems to be having a great time. During the chorus’s two-hour set, performed in collaboration with the Oakland Interfaith Gospel Choir and Knoxville’s own gay men’s vocal ensemble, they seem openly moved by the earnest torch songs calling for acceptance and love, and laugh expansively at the hilarious and slightly risqué comedic numbers.\u003c/p>\n\u003cp>\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/1YNqoqoOi5Q?rel=0'\n title='//www.youtube.com/embed/1YNqoqoOi5Q?rel=0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Once the curtain goes down, Tom rushes to the lobby to find his mom and sister, who greet him with affection and delight.\u003c/p>\n\u003cp>“You were so wonderful,” Joyce says.\u003c/p>\n\u003cp>“Thanks mom,” Tom replies. “You have to get the new album.”\u003c/p>\n\u003cp>“I told Amy, I need a new needle for my little record player.”\u003c/p>\n\u003cp>Like any mother, Joyce is worried about her child’s safety. Especially since the chorus is headed to North Carolina, \u003cspan style=\"font-weight: 400\">where there’s an ongoing battle around whether trans people must use the bathroom that matches the gender on their birth certificate. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-800x450.jpg\" alt=\"Tom Kennard is one of the lower basses in the San Francisco Gay Mens Chorus.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tom-and-the-basses-e1509309263688-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Kennard is one of the lower basses in the San Francisco Gay Mens Chorus. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not that Tom would be mistaken for a woman in the men’s restroom. He’s bald, and sings low bass in the choir. In fact, he’s brought a T-shirt with the slogan “You Can Pee Next To Me” on tour, hoping it will prompt conversations with locals about transgender rights. “We’ll see what happens,” Tom says. “Or if people even get it.”\u003c/p>\n\u003cp>Mostly though, Tom is just happy his mom got to see him sing — and relieved that she likes her new crocheted scarf.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-800x449.jpg\" alt=\"Transgender member of the San Francisco Gay Men's Chorus Tom Kennard poses in the men's bathroom at a rest stop en route from Birmingham, AL to Knoxville, TN. Kennard was one of a group of 250 singers traveling through the south on the choir's 'Lavender Pen Tour'.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_7174-e1509222100106.jpg 901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Tilson Thomas: A Mahler Nut and So Much More",
"headTitle": "Michael Tilson Thomas: A Mahler Nut and So Much More | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This week, the \u003ca href=\"http://sfsymphony.org\">San Francisco Symphony\u003c/a> announced the retirement of Michael Tilson Thomas after 25 years as music director. \u003c/span>\u003c/p>\n\u003cp>Tilson Thomas is best known for his championing of the works of the Austrian composer Gustav Mahler, including a series of Grammy Award-winning recordings.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/MTTRetiringVeltman171102.mp3\" /]\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.kqed.org/.stream/anon/radio/RDnews/2017/11/MichaelTilsonThomasRetire.mp3\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This week, the \u003ca href=\"http://sfsymphony.org\">San Francisco Symphony\u003c/a> announced the retirement of Michael Tilson Thomas after 25 years as music director. \u003c/span>\u003c/p>\n\u003cp>Tilson Thomas is best known for his championing of the works of the Austrian composer Gustav Mahler, including a series of Grammy Award-winning recordings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this is just one piece of the conductor’s contributions to classical music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His championing of new music and his adventurous programming have been models for me in my career,” says Marin Alsop, m\u003c/span>\u003cspan style=\"font-weight: 400\">usic director of the \u003ca href=\"https://www.bsomusic.org/\">Baltimore Symphony Orchestra\u003c/a> and \u003ca href=\"http://www.osesp.art.br/home.aspx?Cultura=en-GB\">Sao Paulo Symphony\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His advocacy for American music and American composers is unparalleled,” says \u003ca href=\"http://www.californiasymphony.org/\">California Symphony\u003c/a> and \u003ca href=\"http://www.lvphil.org/\">Las Vegas Philharmonic\u003c/a> music director Donato Cabrera. “He was a strong advocate for the iconoclasts of the American music scene like John Adams, Lou Harrison, and Charles Ives.”\u003c/p>\n\u003cfigure id=\"attachment_13813511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813511\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg\" alt=\"California Symphony and Las Vegas Philharmonic music director Donato Cabrera worked closely with Michael Tilson Thomas as resident conductor of the San Francisco Symphony for seven seasons.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1920x1081.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Cabrera_CaliforniaSymph1_byLindsayHale-e1509597333428-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Symphony and Las Vegas Philharmonic music director Donato Cabrera. \u003ccite>(Photo: Aubrey Bergauer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cabrera worked closely with Tilson Thomas as the Symphony’s resident conductor for seven seasons. He says his boss was a brilliant mentor who shared personal stories in his dressing room with his protege.\u003c/p>\n\u003cp>“He would share a little memory of when he was working with Stravinsky, or having an evening of word games with Leonard Bernstein,” Cabrera says.\u003c/p>\n\u003cp>Silicon Valley-based composer Mason Bates also benefited from Tilson Thomas’ mentorship. Bates worked with the conductor on several high-profile world premieres, including \u003cem>Mothership\u003c/em>, a cutting edge collaboration with YouTube in 2010.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mothership - Mason Bates\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/PFh7LAFel4w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“He has an incredible ability to communicate complicated artistic ideas in the most engaging way, while not sacrificing substance at any level,” Bates says.\u003c/p>\n\u003cp>Bates says Tilson Thomas made classical music matter to people at a time when its appeal is waning, like through his \u003cem>Keeping Score\u003c/em> and \u003cem>MTT Files\u003c/em> radio projects, and his mid-concert musings to the audience.\u003c/p>\n\u003cfigure id=\"attachment_13194437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg\" alt=\"Bay Area composer Mason Bates.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/MasonBates-by-Todd-Rosenberg-53-e1494365672939-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area composer Mason Bates. \u003ccite>(Photo: Todd Rosenberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When \u003cspan style=\"font-weight: 400\">Michael speaks, what he says is interesting to everybody in the room whether it be a 30-year veteran of the San Francisco Symphony or a new audience member who’s never even walked into Davies Hall,” Bates says.\u003c/span>\u003c/p>\n\u003cp>Tilson Thomas will step down in 2020 at 75 years old. He will continue to conduct the orchestra a few weeks a year and undertake special projects for the organization.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In addition to the above mini radio feature embedded above, listen to a conversation between KQED weekend news host Jeremy Siegel and culture commentator Chloe Veltman about Tilson Thomas’ retirement:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cp>Matatu is an arts production group in Oakland, led by Michael Orange, focused on big ideas. I love their mission, which encompasses staged events, poetry readings, dance and music, all designed to enhance empathy. This festival, running Nov. 10–12, features a performance by Cuban-Jamaican poet Aja Monet, who also sings a bit. She’ll be reading from her newest collection, \u003cem>My Mother Was a Freedom Fighter.\u003c/em>\u003c/p>\n\u003cp>There’s also a discussion on the work of the late Hugo-winning science fiction writer Octavia Butler, featuring panelists Ellen Sebastian Chang and Audrey T. Williams. And Courtney Henry, a member of Alonzo King LINES Ballet, and fellow dancer Adji Cissoko lead a performance, discussion and film screening called \u003cem>Movement as Healing.\u003c/em> “We’re sort of approaching it as the body contains memory, pleasure pain, all of these things are stored within, and stored in the cells and the limbs, and the bones, and once you return to that, through movement you can actually heal it from the inside out.” We could all use some of that. \u003ca href=\"https://www.facebook.com/pg/matatufestival/events/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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