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"content": "\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243326138″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E_i_HkeqN5E\u003c/p>\n\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/243326138″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/243326138″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/E_i_HkeqN5E'\n title='//www.youtube.com/embed/E_i_HkeqN5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Blowfly, Black Music's Filthiest Legend",
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"headTitle": "Remembering Blowfly, Black Music’s Filthiest Legend | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TzHurQoBMM0\u003c/p>\n\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ut9XQBAol0\u003c/p>\n\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vh-2_kdVcyA\u003c/p>\n\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=laynlS8ngmM\u003c/p>\n\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KlnU2ZVNpU\u003c/p>\n\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8K1iTW1szfw\u003c/p>\n\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Clarence Reid was a successful Miami singer-songwriter and producer, but his raunchy alter ego influenced rappers, gave Weird Al purpose and created a unique (and uniquely profane) musical legacy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\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/TzHurQoBMM0'\n title='//www.youtube.com/embed/TzHurQoBMM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\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/8Ut9XQBAol0'\n title='//www.youtube.com/embed/8Ut9XQBAol0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\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/vh-2_kdVcyA'\n title='//www.youtube.com/embed/vh-2_kdVcyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\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/laynlS8ngmM'\n title='//www.youtube.com/embed/laynlS8ngmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\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/7KlnU2ZVNpU'\n title='//www.youtube.com/embed/7KlnU2ZVNpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\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/8K1iTW1szfw'\n title='//www.youtube.com/embed/8K1iTW1szfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nadja Salerno-Sonnenberg, described as being one of the \u003ca href=\"https://en.wikipedia.org/wiki/Nadja_Salerno-Sonnenberg\" target=\"_blank\" rel=\"noopener\">leading violinists of her generation\u003c/a>, announced Tuesday that she plans to step down from her position as musical director of San Francisco’s New Century Chamber Orchestra at the end of the 2016-2017 concert season.\u003c/p>\n\u003cp>Well-known in the classical world for her wild, electric playing, Salerno-Sonnenberg became the orchestra’s musical director back in 2008 to great fanfare. During her tenure, she founded a Featured Composer program and commissioned eight new pieces for the orchestra. She also led the orchestra on three national tours, which apparently garnered record-breaking audiences and were critically acclaimed. \u003c/p>\n\u003cfigure id=\"attachment_11259971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg\" alt=\"Nadja Salerno-Sonnenberg\" width=\"400\" height=\"600\" class=\"size-medium wp-image-11259971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Nadja-Salerno-Sonnenberg-credit-Kristin-Hoebermann.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Nadja Salerno-Sonnenberg \u003ccite>(Photo: Kristin Hoebermann)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From the very first moment I interacted with the orchestra, the chemistry was palpable. Although there were challenges ahead, we pressed forward and began a growth process that never wavered. Without a single doubt in my mind, I feel assured of a bright future for this orchestra,” she said, according to a \u003ca href=\"http://ncco.org/nss-news/\" target=\"_blank\" rel=\"noopener\">press release from the orchestra\u003c/a>.\u003c/p>\n\u003cp>Salerno-Sonnenberg’s announcement comes not long after she was appointed to lead Loyola University’s resident artist program at its school of music.\u003c/p>\n\u003cp>The orchestra’s board of directors have already formed a committee to find Salerno-Sonnenberg’s replacement and plan on using guest concertmasters until a successor has been chosen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I am an academy member and it doesn’t reflect me,” actor David Oyelowo said last night, rebuking the Academy of Motion Picture Arts and Sciences for again failing to nominate black performers.\u003c/p>\n\u003cp>Speaking at a Martin Luther King Jr. Legacy Award Gala in Los Angeles, Oyelowo asked those present to pray for the academy’s president, Cheryl Boone Isaacs, saying she needs their support.\u003c/p>\n\u003cp>“The academy has a problem,” Oyelowo said, according to \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">the Hollywood Reporter\u003c/a>. “It’s a problem that needs to be solved.”\u003c/p>\n\u003cp>He also criticized the slow pace of change in Hollywood, comparing it unfavorably with the U.S. passage of civil rights legislation 50 years ago.\u003c/p>\n\u003cp>The lack of diversity in the Oscar nominations announced Thursday quickly set off a wave of criticism. Over the weekend, filmmaker Spike Lee and actress Jada Pinkett Smith both said they won’t attend the ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Boone Isaacs, who was elected the academy’s first black president in 2013, was present for Oyelowo’s speech — she was being presented with the Rosa Parks Humanitarian Award when Oyelowo diverted from his prepared text, according to the \u003cem>Reporter\u003c/em>.\u003c/p>\n\u003cp>The academy president aired her own thoughts on diversity last night, issuing a statement via the Oscars site that reads in part:\u003c/p>\n\u003cblockquote>\n\u003cp>“While we celebrate their extraordinary achievements, I am both heartbroken and frustrated about the lack of inclusion. This is a difficult but important conversation, and it’s time for big changes. The Academy is taking dramatic steps to alter the makeup of our membership.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those steps center on recruitment, \u003ca href=\"http://www.oscars.org/news/statement-academy-president-cheryl-boone-isaacs\" target=\"_blank\" rel=\"noopener\">Boone Isaacs said\u003c/a>, noting that in the 1960s and ’70s, the organization had sought younger members “to stay vital and relevant.”\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/14/463024972/2016-oscar-nominations-are-announced\" target=\"_blank\" rel=\"noopener\">we reported Thursday\u003c/a>, “for the second year in a row, no black actor or actress was nominated for an Oscar. And unlike last year, when \u003cem>Selma\u003c/em> competed for best picture, no black faces are featured in what the academy is calling the top films of 2015.”\u003c/p>\n\u003cp>One day after the nominations were announced, Chris Rock, who’s hosting next month’s awards ceremony, tweeted, “The #Oscars. The White BET Awards.”\u003c/p>\n\u003cp>Saying via \u003ca href=\"https://www.facebook.com/jada/videos/10153983404106320/\">a video posted to Facebook\u003c/a> that she won’t be attending, Pinkett Smith said, “The academy has the right to acknowledge whomever they choose, to invite whomever they choose.” She added, “Begging for acknowledgement — or even asking — diminishes dignity. It diminishes power.”\u003c/p>\n\u003cp>Announcing his decision \u003ca href=\"https://www.instagram.com/p/BArm7C2Sqh_/\" target=\"_blank\" rel=\"noopener\">via Instagram\u003c/a>, Spike Lee said, “As I see it, the Academy Awards is not where the ‘real’ battle is. It’s in the executive office of the Hollywood studios and TV and cable networks. … People, the truth is we ain’t in those rooms and until minorities are, the Oscar nominees will remain lily-white.”\u003c/p>\n\u003cp>Lee also thanked Boone Isaacs and the academy for awarding him an honorary Oscar in November. But he said of the upcoming ceremony, “We cannot support it.”\u003c/p>\n\u003cp>Last year, Oyelowo’s portrayal of Martin Luther King Jr. in \u003cem>Selma\u003c/em> was widely expected to garner an Oscar nomination. On Monday, he said that after the snub, Boone Isaacs “invited me to her office to talk about what went wrong.”\u003c/p>\n\u003cp>He added, “For 20 opportunities to celebrate actors of color, actresses of color, to be missed last year is one thing; for that to happen again this year is unforgivable.”\u003c/p>\n\u003cp>Referring to black performers’ prominent roles in \u003cem>Star Wars: The Force Awakens\u003c/em> and other successful films, Oyelowo stated, “This institution doesn’t reflect its president and it doesn’t reflect this room. I am an academy member, and it doesn’t reflect me and it doesn’t reflect this nation.”\u003c/p>\n\u003cp>This year, Pinkett Smith’s husband, Will Smith, did not receive a nomination for his work in \u003cem>Concussion\u003c/em>. Neither did Idris Elba, despite winning acclaim for his part in \u003cem>Beasts of No Nation\u003c/em>. Both actors were nominated for Golden Globes.\u003c/p>\n\u003cp>Within the strong criticism that has met this year’s Oscar nominations, there’s also disagreement over who should have been recognized.\u003c/p>\n\u003cp>In response to Pinkett Smith’s video, actress Janet Hubert, who portrayed Will Smith’s Aunt Viv on the 1990s TV show \u003cem>Fresh Prince of Bel-Air\u003c/em>, released a video of her own in which she told the couple, “Y’all need to get over yourselves.”\u003c/p>\n\u003cp>After saying she felt Elba and others deserved recognition, Hubert addressed her former co-star:\u003c/p>\n\u003cblockquote>\n\u003cp>“I didn’t think, frankly, you deserved a Golden Globe nomination with that accent, but you got one. And just because the world doesn’t go the way you want it to go doesn’t mean that you can go out and then you start asking people to stand up and sing ‘We Shall Overcome’ for you.”\u003c/p>\n\u003c/blockquote>\n\u003cp>For his part, Elba, who, like Oyewolo, grew up in London, gave his own speech yesterday “about a lack of diversity on British television,” as \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/01/18/462657954/actor-idris-elba-to-british-politicians-more-diversity-needed-in-media\" target=\"_blank\" rel=\"noopener\">NPR’s Tanya Ballard Brown reported\u003c/a>. In it, he told members of Parliament and senior TV executives about hitting a point in his acting career when he realized he would only be seen as either a best friend or a gang leader.\u003c/p>\n\u003cp>“I knew I wasn’t going to land a lead role,” Elba said. “I knew there wasn’t enough imagination in the industry for me to be seen as a lead.”\u003c/p>\n\u003cp>In his speech Monday night, Oyelowo said performers dream of being accepted by the academy “because it is the height of excellence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He added, “I would like to walk away and say it doesn’t matter, but it does, because that acknowledgement changes the trajectory of your life, your career and the culture of the world we live in.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Academy+Has+A+Problem%2C%27+David+Oyelowo+Says+At+MLK+Event+Honoring+Academy+President&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Diversity In Hollywood: Here's What Critics Are Saying About Round 2 of #OscarSoWhite",
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"content": "\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week saw the unhappy reprise of #\u003ca href=\"https://twitter.com/hashtag/oscarssowhite?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">OscarSoWhite\u003c/a>, a Twitter hashtag that’s becoming something of an annual tradition skewering the lack of diversity in nominations for the Academy Awards. Many fans and critics are frustrated — to say the least — that all of this year’s nominees in acting categories are white, citing Michael B. Jordan’s performance in \u003cem>Creed\u003c/em> as one of a handful of expected shoe-ins for recognition.\u003c/p>\n\u003cp>Now, thousands are pledging to boycott watching the awards ceremony on television, and Jada Pinkett-Smith and Spike Lee have \u003ca href=\"http://www.bbc.com/news/world-us-canada-35348062\" target=\"_blank\" rel=\"noopener\">publicly stated\u003c/a> that they will not attend.\u003c/p>\n\u003cp>We’ve rounded up some of the most thoughtful responses to #OscarsSoWhite, shedding light on the history of race in Hollywood, how Oscars voting actually works, and how the Academy could respond to the backlash.\u003c/p>\n\u003cp>Eliza Berman of \u003cem>Time\u003c/em> \u003ca href=\"http://time.com/4180868/oscar-nominations-analysis/\" target=\"_blank\" rel=\"noopener\">says\u003c/a> actors of color seem to be receiving deserved recognition from everywhere \u003cem>but\u003c/em> the Academy:\u003c/p>\n\u003cblockquote>\n\u003cp>“If this year’s field feels like déjà vu all over again, that’s because there’s virtually no improvement to speak of. The lack of nods to actors of color — and stories about people of color — comes despite Golden Globe nominations for Idris Elba (Beasts of No Nation) and Will Smith (Concussion); despite the critical success of Beasts of No Nation, Straight Outta Compton and Creed, not to mention widespread accolades calling the latter’s director, Ryan Coogler, one of the most promising new talents in the industry.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Todd VanDerWerff at Vox delves into the \u003ca href=\"http://www.vox.com/2016/1/14/10767662/oscar-nominations-2016-so-white\" target=\"_blank\" rel=\"noopener\">context\u003c/a> of diversity within the movie industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Diversity, in short, isn’t about simply including as many nonwhite men as possible. It’s about acknowledging that white men don’t have a lock on good stories, and letting others’ stories be told as well as possible. The Oscars improve at this conversation in fits and starts with every year. This year was much better in terms of recognizing films about women than the past several years have been, for instance. But the awards still have a long way to go. And as the film industry’s most prestigious prize, simply bestowing their stamp upon a film automatically makes it more viable.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Filmmaker Spike Lee shared his \u003ca href=\"http://www.cnn.com/2016/01/18/entertainment/oscars-boycott-spike-lee-jada-pinkett-smith-feat/\" target=\"_blank\" rel=\"noopener\">views\u003c/a> on the roots of the issue, as reported by Brandon Griggs of CNN:\u003c/p>\n\u003cblockquote>\n\u003cp>“Lee said the ‘real’ battle’ over racism in Hollywood is not with the Academy Awards but in ‘the executive offices of the Hollywood studios and TV and cable networks,’ where gatekeepers decide which projects get made and which don’t.”\u003c/p>\n\u003cp>“‘People, the truth is we ain’t in those rooms, and until minorities are, the Oscar nominees will remain lily white,’ he wrote [on his Instagram].”\u003c/p>\n\u003c/blockquote>\n\u003cp>The Academy did, in fact, try to broaden its voting membership in \u003ca href=\"http://variety.com/2015/film/awards/oscar-diversity-in-new-members-1201528597/\" target=\"_blank\" rel=\"noopener\">2015\u003c/a>. Rebecca Keegan and Steven Zeitchik of the \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-all-white-oscar-acting-nominees-20160114-story.html\" target=\"_blank\" rel=\"noopener\">write\u003c/a> about the new changes that took place within the Academy. Not only did the Academy invite over 300 new members, but they also launched A2020, a new initiative designed to promote inclusion within the organization. However, Steve Pond at The Wrap \u003ca href=\"http://www.thewrap.com/academy-members-applaud-oscars-push-for-diversity/\" target=\"_blank\" rel=\"noopener\">questions\u003c/a> the feasibility of the changes:\u003c/p>\n\u003cblockquote>\n\u003cp>“[It] raises the question of whether an organization the size of the Academy can be changed significantly just through an influx of new members. Many AMPAS-watchers have suggested that any real Academy makeover would have to also include purging the voting rolls of older members who have not worked in the movie industry in years or even decades.That, however, would be a huge step that would likely anger an enormous number of members, and one that [Academy president Cheryl Boone] Isaacs’ statement does not address.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Tim Gray at \u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/biz/news/oscar-nominations-2016-diversity-white-1201674903/\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> how A2020, which was \u003ca href=\"http://www.hollywoodreporter.com/news/spike-lee-getting-a-black-840371\" target=\"_blank\" rel=\"noopener\">launched\u003c/a> in November 2015 to help the Academy and studio executives expand their thinking when hiring and mentoring new talent, might work (or not):\u003c/p>\n\u003cblockquote>\n\u003cp>For pessimists, a five-year plan is too slow. But the harsh reality is that the film industry works at a glacial pace, locking in stars, writers and directors several years in advance. So even though studios and agencies may say they want immediate change, it’s a question-mark how realistic that is; an overhaul was not evident in this year’s nominations, and it may not be apparent next year either.\u003c/p>\n\u003c/blockquote>\n\u003cp>This is an issue Academy President Cheryl Boone Isaacs, who is African-American, expressed in a \u003ca href=\"https://twitter.com/TheAcademy/status/689287654492377089\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released on Twitter on Sunday, saying she is “heartbroken and frustrated by the lack of inclusion”:\u003c/p>\n\u003cblockquote>\n\u003cp>As many of you know, we have implemented changes to diversify our membership in the last four years. But the change is not coming as fast as we would like. We need to do more, and better and more quickly . . . This isn’t unprecedented for the Academy. In the ’60s and ’70s it was about recruiting younger members to stay vital and relevant. In 2016, the mandate is inclusion in all of its facets: gender, race, ethnicity and sexual orientation. We recognize the very real concerns of our community, and I so appreciate all of you who have reached out to me in our effort to move forward together.\u003c/p>\n\u003c/blockquote>\n\u003cp>While criticism of Isaacs and the Academy abounds, David Oyelowo, who played Martin Luther King, Jr. in \u003cem>Selma\u003c/em>, \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">addressed\u003c/a> this issue in a gala honoring Isaacs, according to \u003ca href=\"http://www.refinery29.com/2016/01/101458/cheryl-boone-isaacs-oscars-2016-diversity\" target=\"_blank\" rel=\"noopener\">Refinery29\u003c/a> and \u003ca href=\"http://www.hollywoodreporter.com/news/actor-david-oyelowo-slams-academy-857045\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter.\u003c/a> (Read more about \u003ca href=\"http://ww2.kqed.org/arts/2016/01/19/academy-has-a-problem-david-oyelowo-says-at-mlk-event-honoring-academy-president/\" target=\"_blank\" rel=\"noopener\">his statements on KQED Arts\u003c/a>):\u003c/p>\n\u003cblockquote>\n\u003cp>“Oyelowo said: ‘This institution doesn’t reflect its president and it doesn’t reflect this room. I am an Academy member and it doesn’t reflect me, and it doesn’t reflect this nation.’ Still, he offered his ‘support’ for Isaacs. ‘The Academy is an institution in which they all say radical and timely change cannot happen quickly,’ Oyelowo said, per \u003cem>THR\u003c/em>. ‘It better happen quickly. The law of this country can change in a matter of months. It better come on. The Oscars is on February 28. Cheryl needs us to pray that by that date, change is going to come. We need to pray for Cheryl, we need to support Cheryl, we need to love Cheryl. We cannot afford to get bitter, we cannot afford to get negative. But we must make our voice heard.'”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Diversity+In+Hollywood%3A+Here%27s+What+Critics+Are+Saying+About+Round+2+Of+%23OscarSoWhite&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Rova Saxophone Quartet Ascends With 'Rova Channeling Coltrane'",
"title": "Rova Saxophone Quartet Ascends With 'Rova Channeling Coltrane'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/242187183\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\n\u003cp>https://vimeo.com/78500784\u003c/p>\n\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/242187183&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/242187183'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Idris Elba is expected to make a speech about a lack of diversity on British television before members of Parliament and senior TV executives on Monday, \u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">according to \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/culture/2016/jan/17/idris-elba-black-actors-lack-of-diversity-uk-television\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Elba gained popularity after his breakout role as Stringer Bell on HBO’s \u003cem>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/01/06/375147386/rewatching-the-wire-classic-crime-drama-seems-written-for-today\" target=\"_blank\" rel=\"noopener\">The Wire\u003c/a>, \u003c/em>won a Golden Globe award for his lead role on the \u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">BBC series \u003c/a>\u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Luther_(TV_series)\" target=\"_blank\" rel=\"noopener\">Luther\u003c/a> \u003c/em>and is a current Screen Actor’s Guild Award nominee for his stint as Commandant in \u003cem>\u003ca href=\"http://www.npr.org/2015/10/16/448718006/in-the-midst-of-war-a-boy-becomes-a-soldier-in-beasts-of-no-nation\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The London native is expected to point to his own experience having to move to the U.S. to land roles before being able to get a lead role in his home country, according to \u003cem>The Guardian\u003c/em>, which has excerpts of his speech.\u003c/p>\n\u003cblockquote>\n\u003cp>“I knew I wasn’t going to land a lead role. I knew there wasn’t enough imagination in the industry for me to be seen as a lead. In other words, if I wanted to star in a British drama like \u003cem>Luther\u003c/em>, then I’d have to go to a country like America. And the other thing was, because I never saw myself on TV, I stopped watching TV. Instead I decided to just go out and become TV.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba will tell the audience that without going to the U.S., he would have remained the “best friend” and “cop sidekick,” adding:\u003c/p>\n\u003cblockquote>\n\u003cp>“But when you don’t reflect the real world, too much talent gets trashed. Thrown on the scrapheap. Talent is everywhere, opportunity isn’t. And talent can’t reach opportunity.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Elba is not the first British actor of color to make these observations, late last year David Oyelowo, who starred as \u003ca href=\"http://www.npr.org/2015/05/28/409718943/david-oyelowo-on-acting-his-royal-roots-and-the-one-role-he-wont-take\" target=\"_blank\" rel=\"noopener\">Martin Luther King Jr. in \u003cem>Selma\u003c/em>\u003c/a>, \u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">told \u003c/a>\u003cem>\u003ca href=\"http://www.theguardian.com/film/2015/sep/28/roles-uk-black-minority-ethnic-actors-worse-than-ever-claims-david-oyelowo\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> \u003c/em>he also felt “pushed out of the U.K. because of the glass ceiling” that prevented actors of color from landing lead roles in his home country.\u003c/p>\n\u003cblockquote>\n\u003cp>“I could see that actors, my peers, those who had a similar trajectory to me were going on to do movies, to play leads. I started to feel I was going to go round in circles. Nice TV, back to the theatre, nice TV … but I wasn’t going to be James McAvoy, I wasn’t going to be Benedict Cumberbatch.’\u003c/p>\n\u003c/blockquote>\n\u003cp>Sophie Okonedo, who snagged a best supporting actress Oscar nomination for \u003cem>Hotel Rwanda\u003c/em> in 2004, and won a Tony award for \u003cem>A Raisin in the Sun\u003c/em>, \u003ca href=\"http://www.theguardian.com/film/2014/jul/04/sophie-okonedo-interview\" target=\"_blank\" rel=\"noopener\">told the publication\u003c/a> in 2014 she was “still struggling [in the U.K.] in a way that my white counterparts at the same level wouldn’t have quite the same struggle. People who started with me would have their own series by now, and I’m still fighting to get the second lead or whatever. I think I’m at a certain level and have a good range, so why isn’t my inbox of English scripts busting at the seams in the same way as my American one is? There’s something amiss there.” \u003cem>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Actor+Idris+Elba+To+British+Politicians%3A+More+Diversity+Needed+In+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Preserving Gold Rush-era Heritage Trees With Amigo Bob Cantisano",
"title": "Preserving Gold Rush-era Heritage Trees With Amigo Bob Cantisano",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q83NqwtdBZk\u003c/p>\n\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>[contextly_sidebar id=\"DGCEY4EzC6GzmxM7Gj8v8wwK5IQ2tSyb\"]\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\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/q83NqwtdBZk'\n title='//www.youtube.com/embed/q83NqwtdBZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lost Weekend Video, one of \u003ca href=\"http://ww2.kqed.org/arts/2014/08/06/can-san-franciscos-video-stores-be-saved/\" target=\"_blank\" rel=\"noopener\">three remaining video rental stores in San Francisco\u003c/a>, is planning on moving later this year after almost 20 years of operating on Valencia Street in San Francisco’s Mission District.\u003c/p>\n\u003cp>The video store has been talking with Texas-based Alamo Drafthouse since late last year about moving into the lobby of their San Francisco theater on Mission St, according to Lost Weekend owner David Hawkins. \u003c/p>\n\u003cp>“They’re giving us very good terms,” Hawkins said, adding that the deal was still in the works and that nothing was definite as of Friday. \u003c/p>\n\u003cp>Rents have risen annually since Lost Weekend moved into the store’s current location at 1034 Valencia St. 19 years ago and it’s been losing revenue since the 2008 recession, Hawkins said. Last year, the store made some big moves to stay open, including starting an \u003ca href=\"https://www.indiegogo.com/projects/save-lost-weekend-video#/\" target=\"_blank\" rel=\"noopener\">online crowdfunding campaign\u003c/a> that raised just under $30,000, and having the \u003ca href=\"http://ww2.kqed.org/arts/2015/03/17/lost-weekend-video-1-2-3-4-go-records-to-partner-up/\" target=\"_blank\" rel=\"noopener\">Oakland record store 1-2-3-4 Go! open a satellite shop\u003c/a> in the front of the video store’s space. \u003c/p>\n\u003cp>Though the record shop brought in more foot traffic and the closing of \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">Le Video back in November\u003c/a> helped Lost Weekend pick up more customers, Hawkins said they have yet to see the increase in revenue needed to justify renting their current location. \u003c/p>\n\u003cfigure id=\"attachment_10479831\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/LostWeekend-800x450.jpg\" alt=\"Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland's 1-2-3-4 Go! Records. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-10479831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/LostWeekend-320x180.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Lost Weekend Video, when it was set to relaunch in partnership with Oakland’s 1-2-3-4 Go! Records. \u003ccite>(Photo: Lost Weekend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Nothing is definite yet, but we are probably going to be vacating this space some time in the spring,” Hawkins said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for the comedy shows that are hosted in the video store’s basement, which include the weekly showcase Cynic Cave, Hawkins says he hopes to have them still occur wherever Lost Weekend ends up. Nato Green, one of the comedians who organizes Cynic Cave, said they plan to have a big blowout show on March 5. \u003c/p>\n\u003cp>For 1-2-3-4 Go!, store owner Steve Stevenson said Friday that he’s working out a deal to move the satellite shop into a retail space next door, replacing the clothing shop Dema, which is \u003ca href=\"http://bernalwood.com/2016/01/08/beloved-bernal-owned-dema-clothing-store-closing-this-month/\" target=\"_blank\" rel=\"noopener\">closing at the end of this month\u003c/a>. Stevenson plans to open the new store by March 5.\u003c/p>\n\u003cp>“It’s just sort of my luck,” said Stevenson, who opened the original 1-2-3-4 Go! in a small retail space in Oakland back in 2008. “Right when I needed a new space, one opened up.”\u003c/p>\n\u003cp>Stevenson’s business has been growing since his store first opened, thanks to the “vinyl craze” that has spread globally. Not only did he have to move into a larger space in Oakland just after a few years, the first year of the San Francisco shop’s existence was also successful, he says. The new San Francisco store will still be “well-curated,” but will also include expanded CD and cassette sections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Storytelling is an essential aspect of human consciousness. Without it we’d find ourselves trapped in the infinite daze of animal survival. With each new story, we evolve, often imperfectly, but sometimes with great hope.\u003c/p>\n\u003cp>This feeling of evolution is at the heart of \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr.\u003c/a>, \u003c/em>a long-running annual event created in honor of King’s birthday by the Bay Area-based, national youth slam poetry organization Youth Speaks. This year’s program takes place on Monday, Jan. 18 at the Norse Auditorium in San Francisco. And though there will be the outward trappings of a party—music, dancing, and a real desire to applaud King’s work and legacy—the young people of Youth Speaks are interested in something more than homage. They are after nothing less than an accounting of the tense, fractured society around them and us. It’s the type of direct political heat you rarely feel on our professional stages, or in the dry lines of contemporary poetry.\u003c/p>\n\u003cp>If you go to \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">Bringing the Noise for Dr. Martin Luther King Jr. \u003c/a>—\u003c/em> and you should — you won’t be lectured at. The spoken word format has synthesized a strange but potent amalgamation of theater, poetry, and essay. It’s a demanding art form. When a master of it takes the stage, such as the New York rapper and poet Saul Williams, there’s a demonic energy, both in what the artist says and in his performance of it. You feel the same spirit in the Youth Speaks kids.\u003c/p>\n\u003cp>They aren’t being taught to be good and obedient performers, but rather to take on the complex role of the storyteller, which requires skill, commitment, and daring. This is citizenship as art, and we need citizens capable of unleashing social and political ideals that many of us would rather just keep quiet. So the evening is aptly named because these young people are taking the noise that surrounds us everyday, catching it, and shaping it into stories.\u003c/p>\n\u003cp>While attending a dress rehearsal for Monday’s event, I was continually taken aback by the philosophical and emotional depth of the program. The focus of the evening comes from a 1957 \u003cem>Ebony\u003c/em> magazine interview with King in which he makes a political connection between love and power: “I am convinced that love is the most durable power in the world. It is not an expression of impractical idealism, but of practical realism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We often associate directness with a lack of subtlety, but here directness leads to a nerve jangling clarity, as King might approve. Tammy Vaitai, an alum of Youth Speaks’ “\u003ca href=\"http://youthspeaks.org/bravenewvoices/\" target=\"_blank\" rel=\"noopener\">Brave New Voices\u003c/a>” program, will perform a piece about Kenneth Young, a boy forced into committing armed robberies by his mother’s drug dealer. At the age of 14, Young was sentenced to three consecutive life terms. Vaitai’s piece foregrounds Young’s crimes and catches how we might see him as irredeemably criminal. Then, taking on Young’s voice, she shows how that’s impossible; that Young couldn’t possibly be the danger the justice system claims him to be.\u003c/p>\n\u003cfigure id=\"attachment_11240791\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240791 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-800x420.jpg\" alt=\"YouthSpeaksTammy Vaitai_16X9\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-400x210.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/YouthSpeaksTammy-Vaitai_16X9-768x403.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tammy Vaitai performs at last year’s ‘Bringing the Noise for Dr. Martin Luther King Jr.’ (Photo: Courtesy of Youth Speaks.)\u003c/figcaption>\u003c/figure>\n\u003cp>Vaitai’s writing is sharp and shifty. It takes on King’s belief that love is “a durable power” and shows what happens when there is no love present. She forces us to ask what’s worse: a 14-year-old committing a series of armed robberies to protect his mother, or a society that finds Young’s unwitting criminality so wounding that it will take three of his lives to gain its forgiveness. Youth Speaks sets free what is so clear in Vaitai’s piece—the ability to look, then look again, and then tell a story.\u003c/p>\n\u003cp>Throughout 20th century modernism there was a rejection of the simple story. Art became fractured, opaque, a puzzle to be deciphered. To understand it you had to develop a monkish predilection for arcane modes of interpretation. Only those with special educations truly understood what was happening and it was somehow a betrayal to speak and write in clear, concise language. What a loss to art and sense that was.\u003c/p>\n\u003cp>Yet here we are in the beginning of the 21st century and the 19th year Youth Speaks has produced \u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003cem>Jr\u003c/em>. You will see the organization’s good work all over the stage, such as emcee and Brave New Voices alum Trey Amos’ trenchant commentary to a vibrant group of young people attempting to come to grips with King’s legacy. There will be lots of stories, sharp insights, and sizzling anger. There will also be the deep hope that if love and power can be brought together, we might one day hear a whole new set of stories.\u003c/p>\n\u003cp>This likely evolution will doubtless stem from one of the most inspiring and shocking aspects of the Youth Speaks philosophy — namely, how much the organization believes in and demands of the young. There’s a tendency in liberal thought to believe that real thinking is a product of age and advanced degrees, and especially from prestigious institutions. It’s as if we have summarily decided that the young, and especially youth from disadvantaged backgrounds, have no capacity for complex political thought.\u003c/p>\n\u003cp>Instead, we imagine them as the objects of political concern—what is to be done with them? What’s wrong with them? And why aren’t they acquiescing to our needs? Youth Speaks short circuits that narrative and urges its students to be alert to, engage with, and judge what they see around them. Even when what the students say is harsh and disparaging, it’s clear that the program never flinches. This is what thinking is. This is the beginning of a vital politics.\u003c/p>\n\u003cfigure id=\"attachment_11240895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11240895 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg\" alt=\"Poster Art: Courtesy Youth Speaks.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MLK_POSTER_2016_cropped.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster Art: Courtesy Youth Speaks.\u003c/figcaption>\u003c/figure>\n\u003cp>Youth Speaks’ \u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bringing the Noise for Dr. Martin Luther King\u003c/em> \u003c/a>plays for one night at the Nourse Theater, 275 Hayes on Monday, Jan. 18, 2016 at 7 pm.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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