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"content": "\u003cp>Ever want to go somewhere, but not somewhere \u003cem>too far\u003c/em> from a BART station?\u003c/p>\n\u003cp>OK, let's put it another way. Ever want to \u003cem>not\u003c/em> subject yourself to the vicissitudes of an additional transit agency for those last few miles or so, after already schlepping on BART?\u003c/p>\n\u003cp>Then have we got a site for you! It's BART's new \u003ca href=\"http://www.bart.gov/bartable\" target=\"_blank\">BARTable\u003c/a>, launched Wednesday.\u003c/p>\n\u003cp>According to Bay City News, the site ...\u003c/p>\n\u003cblockquote>\n\u003cp>...will serve as a one-stop shop for events and destinations close to a station, offering discounts and giveaways in a few clicks. The website will be updated daily to show destinations in San Francisco, the East Bay and northern Peninsula that can be reached by BART.\u003c/p>\n\u003cp>The site utilizes information from business review website Yelp to show places a half-mile away from a specified station once a user enters a search term for what they're looking for, such as \"picnic spots\" or \"museums.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>[contextly_sidebar id=\"l1IuU6qgmxyBZ8kToz6DpZon8svQpHSM\"]\u003c/p>\n\u003cp>Partners include event websites FunCheapSF and Goldstar, which will offer event discounts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can check out the \u003ca href=\"http://bartable.bart.gov/events\" target=\"_blank\">calendar of upcoming BARTable events\u003c/a> here. A pulldown menu lets you specify which BART stops you'd like to stick close to, though come to think of it, that may not be the best way to plan an unforgettable evening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, check it out ...\u003c/p>\n\n",
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"content": "\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Photographer's Quest: Japanese-American Internment Then and Now",
"title": "A Photographer's Quest: Japanese-American Internment Then and Now",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Weeks Later, Fatal Fire in West Oakland Still Hurts",
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"content": "\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/199158709\" 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>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 5, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\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/199158709&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/199158709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Yesterday, New York-based Bloomberg Philanthropies \u003ca href=\"http://www.bloomberg.org/program/arts/arts-innovation-management/\" target=\"_blank\" rel=\"noopener\">announced a plan\u003c/a> to invest $30 million in nearly 300 small- and mid-sized arts organizations across six cities nationwide. San Francisco, along with Boston, Chicago, Dallas, Detroit and Los Angeles, is a lucky recipient of the nonprofit’s Arts Innovation and Management (AIM) program. Successful recipients (applications are accepted by invitation only) will receive unrestricted general operating support, along with a medley of training workshops for the growth and well-being of the organization.\u003c/p>\n\u003cp>Why is this big news? As funding opportunities from both government and the private sector decrease, arts nonprofits find themselves strapped for cash, struggling to cobble together their operating budgets from individual donors. This kind of fundraising is labor-intensive and often fruitless, reliant on personal relationships that can take years to develop.\u003c/p>\n\u003cp>The few grants that remain available to arts organizations are often restricted — earmarked for a specific program, project or time frame. Bloomberg Philanthropies’ promise of “unrestricted general operating support” means the PG&E bill gets paid, the copy machine has toner and all the tiny details that make a nonprofit functional are covered. Recipients can use the funds “to address their greatest needs.”\u003c/p>\n\u003cp>In tandem with the grant money, the AIM initiative provides fundraising, audience development and board engagement training over the course of two years. The program piloted in New York City, supporting 245 organizations from 2011 to 2013. According to Bloomberg Philanthropies’ reports, it was a smashing success — successful enough to spawn this scaled-up cross-country version.\u003c/p>\n\u003cp>Grantees won’t be named until June 2015, but the mere acknowledgment of need and pledge of support from Bloomberg Philanthropies has those invited to apply in a veritable tizzy. The creation of a new arts funding source, as rare as a warm summer day in San Francisco, is big news indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday, New York-based Bloomberg Philanthropies \u003ca href=\"http://www.bloomberg.org/program/arts/arts-innovation-management/\" target=\"_blank\" rel=\"noopener\">announced a plan\u003c/a> to invest $30 million in nearly 300 small- and mid-sized arts organizations across six cities nationwide. San Francisco, along with Boston, Chicago, Dallas, Detroit and Los Angeles, is a lucky recipient of the nonprofit’s Arts Innovation and Management (AIM) program. Successful recipients (applications are accepted by invitation only) will receive unrestricted general operating support, along with a medley of training workshops for the growth and well-being of the organization.\u003c/p>\n\u003cp>Why is this big news? As funding opportunities from both government and the private sector decrease, arts nonprofits find themselves strapped for cash, struggling to cobble together their operating budgets from individual donors. This kind of fundraising is labor-intensive and often fruitless, reliant on personal relationships that can take years to develop.\u003c/p>\n\u003cp>The few grants that remain available to arts organizations are often restricted — earmarked for a specific program, project or time frame. Bloomberg Philanthropies’ promise of “unrestricted general operating support” means the PG&E bill gets paid, the copy machine has toner and all the tiny details that make a nonprofit functional are covered. Recipients can use the funds “to address their greatest needs.”\u003c/p>\n\u003cp>In tandem with the grant money, the AIM initiative provides fundraising, audience development and board engagement training over the course of two years. The program piloted in New York City, supporting 245 organizations from 2011 to 2013. According to Bloomberg Philanthropies’ reports, it was a smashing success — successful enough to spawn this scaled-up cross-country version.\u003c/p>\n\u003cp>Grantees won’t be named until June 2015, but the mere acknowledgment of need and pledge of support from Bloomberg Philanthropies has those invited to apply in a veritable tizzy. The creation of a new arts funding source, as rare as a warm summer day in San Francisco, is big news indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco’s Fillmore district was once a vibrant African American community, known as “the Harlem of the West.” But in recent decades the Fillmore — like San Francisco as a whole — has witnessed a startling black exodus. A group of artists known as the 3.9 Art Collective are responding with work that both reminds us of San Francisco’s more diverse past and expresses their resistance to present trends. Their name comes from the percentage of African Americans that some predict will remain in the city by the time the next census takes place, in 2020.\u003c/p>\n\u003cp>The 3.9 Collective’s exhibition,\u003cem> Hiraeth: the 3.9 Collective Searches for Home\u003c/em> at the University of San Francisco’s Thacher Gallery, runs until April 21, 2015. The Welsh word \u003cem>Hiraeth\u003c/em> roughly translates to a longing for a far-off home — one that may not even exist or has been changed by time or idealized by memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s Fillmore district was once a vibrant African American community, known as “the Harlem of the West.” But in recent decades the Fillmore — like San Francisco as a whole — has witnessed a startling black exodus. A group of artists known as the 3.9 Art Collective are responding with work that both reminds us of San Francisco’s more diverse past and expresses their resistance to present trends. Their name comes from the percentage of African Americans that some predict will remain in the city by the time the next census takes place, in 2020.\u003c/p>\n\u003cp>The 3.9 Collective’s exhibition,\u003cem> Hiraeth: the 3.9 Collective Searches for Home\u003c/em> at the University of San Francisco’s Thacher Gallery, runs until April 21, 2015. The Welsh word \u003cem>Hiraeth\u003c/em> roughly translates to a longing for a far-off home — one that may not even exist or has been changed by time or idealized by memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘The Demo’\u003c/h2>\n\u003cdiv class=\"event-desc\">Re-imagining of prescient internet lecture.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 1–2, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Bing Concert Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-demo/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s been called the “\u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">mother of all demos\u003c/a>.”\u003c/p>\n\u003cp>In the fall of 1968, computer scientist\u003ca href=\"http://en.wikipedia.org/wiki/Douglas_Engelbart\" target=\"_blank\" rel=\"noopener\"> Douglas Englebart\u003c/a> demonstrated the first \u003ca href=\"http://www.computerhistory.org/revolution/input-output/14/350\" target=\"_blank\" rel=\"noopener\">computer mouse\u003c/a>, the first video conferencing, the first use of \u003ca href=\"http://www.computerhistory.org/revolution/the-web/20/373\" target=\"_blank\" rel=\"noopener\">hypertext\u003c/a> and other advanced features before a conference of computer scientists gathered in San Francisco.\u003c/p>\n\u003cp>Now Englebart’s way-before-Powerpoint-presentation is the subject of a multimedia musical, \u003cem>The Demo\u003c/em>, getting a world premiere at \u003ca href=\"https://live.stanford.edu/calendar/april-2015/demo\" target=\"_blank\" rel=\"noopener\">Stanford’s Bing Concert Hall\u003c/a> Wednesday and Thursday.\u003c/p>\n\u003cp>Composers \u003ca href=\"http://mikelrouse.com/new/\" target=\"_blank\" rel=\"noopener\">Mikel Rouse\u003c/a> and \u003ca href=\"http://www.benneill.com/\" target=\"_blank\" rel=\"noopener\">Ben Neill\u003c/a> built their piece around video samples from \u003ca href=\"http://www.dougengelbart.org/firsts/dougs-1968-demo.html\" target=\"_blank\" rel=\"noopener\">Englebart’s original presentation\u003c/a>, scoring Englebart’s words for keyboards, electronic samples, a special trumpet, chorus and video screen.\u003c/p>\n\u003cp>The chorus (made up of local singers) comes in to echo Englebart’s own voice as he shows, via video of the 1968 presentation, an early form of word processing.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It changed the world in the way computers were used,’\u003ccite>Bill English,\u003cbr>\nDouglas Englebart’s Chief Engineer\u003c/cite>\u003c/aside>\n\u003cp>“And so he just starts typing the word ‘word,’” Rouse said. “‘Word, word, word, word, word.’ So that the singers, as they come in, sing ‘Word, word, word, word.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his description, Rouse’s voice goes up the scale to give a sense of how musical the word “word” can be.\u003c/p>\n\u003cp>That’s right, a song about the invention of word processing.\u003c/p>\n\u003cp>The subject isn’t much of a stretch for Rouse and Neill, who’ve known each other for 25 years. Both do avant-garde music and performance pieces, sometimes associated with the Downtown scene in New York City.\u003c/p>\n\u003cp>Rouse plays Englebart in the show, as well as keyboards and computer samples. Neill plays his “mutantrumpet,” a device of his own invention with two bells and a trumpet slide.\u003c/p>\n\u003cfigure id=\"attachment_10521398\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521398\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg\" alt=\"Bill English, Engelbart's lead engineer, testing the first mouse.\" width=\"400\" height=\"314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-400x314.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-764x600.jpg 764w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish-320x251.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/WilliamEnglish.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bill English, Engelbart’s lead engineer, testing the first mouse. \u003ccite>(Courtesy of Stanford/SRI International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But to understand why \u003cem>The Demo\u003c/em> matters, it helps to know more about Englebart’s work. The computer science pioneer died in 2013.\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Bill_English_%28computer_engineer%29\" target=\"_blank\" rel=\"noopener\">Bill English\u003c/a> worked as Englebart’s chief engineer.\u003c/p>\n\u003cp>“It changed the world in the way computers were used,” English said recently, sitting with his wife Roberta, Englebart’s former secretary, at the Sausalito Yacht Club.\u003c/p>\n\u003cp>“He was thinking of how computers really might — on a more intimate scale — support people in what they wanted to do,” English said.\u003c/p>\n\u003cp>They all worked at SRI, the Stanford Research Institute in Menlo Park, as part of a group Englebart founded called the Augmentation Research Center. Its goal: developing ways to help people collaborate via computer, so as to raise human intelligence.\u003c/p>\n\u003cp>That didn’t work out as well as Englebart hoped. But at SRI, Englebart invented and patented the first computer mouse, and English built it.\u003c/p>\n\u003cp>“The first one was a box,” English said, “with a wire that comes out the back, and we said ‘It looks like a mouse. Look, it’s got a tail.’ And that was it.”\u003c/p>\n\u003cp>It’s hard to remember now how radical Englebart’s ideas were at the time. It wasn’t until 1984, 16 years later, that Apple’s first Macintosh tapped the mouse for widespread use.\u003c/p>\n\u003cp>But in 1968, Englebart got the chance to demonstrate his ideas to a wider audience when he was asked to present a paper on his work at the Fall Joint Computer Conference held in Brooks Hall in San Francisco.\u003c/p>\n\u003cp>“And I remember talking with Doug about this,” English recalled. “I said, ‘We ought to show it.’”\u003c/p>\n\u003cp>Exactly how to do that was the question, when Englebart had to be at one of the custom-built workstations in Menlo Park hooked up to one the team’s huge Control Data Corporation mainframes.\u003c/p>\n\u003cfigure id=\"attachment_10521399\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10521399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg\" alt=\"Mikel Rouse as Douglas Engelbart in 'The Demo.'\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-400x599.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-401x600.jpg 401w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-788x1180.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro-320x479.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/DEMO_4115byValerieOliveiro.jpg 1402w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikel Rouse as Douglas Engelbart in ‘The Demo.’ \u003ccite>(Courtesy of Stanford/Valerie Oliveiro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so English, working with Pacific Bell, figured out how to beam live video coverage of the demo to the conference via microwave trucks parked up on Skyline Boulevard, on the Peninsula.\u003c/p>\n\u003cp>“There was clearly no rehearsal,” English said. “We just did it.”\u003c/p>\n\u003cp>During the 90-minute demonstration, Englebart essentially modeled the way we use computers today. He showed how, with the right interface, a computer could be a personal tool for creating something as mundane as a shopping list, linked to a map. That was a revolution of user friendliness at the time. It’s that human touch that Mikel Rouse and Ben Neill are hoping to honor.\u003c/p>\n\u003cp>“So many things could go wrong with the video or whatever,” Rouse said of the 1968 presentation, “and even when little things do go wrong, he is completely nonplussed. He’s like a Buddha up there.”\u003c/p>\n\u003cp>Englebart had also hoped that the techniques he pioneered for computer collaboration would help end war and disease. That hasn’t happened — not yet, at least — but with \u003cem>The Demo\u003c/em>, Rouse wants the audience to think about the unexpected consequences of Englebart’s work.\u003c/p>\n\u003cp>“How do you feel about the NSA spying on you?” Rouse said. “How do you feel about Facebook? How do you feel about Englebart’s idea that we bring more people together, [while] in fact, for a lot of people this technology has left them even lonelier?”\u003c/p>\n\u003cp>When Englebart did his demo, he was “dealing lightning with both hands,” according to one young computer designer in the crowd. He did it with a keypad in one hand, a mouse in the other.\u003c/p>\n\u003cp>Mikel Rouse and Ben Neill can only hope their musical’s premiere is as well-received as Englebart’s original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They were very quiet, of course, during it,” English said, running the video mixer for the 1968 demo. “When he had finished and thanked them and shut down the screen, we were astounded. Everyone in the audience stood up and applauded. That was just amazing to all of us. And we figured, we really did something, didn’t we?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marking a Genocide’s Anniversary by Celebrating Armenian Composers",
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"content": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old \u003ca href=\"http://ww2.kqed.org/news/2015/03/30/marking-the-armenian-genocide-anniversary\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/03/30/marking-the-armenian-genocide-anniversary\" target=\"_self\" title=\"Marking a Genocide’s Anniversary by Celebrating Armenian Composers\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it's pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It's the kind of thing that would rattle any program director, let alone a 21-year-old \u003ca href=\"http://ww2.kqed.org/news/2015/03/30/marking-the-armenian-genocide-anniversary\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old \u003ca href=\"http://ww2.kqed.org/news/2015/03/30/marking-the-armenian-genocide-anniversary\" target=\"_self\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2015/03/30/marking-the-armenian-genocide-anniversary\" target=\"_self\" title=\"Marking a Genocide’s Anniversary by Celebrating Armenian Composers\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Two Bay Area Jazz Groups Make Monk Their Muse on New Releases",
"title": "Two Bay Area Jazz Groups Make Monk Their Muse on New Releases",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://www.nytimes.com/2015/03/02/arts/music/orrin-keepnews-jazz-producer-and-record-executive-is-dead-at-91.html?_r=0\" target=\"_blank\">Orrin Keepnews\u003c/a>, the legendary jazz producer who died last month just shy of his 92\u003csup>nd\u003c/sup> birthday, often used to describe \u003ca href=\"http://monkinstitute.org/about-us/thelonious-monk/\" target=\"_blank\">Thelonious Monk\u003c/a> as a sort of guru. Keepnews, who spent the second half of his life in the Bay Area, didn’t mean this in any mystical sense.\u003c/p>\n\u003cp>As a studio novice in the mid-1950s, he jump-started Monk’s stalled career with a series of classic albums for his label \u003ca href=\"http://www.concordmusicgroup.com/labels/riverside/\" target=\"_blank\">Riverside\u003c/a>, and on those early recording sessions Keepnews said that contending with Monk’s trickster nature provided an invaluable education in the studio.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036677\" 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>Monk’s ingenious compositions have long served a similar function for musicians, like \u003ca href=\"http://www.evandermusic.com/artist_detail.asp?artist_id=236\" target=\"_blank\">The Lost Trio\u003c/a>, a collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans, and drummer Tom Hassett. Over the past two decades, they’re turned songs from a vast array of artists into vehicles for gruff improvisation, from \u003ca href=\"http://www.beck.com/index.php/homepage\" target=\"_blank\">Beck\u003c/a> and \u003ca href=\"http://hankwilliams.com/\" target=\"_blank\">Hank Williams\u003c/a> to \u003ca href=\"http://www.pjharvey.net/\" target=\"_blank\">PJ Harvey\u003c/a> and \u003ca href=\"http://www.juanamolina.com/\" target=\"_blank\">Juana Molina\u003c/a>. Every Lost Trio album has included a tune by Monk, and the band’s latest release \"MonkWork\" (Evander Music) is dedicated exclusive to his knotty, off-balance tunes.\u003c/p>\n\u003cfigure id=\"attachment_10468446\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork.jpg\">\u003cimg class=\"size-medium wp-image-10468446\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork-800x728.jpg\" alt=\"The Lost Trio's "MonkWork" release.\" width=\"800\" height=\"728\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1440x1310.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-320x291.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Lost Trio's \"MonkWork\" release.\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes The Lost Trio tackles Monk straight, like a loping midtempo jaunt through “Blues Five Spot” and a slalom over the rarely tackled “Work,” a coruscating melody that Monk recorded only once. But they’ve found a fresh approach by constructing a series of medleys, each linking three tunes together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their canny choices create a canny inter-Monk dialogue, like when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.”\u003c/p>\n\u003cp>The absence of a piano gives the music a transparent quality, offering a fascinating glimpse at the architecture of Monk’s rhythms and melodies. If The Lost Trio strips Monk down to the studs, Spanish-born pianist \u003ca href=\"http://www.alexconde.com/\" target=\"_blank\">Alex Conde\u003c/a> exposes his Gypsy soul on \"Descarga for Monk\" (ZOHO Music). A protege of the great Andalusian pianist \u003ca href=\"http://www.chanodominguez.info/\" target=\"_blank\">Chano Dominguez\u003c/a>, Conde is a rising star at 33, and he’s found an ideal cast of collaborators on this revelatory quartet session with bassist\u003ca href=\"http://www.jeffchambersjazz.com/\" target=\"_blank\"> Jeff Chambers\u003c/a>, drummer \u003ca href=\"http://www.jonarkin.net/bio.html\" target=\"_blank\">Jon Arkin\u003c/a> and percussion master \u003ca href=\"http://www.johnsantos.com/\" target=\"_blank\">John Santos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10468054\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg\">\u003cimg class=\"wp-image-10468054 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg\" alt=\"Alex Conde, Descarga for Monk\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-320x320.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Conde's “Descarga for Monk\"\u003c/figcaption>\u003c/figure>\n\u003cp>The album opens with Monk’s “Played Twice,” interpreted as a flamenco tour de force complete with intricate hand and foot percussion supplied by Amparo Conde and Carman Carrasco. Monk was \u003cem>all\u003c/em> about rhythm, and musicians who take a wrong turn interpreting his tunes often steamroller the essential pauses and accents that energize his grooves. That’s not a problem here.\u003c/p>\n\u003cp>While the uptempo pieces provide the thrills on Conde’s album, I keep coming back to the ballads. Monk wrote some of the most striking melodies in American music. Conde, the son of a great flamenco singer, taps into Monk’s intense but dreamy lyricism, like on Monk’s rarely played waltz, “Ugly Beauty.”\u003c/p>\n\u003cp>I never got a chance to ask Orrin Keepnews for his thoughts about \"MonkWork\" (Evander Music) and Alex Conde's \"Descarga for Monk.\" But we did talk about \"Monk’s Mood\" (EMusic), the Grammy-nominated 2000 album by Oakland drummer \u003ca href=\"http://www.anthonybrown.org/aao.html\" target=\"_blank\">Anthony Brown’s Asian American Orchestra\u003c/a> that he co-produced. No composer has ever possessed a more identifiable voice, and Monk’s compositions shine through on the arrangements for traditional Asian instruments and jazz horns. I think you can hear a similar process playing out on \"MonkWork\" and \"Descarga For Monk.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than three decades after his death in 1982, Monk still provides new paths for musical self-discovery, inspiration that has led the Lost Trio and Alex Conde deeper into their own musical identities.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.nytimes.com/2015/03/02/arts/music/orrin-keepnews-jazz-producer-and-record-executive-is-dead-at-91.html?_r=0\" target=\"_blank\">Orrin Keepnews\u003c/a>, the legendary jazz producer who died last month just shy of his 92\u003csup>nd\u003c/sup> birthday, often used to describe \u003ca href=\"http://monkinstitute.org/about-us/thelonious-monk/\" target=\"_blank\">Thelonious Monk\u003c/a> as a sort of guru. Keepnews, who spent the second half of his life in the Bay Area, didn’t mean this in any mystical sense.\u003c/p>\n\u003cp>As a studio novice in the mid-1950s, he jump-started Monk’s stalled career with a series of classic albums for his label \u003ca href=\"http://www.concordmusicgroup.com/labels/riverside/\" target=\"_blank\">Riverside\u003c/a>, and on those early recording sessions Keepnews said that contending with Monk’s trickster nature provided an invaluable education in the studio.\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/198036677&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/198036677'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Monk’s ingenious compositions have long served a similar function for musicians, like \u003ca href=\"http://www.evandermusic.com/artist_detail.asp?artist_id=236\" target=\"_blank\">The Lost Trio\u003c/a>, a collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans, and drummer Tom Hassett. Over the past two decades, they’re turned songs from a vast array of artists into vehicles for gruff improvisation, from \u003ca href=\"http://www.beck.com/index.php/homepage\" target=\"_blank\">Beck\u003c/a> and \u003ca href=\"http://hankwilliams.com/\" target=\"_blank\">Hank Williams\u003c/a> to \u003ca href=\"http://www.pjharvey.net/\" target=\"_blank\">PJ Harvey\u003c/a> and \u003ca href=\"http://www.juanamolina.com/\" target=\"_blank\">Juana Molina\u003c/a>. Every Lost Trio album has included a tune by Monk, and the band’s latest release \"MonkWork\" (Evander Music) is dedicated exclusive to his knotty, off-balance tunes.\u003c/p>\n\u003cfigure id=\"attachment_10468446\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork.jpg\">\u003cimg class=\"size-medium wp-image-10468446\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork-800x728.jpg\" alt=\"The Lost Trio's "MonkWork" release.\" width=\"800\" height=\"728\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1440x1310.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-320x291.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Lost Trio's \"MonkWork\" release.\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes The Lost Trio tackles Monk straight, like a loping midtempo jaunt through “Blues Five Spot” and a slalom over the rarely tackled “Work,” a coruscating melody that Monk recorded only once. But they’ve found a fresh approach by constructing a series of medleys, each linking three tunes together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their canny choices create a canny inter-Monk dialogue, like when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.”\u003c/p>\n\u003cp>The absence of a piano gives the music a transparent quality, offering a fascinating glimpse at the architecture of Monk’s rhythms and melodies. If The Lost Trio strips Monk down to the studs, Spanish-born pianist \u003ca href=\"http://www.alexconde.com/\" target=\"_blank\">Alex Conde\u003c/a> exposes his Gypsy soul on \"Descarga for Monk\" (ZOHO Music). A protege of the great Andalusian pianist \u003ca href=\"http://www.chanodominguez.info/\" target=\"_blank\">Chano Dominguez\u003c/a>, Conde is a rising star at 33, and he’s found an ideal cast of collaborators on this revelatory quartet session with bassist\u003ca href=\"http://www.jeffchambersjazz.com/\" target=\"_blank\"> Jeff Chambers\u003c/a>, drummer \u003ca href=\"http://www.jonarkin.net/bio.html\" target=\"_blank\">Jon Arkin\u003c/a> and percussion master \u003ca href=\"http://www.johnsantos.com/\" target=\"_blank\">John Santos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10468054\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg\">\u003cimg class=\"wp-image-10468054 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg\" alt=\"Alex Conde, Descarga for Monk\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-320x320.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Conde's “Descarga for Monk\"\u003c/figcaption>\u003c/figure>\n\u003cp>The album opens with Monk’s “Played Twice,” interpreted as a flamenco tour de force complete with intricate hand and foot percussion supplied by Amparo Conde and Carman Carrasco. Monk was \u003cem>all\u003c/em> about rhythm, and musicians who take a wrong turn interpreting his tunes often steamroller the essential pauses and accents that energize his grooves. That’s not a problem here.\u003c/p>\n\u003cp>While the uptempo pieces provide the thrills on Conde’s album, I keep coming back to the ballads. Monk wrote some of the most striking melodies in American music. Conde, the son of a great flamenco singer, taps into Monk’s intense but dreamy lyricism, like on Monk’s rarely played waltz, “Ugly Beauty.”\u003c/p>\n\u003cp>I never got a chance to ask Orrin Keepnews for his thoughts about \"MonkWork\" (Evander Music) and Alex Conde's \"Descarga for Monk.\" But we did talk about \"Monk’s Mood\" (EMusic), the Grammy-nominated 2000 album by Oakland drummer \u003ca href=\"http://www.anthonybrown.org/aao.html\" target=\"_blank\">Anthony Brown’s Asian American Orchestra\u003c/a> that he co-produced. No composer has ever possessed a more identifiable voice, and Monk’s compositions shine through on the arrangements for traditional Asian instruments and jazz horns. I think you can hear a similar process playing out on \"MonkWork\" and \"Descarga For Monk.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than three decades after his death in 1982, Monk still provides new paths for musical self-discovery, inspiration that has led the Lost Trio and Alex Conde deeper into their own musical identities.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Painter Finds Inspiration in Fire and Protest",
"title": "L.A. Painter Finds Inspiration in Fire and Protest",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Images of fire, protests and tear gas from Ferguson, Missouri, Mexico City and downtown Los Angeles have circled the globe through social media the last six months. They landed in the inbox of painter Sandy Rodriguez, who works out of a studio in South L.A.'s Leimert Park.\u003c/p>\n\u003cp>Sandy Rodriguez has a 9-to-5 job at the Getty’s education department. During her off hours, she paints at a former hair salon converted into an artist studio.\u003c/p>\n\u003cp>\"I'm one of three artists in residence with Art + Practice Foundation here in Leimert Park,\" Rodriguez says. \"This is the first year of the program. It is a 14-month residency, so I get to create and just work here for 14 months. Started in August of 2014.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/196903776\" 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>When she started the residency, she proposed a dozen paintings about Leimert Park’s revitalization. She painted a 1920s home, a street scene and the nighttime fog of nearby Mar Vista.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then Ferguson, Missouri, happened.\u003c/p>\n\u003cp>One of her paintings includes an image of a McDonald's restaurant.\u003c/p>\n\u003cp>\"A number of reporters and people had been arrested inside a McDonald's in Ferguson during the first few days of the demonstrations, and they were being accused of trespassing in a public space. You hope that you include just a little bit of information, that it’ll jog recent memory and conversations and think about a lot of topics that come up, right?\" Rodriguez says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.scpr.org/programs/offramp/2015/03/05/41737/ferguson-fire-mexico-city-protests-ignite-la-artis/\">\u003cstrong>\u003cem>Read the full story and see photos of Rodriguez's work via KPCC\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Images of fire, protests and tear gas from Ferguson, Missouri, Mexico City and downtown Los Angeles have circled the globe through social media the last six months. They landed in the inbox of painter Sandy Rodriguez, who works out of a studio in South L.A.'s Leimert Park.\u003c/p>\n\u003cp>Sandy Rodriguez has a 9-to-5 job at the Getty’s education department. During her off hours, she paints at a former hair salon converted into an artist studio.\u003c/p>\n\u003cp>\"I'm one of three artists in residence with Art + Practice Foundation here in Leimert Park,\" Rodriguez says. \"This is the first year of the program. It is a 14-month residency, so I get to create and just work here for 14 months. Started in August of 2014.\"\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/196903776&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/196903776'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When she started the residency, she proposed a dozen paintings about Leimert Park’s revitalization. She painted a 1920s home, a street scene and the nighttime fog of nearby Mar Vista.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then Ferguson, Missouri, happened.\u003c/p>\n\u003cp>One of her paintings includes an image of a McDonald's restaurant.\u003c/p>\n\u003cp>\"A number of reporters and people had been arrested inside a McDonald's in Ferguson during the first few days of the demonstrations, and they were being accused of trespassing in a public space. You hope that you include just a little bit of information, that it’ll jog recent memory and conversations and think about a lot of topics that come up, right?\" Rodriguez says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.scpr.org/programs/offramp/2015/03/05/41737/ferguson-fire-mexico-city-protests-ignite-la-artis/\">\u003cstrong>\u003cem>Read the full story and see photos of Rodriguez's work via KPCC\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/196906315″ 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>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\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/196906315″&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/196906315″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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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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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"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": {
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"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",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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": {
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"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": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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