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"headTitle": "Elizabeth Holmes’ Criminal Fraud Trial Started Today in San Jose | KQED",
"content": "\u003cp>Jury selection in the criminal fraud trial of Elizabeth Holmes started on Tuesday, the beginning of a highly anticipated legal showdown over one of the most spectacular Silicon Valley scandals in recent history.\u003c/p>\n\u003cp>Federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ndca/page/file/1135066/download\" target=\"_blank\" rel=\"noopener noreferrer\">have charged\u003c/a> Holmes and her former business partner and ex-boyfriend, Ramesh “Sunny” Balwani, with defrauding investors and patients of their blood-testing company Theranos, which Holmes and Balwani claimed would revolutionize laboratory medicine.\u003c/p>\n\u003cp>Patients who were wrongly diagnosed by Theranos tests are set to testify against Holmes. Some had been told they were HIV-positive. Another, who was pregnant at the time, was incorrectly told she had miscarried her baby.\u003c/p>\n\u003cp>After the jury is chosen, opening arguments are slated to start on Sept. 8. The trial in San Jose, Calif., is expected to stretch on for four months.\u003c/p>\n\u003cp>[aside postid='arts_13882749']In court documents unsealed Saturday, and \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">first reported by NPR\u003c/a>, Holmes’ legal team said she is highly likely to take the witness stand and accuse Balwani of manipulating and abusing her to such a degree that it affected her state of mind during the time of the alleged fraud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both she and Balwani, who will be tried separately next year, have pleaded not guilty. If convicted, each faces a prison sentence of up to 20 years.\u003c/p>\n\u003cp>Holmes, who is reportedly married to the heir of a California hotel chain, Billy Evans, recently gave birth. The judge has said there \u003ca href=\"https://www.cnbc.com/2021/06/15/elizabeth-holmes-attorneys-concerned-about-finding-unbiased-jurors.html\" target=\"_blank\" rel=\"noopener noreferrer\">will be arrangements\u003c/a> allowing her to care for her baby boy in the courthouse.\u003c/p>\n\u003ch3>”Fake it until you make it” approach led to criminal charges\u003c/h3>\n\u003cp>A Stanford University dropout, Holmes dazzled Silicon Valley by founding Theranos at age 19. She promised its technology could screen patients for hundreds of diseases with just a finger prick of blood.\u003c/p>\n\u003cp>Holmes cultivated a mystique that included a signature black turtleneck like Apple co-founder Steve Jobs, whom she greatly \u003ca href=\"https://www.cbsnews.com/video/elizabeth-holmes-steve-jobs-is-an-incredible-symbol-of-whats-possible/\" target=\"_blank\" rel=\"noopener noreferrer\">admired\u003c/a>.\u003c/p>\n\u003cp>Big names from former President Bill Clinton to former Secretary of State Henry Kissinger to Mexican billionaire Carlos Slim believed in the company, helping it attract global investment and a valuation of more than $9 billion before its fall from grace in 2015.\u003c/p>\n\u003cfigure id=\"attachment_13902216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-768x470.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1536x941.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1920x1176.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes poses with her Edison machine; a blood testing unit that was supposed to revolutionize healthcare. It never actually worked. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when a series of \u003ca href=\"https://www.wsj.com/articles/theranos-has-struggled-with-blood-tests-1444881901\" target=\"_blank\" rel=\"noopener noreferrer\">stories\u003c/a> in \u003cem>The Wall Street Journal\u003c/em> showed that Theranos was not using some new breakthrough equipment, as Holmes had claimed. Journalist John Carreyrou revealed that, instead, the company relied mostly on traditional blood-processing machines. And Carreyrou’s reporting revealed a pattern of flaws and inaccuracies in patient results.\u003c/p>\n\u003cp>“There’s an expression that’s become synonymous with the business culture of Silicon Valley, which is, ‘Fake it until you make it,’ ” Carreyrou told NPR about Holmes. “She thought it was OK to behave that way.”\u003c/p>\n\u003cp>Walgreens stores in Arizona and California stopped allowing patients to get Theranos tests. Plans to expand testing to the rest of the nation were scrapped.\u003c/p>\n\u003cp>As Theranos became embattled, Holmes was defiant.\u003c/p>\n\u003cp>[aside postid='futureofyou_442098']“This is what happens when you work to change things. First, they think you’re crazy, then they fight you, then all of a sudden you change the world,” Holmes \u003ca href=\"https://www.youtube.com/watch?v=rGfaJZAdfNE\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> CNBC in 2018.\u003c/p>\n\u003cp>Federal prosecutors allege that she was not a scientific genius but rather a huckster who knowingly shilled technology that gave flawed or downright incorrect results to patients and left investors holding the bag.\u003c/p>\n\u003cp>Carreyrou, who has left \u003cem>The Journal\u003c/em> and will be chronicling the trial in a podcast called \u003cem>Bad Blood: The Final Chapter\u003c/em>, said the case could have far-reaching implications for tech startup culture.\u003c/p>\n\u003cp>“If she’s acquitted, the lesson that a lot of entrepreneurs and VCs [venture capitalists] in Silicon Valley are going to retain is that Holmes got away with it,” Carreyrou said.\u003c/p>\n\u003cp>“If she’s convicted, I expect it to be a wake-up call in Silicon Valley to how much you can exaggerate, how much you can lie, how much you can experiment with your products before you cross that bright red line before you have to go to prison.”\u003c/p>\n\u003ch3>Holmes expected to claim ex-boyfriend manipulated her\u003c/h3>\n\u003cp>Holmes and Balwani had a secret romance when she was Theranos’ CEO and he was its president and chief operating officer. Now the two are blaming each other for the company’s downfall.\u003c/p>\n\u003cp>Holmes’ defense strategy came into view \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">in the documents the court released\u003c/a> on Saturday: that Holmes intends to say Balwani controlled what Holmes’ ate, when she slept, how she dressed and with whom she spoke. The alleged abuse created a “a mental health condition bearing on guilt,” her lawyers have written.\u003c/p>\n\u003cfigure id=\"attachment_13902203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1232732720_custom-9dc74dde3897585049630b1c09602a743047d6e2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes, the founder and former chief executive officer of Theranos, leaves federal court in San Jose in May 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Court filings also disclosed that Holmes plans on accusing Balwani of domestic abuse, including throwing “hard, sharp objects” at her.\u003c/p>\n\u003cp>“This pattern of abuse and coercive control continued over the approximately decade-long duration of Ms. Holmes and Mr. Balwani’s relationship, including during the period of the charged conspiracies,” Holmes’ lawyers wrote \u003ca href=\"https://www.documentcloud.org/documents/21050910-elizabth-holmes-motion\" target=\"_blank\" rel=\"noopener noreferrer\">in a filing\u003c/a>.\u003c/p>\n\u003cp>Through his attorneys, Balwani has denied any abuse.\u003c/p>\n\u003ch3>Company thwarted prosecutors by destroying database of blood-test results\u003c/h3>\n\u003cp>Theranos has made prosecutors’ job harder by destroying what could have been damning evidence against Holmes: a large database of three years’ worth of blood-sample lab reports.\u003c/p>\n\u003cp>The government, in April 2018, subpoenaed the database, which could have helped prosecutors establish a pattern of flawed or incorrect results through statistical analysis of the data. Months later, Theranos provided an encrypted version of the hard drive.\u003c/p>\n\u003cp>[aside postid='pop_13203']At the time, Theranos’ attorneys wrote in an email to CEO David Taylor, Holmes’ replacement, “We should just give [the Justice Department] the database and let them figure it out. … [T]hey won’t know what to do with it and … the people who do are in India,” according to court filings.\u003c/p>\n\u003cp>Yet Theranos officials never handed over a “private key” that would have allowed prosecutors into the database, meaning all the data was locked.\u003c/p>\n\u003cp>Four days later, Theranos informed the court it had physically destroyed the entire database, something that came as a surprise to prosecutors.\u003c/p>\n\u003cp>There is no evidence that Holmes had anything to do with the destruction of the database, but prosecutors allege they will not have access to it because of the company’s actions.\u003c/p>\n\u003cp>Holmes maintains the database could have proven her innocence.\u003c/p>\n\u003ch3>Investors who lost millions want justice\u003c/h3>\n\u003cp>Investor Eileen Lepera recounts talking to a big-name venture capitalist during the early hype days of Theranos.\u003c/p>\n\u003cp>“He did say to me that he thinks it’s the next Apple, and that I should get as much as I could get,” Lepera said in an interview.\u003c/p>\n\u003cp>She plunged more than $100,000 into the company, more than she had ever invested.\u003c/p>\n\u003cp>“Everybody kind of assumed that someone else had done due diligence and that these machines did in fact work,” she said. “So it was a con on a grand scale.”\u003c/p>\n\u003cfigure id=\"attachment_13902204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-490572292_custom-fe48cf6d85f5cf87bf61fd6ea8719071b785fa55-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Holmes speaks as former U.S. President Bill Clinton listens during the closing session of the Clinton Global Initiative in 2015 in New York City. \u003ccite>(JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, an \u003ca href=\"https://www.wsj.com/articles/theranos-cost-business-and-government-leaders-more-than-600-million-1525392082\" target=\"_blank\" rel=\"noopener noreferrer\">estimated\u003c/a> $700 million was lost in the unraveling of Theranos. Prosecutors allege that governments, businesses and other investors were duped by Holmes’ deceptive statements and presentations.\u003c/p>\n\u003cp>Holmes’ legal team is expected to cast the story in a different light, arguing that while Holmes may have exaggerated her company’s achievements, she never intended to mislead patients and investors.\u003c/p>\n\u003cp>And Thomas Joo, a law professor at the University of California, Davis, said convincing a jury that Holmes intentionally defrauded investors and patients won’t be easy.\u003c/p>\n\u003cp>“They may have thought that she mistakenly had too much faith in her product. She said false things, but if you say them unintentionally, it’s not a crime,” Joo said.\u003c/p>\n\u003cp>While Lepera is not hopeful she will ever recoup her investment in Theranos, she said if the jury convicts Holmes, it will be something of a relief.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I would feel good if justice was served,” Lepera said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Holmes+Promised+Miracles+By+A+Finger+Prick.+Her+Fraud+Trial+Starts+Tuesday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both she and Balwani, who will be tried separately next year, have pleaded not guilty. If convicted, each faces a prison sentence of up to 20 years.\u003c/p>\n\u003cp>Holmes, who is reportedly married to the heir of a California hotel chain, Billy Evans, recently gave birth. The judge has said there \u003ca href=\"https://www.cnbc.com/2021/06/15/elizabeth-holmes-attorneys-concerned-about-finding-unbiased-jurors.html\" target=\"_blank\" rel=\"noopener noreferrer\">will be arrangements\u003c/a> allowing her to care for her baby boy in the courthouse.\u003c/p>\n\u003ch3>”Fake it until you make it” approach led to criminal charges\u003c/h3>\n\u003cp>A Stanford University dropout, Holmes dazzled Silicon Valley by founding Theranos at age 19. She promised its technology could screen patients for hundreds of diseases with just a finger prick of blood.\u003c/p>\n\u003cp>Holmes cultivated a mystique that included a signature black turtleneck like Apple co-founder Steve Jobs, whom she greatly \u003ca href=\"https://www.cbsnews.com/video/elizabeth-holmes-steve-jobs-is-an-incredible-symbol-of-whats-possible/\" target=\"_blank\" rel=\"noopener noreferrer\">admired\u003c/a>.\u003c/p>\n\u003cp>Big names from former President Bill Clinton to former Secretary of State Henry Kissinger to Mexican billionaire Carlos Slim believed in the company, helping it attract global investment and a valuation of more than $9 billion before its fall from grace in 2015.\u003c/p>\n\u003cfigure id=\"attachment_13902216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-768x470.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1536x941.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-31-at-11.32.20-AM-1920x1176.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes poses with her Edison machine; a blood testing unit that was supposed to revolutionize healthcare. It never actually worked. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when a series of \u003ca href=\"https://www.wsj.com/articles/theranos-has-struggled-with-blood-tests-1444881901\" target=\"_blank\" rel=\"noopener noreferrer\">stories\u003c/a> in \u003cem>The Wall Street Journal\u003c/em> showed that Theranos was not using some new breakthrough equipment, as Holmes had claimed. Journalist John Carreyrou revealed that, instead, the company relied mostly on traditional blood-processing machines. And Carreyrou’s reporting revealed a pattern of flaws and inaccuracies in patient results.\u003c/p>\n\u003cp>“There’s an expression that’s become synonymous with the business culture of Silicon Valley, which is, ‘Fake it until you make it,’ ” Carreyrou told NPR about Holmes. “She thought it was OK to behave that way.”\u003c/p>\n\u003cp>Walgreens stores in Arizona and California stopped allowing patients to get Theranos tests. Plans to expand testing to the rest of the nation were scrapped.\u003c/p>\n\u003cp>As Theranos became embattled, Holmes was defiant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This is what happens when you work to change things. First, they think you’re crazy, then they fight you, then all of a sudden you change the world,” Holmes \u003ca href=\"https://www.youtube.com/watch?v=rGfaJZAdfNE\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> CNBC in 2018.\u003c/p>\n\u003cp>Federal prosecutors allege that she was not a scientific genius but rather a huckster who knowingly shilled technology that gave flawed or downright incorrect results to patients and left investors holding the bag.\u003c/p>\n\u003cp>Carreyrou, who has left \u003cem>The Journal\u003c/em> and will be chronicling the trial in a podcast called \u003cem>Bad Blood: The Final Chapter\u003c/em>, said the case could have far-reaching implications for tech startup culture.\u003c/p>\n\u003cp>“If she’s acquitted, the lesson that a lot of entrepreneurs and VCs [venture capitalists] in Silicon Valley are going to retain is that Holmes got away with it,” Carreyrou said.\u003c/p>\n\u003cp>“If she’s convicted, I expect it to be a wake-up call in Silicon Valley to how much you can exaggerate, how much you can lie, how much you can experiment with your products before you cross that bright red line before you have to go to prison.”\u003c/p>\n\u003ch3>Holmes expected to claim ex-boyfriend manipulated her\u003c/h3>\n\u003cp>Holmes and Balwani had a secret romance when she was Theranos’ CEO and he was its president and chief operating officer. Now the two are blaming each other for the company’s downfall.\u003c/p>\n\u003cp>Holmes’ defense strategy came into view \u003ca href=\"https://www.npr.org/2021/08/28/1031961327/elizabeth-holmes-theranos-trial-boyfriend-balwani-emotional-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">in the documents the court released\u003c/a> on Saturday: that Holmes intends to say Balwani controlled what Holmes’ ate, when she slept, how she dressed and with whom she spoke. The alleged abuse created a “a mental health condition bearing on guilt,” her lawyers have written.\u003c/p>\n\u003cfigure id=\"attachment_13902203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1232732720_custom-9dc74dde3897585049630b1c09602a743047d6e2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Elizabeth Holmes, the founder and former chief executive officer of Theranos, leaves federal court in San Jose in May 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Court filings also disclosed that Holmes plans on accusing Balwani of domestic abuse, including throwing “hard, sharp objects” at her.\u003c/p>\n\u003cp>“This pattern of abuse and coercive control continued over the approximately decade-long duration of Ms. Holmes and Mr. Balwani’s relationship, including during the period of the charged conspiracies,” Holmes’ lawyers wrote \u003ca href=\"https://www.documentcloud.org/documents/21050910-elizabth-holmes-motion\" target=\"_blank\" rel=\"noopener noreferrer\">in a filing\u003c/a>.\u003c/p>\n\u003cp>Through his attorneys, Balwani has denied any abuse.\u003c/p>\n\u003ch3>Company thwarted prosecutors by destroying database of blood-test results\u003c/h3>\n\u003cp>Theranos has made prosecutors’ job harder by destroying what could have been damning evidence against Holmes: a large database of three years’ worth of blood-sample lab reports.\u003c/p>\n\u003cp>The government, in April 2018, subpoenaed the database, which could have helped prosecutors establish a pattern of flawed or incorrect results through statistical analysis of the data. Months later, Theranos provided an encrypted version of the hard drive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the time, Theranos’ attorneys wrote in an email to CEO David Taylor, Holmes’ replacement, “We should just give [the Justice Department] the database and let them figure it out. … [T]hey won’t know what to do with it and … the people who do are in India,” according to court filings.\u003c/p>\n\u003cp>Yet Theranos officials never handed over a “private key” that would have allowed prosecutors into the database, meaning all the data was locked.\u003c/p>\n\u003cp>Four days later, Theranos informed the court it had physically destroyed the entire database, something that came as a surprise to prosecutors.\u003c/p>\n\u003cp>There is no evidence that Holmes had anything to do with the destruction of the database, but prosecutors allege they will not have access to it because of the company’s actions.\u003c/p>\n\u003cp>Holmes maintains the database could have proven her innocence.\u003c/p>\n\u003ch3>Investors who lost millions want justice\u003c/h3>\n\u003cp>Investor Eileen Lepera recounts talking to a big-name venture capitalist during the early hype days of Theranos.\u003c/p>\n\u003cp>“He did say to me that he thinks it’s the next Apple, and that I should get as much as I could get,” Lepera said in an interview.\u003c/p>\n\u003cp>She plunged more than $100,000 into the company, more than she had ever invested.\u003c/p>\n\u003cp>“Everybody kind of assumed that someone else had done due diligence and that these machines did in fact work,” she said. “So it was a con on a grand scale.”\u003c/p>\n\u003cfigure id=\"attachment_13902204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902204\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-490572292_custom-fe48cf6d85f5cf87bf61fd6ea8719071b785fa55-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Holmes speaks as former U.S. President Bill Clinton listens during the closing session of the Clinton Global Initiative in 2015 in New York City. \u003ccite>(JP Yim/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, an \u003ca href=\"https://www.wsj.com/articles/theranos-cost-business-and-government-leaders-more-than-600-million-1525392082\" target=\"_blank\" rel=\"noopener noreferrer\">estimated\u003c/a> $700 million was lost in the unraveling of Theranos. Prosecutors allege that governments, businesses and other investors were duped by Holmes’ deceptive statements and presentations.\u003c/p>\n\u003cp>Holmes’ legal team is expected to cast the story in a different light, arguing that while Holmes may have exaggerated her company’s achievements, she never intended to mislead patients and investors.\u003c/p>\n\u003cp>And Thomas Joo, a law professor at the University of California, Davis, said convincing a jury that Holmes intentionally defrauded investors and patients won’t be easy.\u003c/p>\n\u003cp>“They may have thought that she mistakenly had too much faith in her product. She said false things, but if you say them unintentionally, it’s not a crime,” Joo said.\u003c/p>\n\u003cp>While Lepera is not hopeful she will ever recoup her investment in Theranos, she said if the jury convicts Holmes, it will be something of a relief.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would feel good if justice was served,” Lepera said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elizabeth+Holmes+Promised+Miracles+By+A+Finger+Prick.+Her+Fraud+Trial+Starts+Tuesday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Billboards Promote Vaccinations to Latinx and Vietnamese Communities",
"headTitle": "San Jose Billboards Promote Vaccinations to Latinx and Vietnamese Communities | KQED",
"content": "\u003cp>The billboard at the corner of Washington and North 4th Streets in downtown San Jose is attracting quite a bit of attention these days, with cars honking as they drive past and passersby stopping to stare.\u003c/p>\n\u003cp>Instead of advertising the usual products or services, the billboard displays an eye-catching photograph of a group of Vietnamese people wearing the brightly-colored traditional Vietnamese national dress known as áo dài and carrying lanterns inscribed with slogans.\u003c/p>\n\u003cp>“So one says ‘Giúp người. Giúp ta,’ meaning, ‘Help yourself. Help others,’” says San Jose resident and arts leader Trami Cron, who helped get the Vietnamese community involved in the billboard’s creation through a photo and video shoot back in May at San Jose’s Kelly Park. “And the other one says, ‘Chích ngừa rồi. Đi vui chơi!’ meaning, ‘We are now vaccinated. Let’s go have fun!’”\u003c/p>\n\u003cp>This is one of five artistic billboards bearing pro-vaccine messages in Vietnamese and English up through the end of the month across San Jose. Five others feature messages in Spanish and English.\u003c/p>\n\u003cfigure id=\"attachment_13901879\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut.jpg\" alt=\"A woman in a giant tent-like skirt stands in a rose garden.\" width=\"1800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard aimed at inspiring the San Jose Latinx community to get vaccinated. \u003ccite>(Courtesy of Adrienne Pao and Robin Lasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Vacunados, podemos abrazar los abuelos,’ which means, ‘Vaccinated, we can hug our grandparents,’” says local photographer and educator \u003ca href=\"https://www.jesusaguilarartist.com/#1\" target=\"_blank\" rel=\"noopener noreferrer\">Jesus Aguilar\u003c/a>, who brought members of his community together to pose for those billboards in June at San Jose’s Heritage Rose Garden. “This is really important in the Latinx community,” he adds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All 10 of the billboards are part of a statewide public messaging campaign—“\u003ca href=\"https://www.gov.ca.gov/2021/04/30/state-of-california-partners-with-local-cultural-artists-to-remind-californians-your-actions-save-lives/\" target=\"_blank\" rel=\"noopener noreferrer\">Your Actions Save Lives\u003c/a>”—launched by the governor’s office earlier this year. It uses many kinds of public art, including poetry, videos and music, to urge Californians to stop the spread of the virus.\u003c/p>\n\u003cp>“It’s finding artists that can make work that reaches a certain part of the community in a way that possibly traditional advertising mechanisms cannot,” says curator Shelly Willis, who selected the artists for the statewide effort, which produced 18 original artworks in 14 California communities.\u003c/p>\n\u003cfigure id=\"attachment_13901880\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin Lasser (left), Trami Cron (center) and Jesus Aguilar (right) pose in front of a billboard targeting the Vietnamese community in downtown San Jose. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose artists Robin Lasser (who is also a San Jose State University art professor) and Adrienne Pao co-led the billboard project in San Jose, titled \u003cem>\u003ca href=\"https://www.dresstents.com/covid-bubbles-californians-dress-for-emergence\" target=\"_blank\" rel=\"noopener noreferrer\">Covid Bubbles: Californians Dress for Emergence\u003c/a>\u003c/em>. It’s a continuation of the pair’s long-term \u003ci>Dress Tents\u003c/i> installation series, which Lasser describes as “nomadic wearable architecture.” One of these tents, installed in the Heritage Rose Garden, is at the center of the new Latinx-focused billboard campaign.\u003c/p>\n\u003cp>“With these billboards, we didn’t want to have the wagging finger, like, ‘Have you been vaccinated yet? Because if not, you don’t care about the world!’” Lasser says. “But rather, we wanted people to feel a sense of joy in their experience of the billboards, and a sense of joy should they decide to get vaccinated.”\u003c/p>\n\u003cp>According to Santa Clara County deputy county executive \u003ca href=\"https://desj.sccgov.org/luna\" target=\"_blank\" rel=\"noopener noreferrer\">Rocio Luna\u003c/a>, the region’s Latinx and Vietnamese populations have been disproportionately impacted by the pandemic. Many are essential workers and have found it hard to get culturally relevant information about COVID-19 prevention. She says that’s where this art project can help.\u003c/p>\n\u003cp>“There’s a very unique message in each of these art installations that speaks to these communities,” Luna says. “And it makes these communities aware that we’re listening and that they’re valued and we want them safe and we want them here.”\u003c/p>\n\u003cfigure id=\"attachment_13901882\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut.jpg\" alt=\"\" width=\"1920\" height=\"823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-1020x437.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-768x329.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-1536x658.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Map showing billboard locations in San Jose. \u003ccite>(Courtesy of Robin Lasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to \u003ca href=\"https://covid19.sccgov.org/dashboard-vaccinations\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County public health data\u003c/a>, an estimated 95% of the county’s Asian population is fully vaccinated. However, the data isn’t broken down into specific ethnic groups, and Luna says vaccine hesitancy is still higher in the Vietnamese population as compared to other Asian American communities. Meanwhile around 68% of the Latinx population is fully vaccinated.\u003c/p>\n\u003cp>Aguilar says if we really want to get those numbers up, it’s important to involve community members themselves in the messaging, as is the case with the billboard project.\u003c/p>\n\u003cp>“If the messenger looks like you, you’re a little bit more likely to kind of follow the guidelines, to follow the advice,” he says.\u003c/p>\n\u003cp>The billboards are just one part of the plan.\u003c/p>\n\u003cp>Lasser, Pao, Cron and Aguilar have done outreach around the art with the communities involved, gathering at the billboards in recent weeks to celebrate and exchange stories. \u003ca href=\"https://vimeo.com/user15891387\" target=\"_blank\" rel=\"noopener noreferrer\">Videos document\u003c/a> the process of making the art installations photographed for the billboards. There’s a forthcoming book featuring imagery and stories of people’s pandemic experiences. And the billboards themselves will be up-cycled into tote bags.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those positive messages about vaccination will be seen around town long after the roadside advertising is gone.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The billboard at the corner of Washington and North 4th Streets in downtown San Jose is attracting quite a bit of attention these days, with cars honking as they drive past and passersby stopping to stare.\u003c/p>\n\u003cp>Instead of advertising the usual products or services, the billboard displays an eye-catching photograph of a group of Vietnamese people wearing the brightly-colored traditional Vietnamese national dress known as áo dài and carrying lanterns inscribed with slogans.\u003c/p>\n\u003cp>“So one says ‘Giúp người. Giúp ta,’ meaning, ‘Help yourself. Help others,’” says San Jose resident and arts leader Trami Cron, who helped get the Vietnamese community involved in the billboard’s creation through a photo and video shoot back in May at San Jose’s Kelly Park. “And the other one says, ‘Chích ngừa rồi. Đi vui chơi!’ meaning, ‘We are now vaccinated. Let’s go have fun!’”\u003c/p>\n\u003cp>This is one of five artistic billboards bearing pro-vaccine messages in Vietnamese and English up through the end of the month across San Jose. Five others feature messages in Spanish and English.\u003c/p>\n\u003cfigure id=\"attachment_13901879\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901879\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut.jpg\" alt=\"A woman in a giant tent-like skirt stands in a rose garden.\" width=\"1800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51161_02.-b-Latinx-billboard-billboard-8-x-12_Lasser_Pao-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard aimed at inspiring the San Jose Latinx community to get vaccinated. \u003ccite>(Courtesy of Adrienne Pao and Robin Lasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Vacunados, podemos abrazar los abuelos,’ which means, ‘Vaccinated, we can hug our grandparents,’” says local photographer and educator \u003ca href=\"https://www.jesusaguilarartist.com/#1\" target=\"_blank\" rel=\"noopener noreferrer\">Jesus Aguilar\u003c/a>, who brought members of his community together to pose for those billboards in June at San Jose’s Heritage Rose Garden. “This is really important in the Latinx community,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All 10 of the billboards are part of a statewide public messaging campaign—“\u003ca href=\"https://www.gov.ca.gov/2021/04/30/state-of-california-partners-with-local-cultural-artists-to-remind-californians-your-actions-save-lives/\" target=\"_blank\" rel=\"noopener noreferrer\">Your Actions Save Lives\u003c/a>”—launched by the governor’s office earlier this year. It uses many kinds of public art, including poetry, videos and music, to urge Californians to stop the spread of the virus.\u003c/p>\n\u003cp>“It’s finding artists that can make work that reaches a certain part of the community in a way that possibly traditional advertising mechanisms cannot,” says curator Shelly Willis, who selected the artists for the statewide effort, which produced 18 original artworks in 14 California communities.\u003c/p>\n\u003cfigure id=\"attachment_13901880\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut.jpg\" alt=\"\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51158_robin-trami-and-jesus-qut-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robin Lasser (left), Trami Cron (center) and Jesus Aguilar (right) pose in front of a billboard targeting the Vietnamese community in downtown San Jose. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose artists Robin Lasser (who is also a San Jose State University art professor) and Adrienne Pao co-led the billboard project in San Jose, titled \u003cem>\u003ca href=\"https://www.dresstents.com/covid-bubbles-californians-dress-for-emergence\" target=\"_blank\" rel=\"noopener noreferrer\">Covid Bubbles: Californians Dress for Emergence\u003c/a>\u003c/em>. It’s a continuation of the pair’s long-term \u003ci>Dress Tents\u003c/i> installation series, which Lasser describes as “nomadic wearable architecture.” One of these tents, installed in the Heritage Rose Garden, is at the center of the new Latinx-focused billboard campaign.\u003c/p>\n\u003cp>“With these billboards, we didn’t want to have the wagging finger, like, ‘Have you been vaccinated yet? Because if not, you don’t care about the world!’” Lasser says. “But rather, we wanted people to feel a sense of joy in their experience of the billboards, and a sense of joy should they decide to get vaccinated.”\u003c/p>\n\u003cp>According to Santa Clara County deputy county executive \u003ca href=\"https://desj.sccgov.org/luna\" target=\"_blank\" rel=\"noopener noreferrer\">Rocio Luna\u003c/a>, the region’s Latinx and Vietnamese populations have been disproportionately impacted by the pandemic. Many are essential workers and have found it hard to get culturally relevant information about COVID-19 prevention. She says that’s where this art project can help.\u003c/p>\n\u003cp>“There’s a very unique message in each of these art installations that speaks to these communities,” Luna says. “And it makes these communities aware that we’re listening and that they’re valued and we want them safe and we want them here.”\u003c/p>\n\u003cfigure id=\"attachment_13901882\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13901882\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut.jpg\" alt=\"\" width=\"1920\" height=\"823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-800x343.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-1020x437.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-768x329.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RS51160_01.-Billboard-Locations-Map-qut-1536x658.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Map showing billboard locations in San Jose. \u003ccite>(Courtesy of Robin Lasser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to \u003ca href=\"https://covid19.sccgov.org/dashboard-vaccinations\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Clara County public health data\u003c/a>, an estimated 95% of the county’s Asian population is fully vaccinated. However, the data isn’t broken down into specific ethnic groups, and Luna says vaccine hesitancy is still higher in the Vietnamese population as compared to other Asian American communities. Meanwhile around 68% of the Latinx population is fully vaccinated.\u003c/p>\n\u003cp>Aguilar says if we really want to get those numbers up, it’s important to involve community members themselves in the messaging, as is the case with the billboard project.\u003c/p>\n\u003cp>“If the messenger looks like you, you’re a little bit more likely to kind of follow the guidelines, to follow the advice,” he says.\u003c/p>\n\u003cp>The billboards are just one part of the plan.\u003c/p>\n\u003cp>Lasser, Pao, Cron and Aguilar have done outreach around the art with the communities involved, gathering at the billboards in recent weeks to celebrate and exchange stories. \u003ca href=\"https://vimeo.com/user15891387\" target=\"_blank\" rel=\"noopener noreferrer\">Videos document\u003c/a> the process of making the art installations photographed for the billboards. There’s a forthcoming book featuring imagery and stories of people’s pandemic experiences. And the billboards themselves will be up-cycled into tote bags.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those positive messages about vaccination will be seen around town long after the roadside advertising is gone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Wave of Relief: DIY Hardcore Returns as Sunami Pummels San Jose",
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"content": "\u003cp>If you’re gonna go out on the first weekend after California’s COVID restrictions are lifted, you might as well go hard. That was my idea, anyway, when I drove two hours to San Jose on Saturday. My destination: \u003ca href=\"https://www.instagram.com/p/CQRL-WkAfwi/\" rel=\"noopener noreferrer\" target=\"_blank\">REAL BAY SHIT\u003c/a>, a DIY show with seven bands, in the city that’s quickly become the epicenter of the country’s hardcore scene.\u003c/p>\n\u003cp>Picture your typical industrial park: faceless concrete buildings, loading bays, on the outskirts of town. Then picture a long line of people waiting to pay their $5, and, around a corner in a roped-off, hidden parking lot, upwards up 1,500 people. The location was announced at 3pm, just two hours prior, and people have been so eager to get together again that, when I arrive, the place is already full. Some of them are already crowdsurfing before even one band has played a note. \u003c/p>\n\u003cfigure id=\"attachment_13899179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Sunami.crowd_-800x526.jpg\" alt=\"The crowd in San Jose. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13899179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd before the start of Real Bay Shit in San Jose. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an electricity in the air, along with the occasional hurled items: a beer can, a drum head, a giant stuffed animal, a discarded bra, and a human body soaring across the sky. And that’s just during the opening bands. During Xiobalba’s set, I scan the crowd: maybe 60% white, with a mix of Latino, Asian and Black fans—a reflection of the South Bay. I see a couple of typical mohawked drunk punks almost get into an all-out brawl with some dudes in matching “10 Years of Smashing Nazis” T-shirts and then, two minutes later, I see them working it out and hugging in the pit.\u003c/p>\n\u003cp>[aside postID='arts_13894169']I’m here for Sunami, San Jose’s most talked-about hardcore band at the moment, who specialize in a heavy, in-your-face assault. This is their second-ever show; the only other one they’ve played was in October of 2019, pre-COVID. In the past year and a half, two things happened: that show attained legendary status due to \u003ca href=\"https://youtu.be/wP-1Fdktbrk\" rel=\"noopener noreferrer\" target=\"_blank\">widely-watched footage\u003c/a> of crowd mayhem while the band debuted in a living room, and also, everyone who watched it sat at home for a year, waiting for the chance to finally allow the bottled-up powder keg of shelter-in-place to explode in every direction. \u003c/p>\n\u003cp>So… yeah. That’s \u003ca href=\"https://youtu.be/A7k9tuPFsf8?t=30\" rel=\"noopener noreferrer\" target=\"_blank\">basically what happens\u003c/a> when Sunami starts playing. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From where I am, at the front of the stage, it’s just a churn of bodies—flailing, falling, swarming. Entire sections of the crowd crash down hard on the asphalt, resurfacing with bloodied knees and palms. One guy has a bloody eye. During one song, four different stagedivers land right on my head. There are screams and sweat and gnashing of teeth all around me. There are men and women alike just straight-up kicking and throwing swings at anybody within striking distance, over and over; I wind up getting punched a couple times in the head.\u003c/p>\n\u003cp>And you know what? It is \u003cem>beautiful\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QPv3DVola_Q\u003c/p>\n\u003cp>This is what I missed most in the pandemic: not just being in a pit specifically, but moving in close quarters with other humans, with their movements impacting yours, and doing so in such a random and hectic way as to feel illicit or dangerous. Think crowded BART cars, or sideshows, or even wave pools. After a year of quarantine, I wanted chaos and tension with other people. I wanted the \u003cem>extreme opposite\u003c/em> of social distancing.\u003c/p>\n\u003cp>And, as I realized at some point on Saturday, I don’t want any more manufactured “experiences,” or festivals put on by huge promoters. This show was $5, it was completely DIY, probably illegal on a number of different levels, bands played on a plywood stage, powered by a generator, BYOB with cheap tacos being sold, no Live Nation, no Goldenvoice, by the scene, for the scene. The stacked lineup—Drain, Gulch, Sunami, Xiobalba, Skeletal Remains, Maya Over Eyes, and Scowl—could have easily sold out the Warfield. It wouldn’t have been nearly the same. \u003c/p>\n\u003cp>Plus it was just \u003cem>fun\u003c/em>. Being cooped up inside has made everyone I know take themselves too seriously. Give me more of the inane, the over-the-top, the unexplainable, the alive. Give me more of the band that, as I went to my car for more ibuprofen (I am 45), pulled up in a van, opened the side doors, and \u003ca href=\"https://youtu.be/ndyegYYWGAE\" rel=\"noopener noreferrer\" target=\"_blank\">played one song before insulting the crowd and driving off\u003c/a>, all in under a minute. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ndyegYYWGAE\u003c/p>\n\u003cp>Yes, I know it isn’t for everybody. But to me, there’s a church-like ritual to the best hardcore shows that I’ve missed: the processional of the pit, the unwritten rules of lifting each other up, the moments of rising and singing along to hymns, the sin of beating the hell out of everyone around you and the redemption of hugging it out. People of all races and backgrounds and pronouns in a communal testimony. \u003c/p>\n\u003cp>And, especially after a year in quarantine, it’s the concentrated version of society itself, that thing we’re all going to have to re-enter: messy, unexpected, joyful and scary, and completely unmediated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sunami plays again with Connoisseur, Lead Dream, Extinguish, and Fentanyl at the Punk Rock Flea Market on Sunday, June 27, at LVL UP in San Jose. Bring aspirin. \u003ca href=\"https://twitter.com/HARDTIMESSHOWS/status/1404162886360915968\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re gonna go out on the first weekend after California’s COVID restrictions are lifted, you might as well go hard. That was my idea, anyway, when I drove two hours to San Jose on Saturday. My destination: \u003ca href=\"https://www.instagram.com/p/CQRL-WkAfwi/\" rel=\"noopener noreferrer\" target=\"_blank\">REAL BAY SHIT\u003c/a>, a DIY show with seven bands, in the city that’s quickly become the epicenter of the country’s hardcore scene.\u003c/p>\n\u003cp>Picture your typical industrial park: faceless concrete buildings, loading bays, on the outskirts of town. Then picture a long line of people waiting to pay their $5, and, around a corner in a roped-off, hidden parking lot, upwards up 1,500 people. The location was announced at 3pm, just two hours prior, and people have been so eager to get together again that, when I arrive, the place is already full. Some of them are already crowdsurfing before even one band has played a note. \u003c/p>\n\u003cfigure id=\"attachment_13899179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/Sunami.crowd_-800x526.jpg\" alt=\"The crowd in San Jose. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13899179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_-1536x1010.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.crowd_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd before the start of Real Bay Shit in San Jose. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an electricity in the air, along with the occasional hurled items: a beer can, a drum head, a giant stuffed animal, a discarded bra, and a human body soaring across the sky. And that’s just during the opening bands. During Xiobalba’s set, I scan the crowd: maybe 60% white, with a mix of Latino, Asian and Black fans—a reflection of the South Bay. I see a couple of typical mohawked drunk punks almost get into an all-out brawl with some dudes in matching “10 Years of Smashing Nazis” T-shirts and then, two minutes later, I see them working it out and hugging in the pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’m here for Sunami, San Jose’s most talked-about hardcore band at the moment, who specialize in a heavy, in-your-face assault. This is their second-ever show; the only other one they’ve played was in October of 2019, pre-COVID. In the past year and a half, two things happened: that show attained legendary status due to \u003ca href=\"https://youtu.be/wP-1Fdktbrk\" rel=\"noopener noreferrer\" target=\"_blank\">widely-watched footage\u003c/a> of crowd mayhem while the band debuted in a living room, and also, everyone who watched it sat at home for a year, waiting for the chance to finally allow the bottled-up powder keg of shelter-in-place to explode in every direction. \u003c/p>\n\u003cp>So… yeah. That’s \u003ca href=\"https://youtu.be/A7k9tuPFsf8?t=30\" rel=\"noopener noreferrer\" target=\"_blank\">basically what happens\u003c/a> when Sunami starts playing. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From where I am, at the front of the stage, it’s just a churn of bodies—flailing, falling, swarming. Entire sections of the crowd crash down hard on the asphalt, resurfacing with bloodied knees and palms. One guy has a bloody eye. During one song, four different stagedivers land right on my head. There are screams and sweat and gnashing of teeth all around me. There are men and women alike just straight-up kicking and throwing swings at anybody within striking distance, over and over; I wind up getting punched a couple times in the head.\u003c/p>\n\u003cp>And you know what? It is \u003cem>beautiful\u003c/em>. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QPv3DVola_Q'\n title='//www.youtube.com/embed/QPv3DVola_Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is what I missed most in the pandemic: not just being in a pit specifically, but moving in close quarters with other humans, with their movements impacting yours, and doing so in such a random and hectic way as to feel illicit or dangerous. Think crowded BART cars, or sideshows, or even wave pools. After a year of quarantine, I wanted chaos and tension with other people. I wanted the \u003cem>extreme opposite\u003c/em> of social distancing.\u003c/p>\n\u003cp>And, as I realized at some point on Saturday, I don’t want any more manufactured “experiences,” or festivals put on by huge promoters. This show was $5, it was completely DIY, probably illegal on a number of different levels, bands played on a plywood stage, powered by a generator, BYOB with cheap tacos being sold, no Live Nation, no Goldenvoice, by the scene, for the scene. The stacked lineup—Drain, Gulch, Sunami, Xiobalba, Skeletal Remains, Maya Over Eyes, and Scowl—could have easily sold out the Warfield. It wouldn’t have been nearly the same. \u003c/p>\n\u003cp>Plus it was just \u003cem>fun\u003c/em>. Being cooped up inside has made everyone I know take themselves too seriously. Give me more of the inane, the over-the-top, the unexplainable, the alive. Give me more of the band that, as I went to my car for more ibuprofen (I am 45), pulled up in a van, opened the side doors, and \u003ca href=\"https://youtu.be/ndyegYYWGAE\" rel=\"noopener noreferrer\" target=\"_blank\">played one song before insulting the crowd and driving off\u003c/a>, all in under a minute. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ndyegYYWGAE'\n title='//www.youtube.com/embed/ndyegYYWGAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, I know it isn’t for everybody. But to me, there’s a church-like ritual to the best hardcore shows that I’ve missed: the processional of the pit, the unwritten rules of lifting each other up, the moments of rising and singing along to hymns, the sin of beating the hell out of everyone around you and the redemption of hugging it out. People of all races and backgrounds and pronouns in a communal testimony. \u003c/p>\n\u003cp>And, especially after a year in quarantine, it’s the concentrated version of society itself, that thing we’re all going to have to re-enter: messy, unexpected, joyful and scary, and completely unmediated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sunami plays again with Connoisseur, Lead Dream, Extinguish, and Fentanyl at the Punk Rock Flea Market on Sunday, June 27, at LVL UP in San Jose. Bring aspirin. \u003ca href=\"https://twitter.com/HARDTIMESSHOWS/status/1404162886360915968\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What is the structure that will say to the world, “Behold! \u003ca href=\"https://www.kqed.org/arts/13852981/does-silicon-valley-need-an-instagramable-icon\" target=\"_blank\" rel=\"noopener noreferrer\">This is Silicon Valley\u003c/a>! Look upon me — and then take a selfie for your social media feeds!”\u003c/p>\n\u003cp>Could it be “Nebula Tower,” shown above? From the proposal, it looks like the scaffolding on a construction project, but without a construction project inside.\u003c/p>\n\u003cp>Instead, there’s a conically shaped negative space inside, a nod to the original inspiration that led to this international search for an icon: a 207-foot-high light tower made of iron pipe and hoops that lit up the night sky in downtown San Jose from 1881 to 1915.\u003c/p>\n\u003cp>Or perhaps “Breeze of Innovation” is more to your liking. It promises to send 500 white rods shooting 200 feet into the sky, to represent Silicon Valley’s innovative companies. A similar tower-shaped empty space lurks inside here, too.\u003c/p>\n\u003cfigure id=\"attachment_13886950\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13886950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Breeze20of20Innovation-3.jpg\" alt=\""Breeze of Innovation," by Fer Jerez and Belen Perez de Juan of SMAR Architecture Studio, is one of the finalists in Urban Confluence Silicon Valley's design competition for an iconic landmark to represent the region.\" width=\"526\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Breeze20of20Innovation-3.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Breeze20of20Innovation-3-160x160.jpg 160w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">“Breeze of Innovation,” by Fer Jerez and Belen Perez de Juan of SMAR Architecture Studio, is one of the finalists in Urban Confluence Silicon Valley’s design competition for an iconic landmark to represent the region. \u003ccite>(Courtesy: Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Light Tower Corporation\u003c/a> was originally formed with the idea that tower might be reinvented or reimagined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really boggles my mind that a philanthropic group or a government group or a company or \u003cem>someone\u003c/em> hasn’t built a public facing thing that is like the Space Needle or the Arch or the Statue of Liberty. We do need it, even if people don’t think we need it,” said Steve Borkenhagen, executive director of \u003ca href=\"https://www.urbanconfluencesiliconvalley.org\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Confluence Silicon Valley\u003c/a>, an international competition designed to fill what he feels is a void in the civic landscape of San Jose.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“Some people have said something like, ‘What about the Apple Spaceship or the NVIDIA building?’ Well, those are beautiful things, but they’re private. They’re not public. They don’t fulfill the same thing as public squares, public art, public architecture, places where you and I can sit and have a sandwich and have our heart race and think, ‘Wow, isn’t that beautiful? I want to show this to my children, share it with my grandchildren.'”\u003c/p>\n\u003cfigure id=\"attachment_13853000\" class=\"wp-caption aligncenter\" style=\"max-width: 1260px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png\" alt=\"The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes.\" width=\"1260\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png 1260w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1200x970.png 1200w\" sizes=\"(max-width: 1260px) 100vw, 1260px\">\u003cfigcaption class=\"wp-caption-text\">The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \u003ccite>(Photo: Courtesy of San Jose State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the folks behind the San Jose Light Tower Corporation recognized there was little to no demand for another replica of the light tower (there’s already a half-size version at San Jose’s History Park), the group opted instead for an open call to the world’s artists and architects.\u003c/p>\n\u003cp>\u003cb>\u003c/b>In 2019, the group got backing from the San Jose City Council as well as a spot for the ultimate winner in Guadalupe River Park. Thus came \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/ccp47\" target=\"_blank\" rel=\"noopener noreferrer\">963 submissions\u003c/a> from around the world.\u003c/p>\n\u003cp>City leaders required the competition create community panel of more than 30 people that reviewed the submissions and came up with a short list of 47 designs, but Urban Confluence ultimately deferred to a \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">jury\u003c/a> of 14 architects, artists and local park officials that chose three completely different designs.\u003c/p>\n\u003cp>“You put 14 really experienced, smart, sensitive people in a room. They make their own decisions,” said Borkenhagen.\u003c/p>\n\u003cfigure id=\"attachment_13886958\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1.png\" alt='\"Welcome to Wonderland,\" by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition.' width=\"1024\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-800x379.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-1020x483.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-160x76.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-768x364.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">“Welcome to Wonderland,” by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. \u003ccite>(Courtesy of Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/3-finalists?hsCtaTracking=8add456c-c878-43ec-9f50-a77ea5208987%7C2f03878f-d6cf-4edd-9539-20887449e4c3\" target=\"_blank\" rel=\"noopener noreferrer\">finalists\u003c/a>, he said, have some kind of singular “magic” that makes them likely to draw foot traffic to the park, a key goal for the competition organizers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“Activation of the park is our ultimate goal. It’s not just for us to plop down some beautiful object in the park and walk away,” he said, noting the park is steps away from the SAP Center, Google’s massive planned expansion and Diridon Station. “T\u003cb>\u003c/b>he footprint of downtown San Jose is going to double in size in the next 10 years. \u003cb>\u003c/b>We expect to be the new epicenter of our downtown, that the epicenter is going to shift to the west.”\u003c/p>\n\u003cp>So what’s the third finalist?\u003c/p>\n\u003cp>“Welcome to Wonderland” is a 700 foot long sculptural homage to Antoni Gaudí and Lewis Carroll’s \u003cem>Alice in Wonderland,\u003c/em> walkable inside, and built of a neutral material like plaster or aluminum that allows it to be lit up in technicolor fashion at night. It’s the brainchild of \u003ca href=\"https://www.linkedin.com/in/rish-ryusuke-saito-85b92b1a9/\" target=\"_blank\" rel=\"noopener noreferrer\">Rish Saito\u003c/a>, who recently graduated from SCI-Arc, the Southern California Institute of Architecture.\u003c/p>\n\u003cfigure id=\"attachment_13886951\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13886951 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Welcome20to20Wonderland.png\" alt='\"Welcome to Wonderland,\" by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. ' width=\"1000\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-800x307.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-768x295.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">“Welcome to Wonderland,” by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. \u003ccite>(Courtesy of Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My idea is how to make this a surreal environment by playing with abstraction. Some researchers say a violation of your expectation in a strange and fantastical circumstance refines the flexibility and creativity of your brain,” Saito said. \u003cb>\u003c/b>Silicon Valley and San Jose, he noted, is known for technological advancement, but he wants to celebrate the region’s history advancing imagination, wonder and innovation.\u003c/p>\n\u003cp>Next steps for Urban Confluence include ginning up more donations, as this landmark is primarily privately financed. One of the biggest donations to date comes from Adobe, which has packed the towers of its downtown headquarters with all kinds of \u003ca href=\"https://www.kqed.org/news/11187250/theres-a-secret-message-to-decode-in-san-jose\" target=\"_blank\" rel=\"noopener noreferrer\">public art\u003c/a>. But more money is needed.\u003c/p>\n\u003cp>Each designer will get a $150,000 stipend to develop the concepts into workable plans over the next few months with outside experts in landscaping, lighting, hydrology, and civil engineering. The winner be announced early next year. Groundbreaking is expected in 2022.\u003c/p>\n\u003cp>\u003cb>\u003c/b>And what of the critics? San Jose no stranger to \u003ca href=\"https://www.kqed.org/news/11668265/the-serpent-statue-in-san-jose-that-people-think-is-something-else\" target=\"_blank\" rel=\"noopener noreferrer\">controversy\u003c/a> over public art downtown. Borkenhagen is ready with answers, acknowledging there’s no hope of winning over everybody.\u003c/p>\n\u003cp>“We’re committed to building something magnificent and beautiful. But art and beauty are subjective,” he said, noting some people in Paris wanted to tear down the Eiffel Tower after the 1889 World’s Fair. “They thought it was an abomination.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is the structure that will say to the world, “Behold! \u003ca href=\"https://www.kqed.org/arts/13852981/does-silicon-valley-need-an-instagramable-icon\" target=\"_blank\" rel=\"noopener noreferrer\">This is Silicon Valley\u003c/a>! Look upon me — and then take a selfie for your social media feeds!”\u003c/p>\n\u003cp>Could it be “Nebula Tower,” shown above? From the proposal, it looks like the scaffolding on a construction project, but without a construction project inside.\u003c/p>\n\u003cp>Instead, there’s a conically shaped negative space inside, a nod to the original inspiration that led to this international search for an icon: a 207-foot-high light tower made of iron pipe and hoops that lit up the night sky in downtown San Jose from 1881 to 1915.\u003c/p>\n\u003cp>Or perhaps “Breeze of Innovation” is more to your liking. It promises to send 500 white rods shooting 200 feet into the sky, to represent Silicon Valley’s innovative companies. A similar tower-shaped empty space lurks inside here, too.\u003c/p>\n\u003cfigure id=\"attachment_13886950\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13886950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Breeze20of20Innovation-3.jpg\" alt=\""Breeze of Innovation," by Fer Jerez and Belen Perez de Juan of SMAR Architecture Studio, is one of the finalists in Urban Confluence Silicon Valley's design competition for an iconic landmark to represent the region.\" width=\"526\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Breeze20of20Innovation-3.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Breeze20of20Innovation-3-160x160.jpg 160w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">“Breeze of Innovation,” by Fer Jerez and Belen Perez de Juan of SMAR Architecture Studio, is one of the finalists in Urban Confluence Silicon Valley’s design competition for an iconic landmark to represent the region. \u003ccite>(Courtesy: Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Light Tower Corporation\u003c/a> was originally formed with the idea that tower might be reinvented or reimagined.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It really boggles my mind that a philanthropic group or a government group or a company or \u003cem>someone\u003c/em> hasn’t built a public facing thing that is like the Space Needle or the Arch or the Statue of Liberty. We do need it, even if people don’t think we need it,” said Steve Borkenhagen, executive director of \u003ca href=\"https://www.urbanconfluencesiliconvalley.org\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Confluence Silicon Valley\u003c/a>, an international competition designed to fill what he feels is a void in the civic landscape of San Jose.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“Some people have said something like, ‘What about the Apple Spaceship or the NVIDIA building?’ Well, those are beautiful things, but they’re private. They’re not public. They don’t fulfill the same thing as public squares, public art, public architecture, places where you and I can sit and have a sandwich and have our heart race and think, ‘Wow, isn’t that beautiful? I want to show this to my children, share it with my grandchildren.'”\u003c/p>\n\u003cfigure id=\"attachment_13853000\" class=\"wp-caption aligncenter\" style=\"max-width: 1260px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png\" alt=\"The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes.\" width=\"1260\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM.png 1260w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-160x129.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-800x646.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-768x620.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1020x824.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/5b218a82a2fa13a462b50dbe_Screen-Shot-2018-06-13-at-5.18.57-PM-1200x970.png 1200w\" sizes=\"(max-width: 1260px) 100vw, 1260px\">\u003cfigcaption class=\"wp-caption-text\">The Electric Light Tower was proposed by the publisher of the San Jose Mercury, the precursor of the Mercury News. In 1881, the tower was a pioneering use of electricity for municipal purposes. \u003ccite>(Photo: Courtesy of San Jose State University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the folks behind the San Jose Light Tower Corporation recognized there was little to no demand for another replica of the light tower (there’s already a half-size version at San Jose’s History Park), the group opted instead for an open call to the world’s artists and architects.\u003c/p>\n\u003cp>\u003cb>\u003c/b>In 2019, the group got backing from the San Jose City Council as well as a spot for the ultimate winner in Guadalupe River Park. Thus came \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/ccp47\" target=\"_blank\" rel=\"noopener noreferrer\">963 submissions\u003c/a> from around the world.\u003c/p>\n\u003cp>City leaders required the competition create community panel of more than 30 people that reviewed the submissions and came up with a short list of 47 designs, but Urban Confluence ultimately deferred to a \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/the-jury\" target=\"_blank\" rel=\"noopener noreferrer\">jury\u003c/a> of 14 architects, artists and local park officials that chose three completely different designs.\u003c/p>\n\u003cp>“You put 14 really experienced, smart, sensitive people in a room. They make their own decisions,” said Borkenhagen.\u003c/p>\n\u003cfigure id=\"attachment_13886958\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886958\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1.png\" alt='\"Welcome to Wonderland,\" by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition.' width=\"1024\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-800x379.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-1020x483.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-160x76.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome-to-Wonderland-2-1-1024x485-1-768x364.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">“Welcome to Wonderland,” by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. \u003ccite>(Courtesy of Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All three \u003ca href=\"https://www.urbanconfluencesiliconvalley.org/3-finalists?hsCtaTracking=8add456c-c878-43ec-9f50-a77ea5208987%7C2f03878f-d6cf-4edd-9539-20887449e4c3\" target=\"_blank\" rel=\"noopener noreferrer\">finalists\u003c/a>, he said, have some kind of singular “magic” that makes them likely to draw foot traffic to the park, a key goal for the competition organizers.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“Activation of the park is our ultimate goal. It’s not just for us to plop down some beautiful object in the park and walk away,” he said, noting the park is steps away from the SAP Center, Google’s massive planned expansion and Diridon Station. “T\u003cb>\u003c/b>he footprint of downtown San Jose is going to double in size in the next 10 years. \u003cb>\u003c/b>We expect to be the new epicenter of our downtown, that the epicenter is going to shift to the west.”\u003c/p>\n\u003cp>So what’s the third finalist?\u003c/p>\n\u003cp>“Welcome to Wonderland” is a 700 foot long sculptural homage to Antoni Gaudí and Lewis Carroll’s \u003cem>Alice in Wonderland,\u003c/em> walkable inside, and built of a neutral material like plaster or aluminum that allows it to be lit up in technicolor fashion at night. It’s the brainchild of \u003ca href=\"https://www.linkedin.com/in/rish-ryusuke-saito-85b92b1a9/\" target=\"_blank\" rel=\"noopener noreferrer\">Rish Saito\u003c/a>, who recently graduated from SCI-Arc, the Southern California Institute of Architecture.\u003c/p>\n\u003cfigure id=\"attachment_13886951\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13886951 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Welcome20to20Wonderland.png\" alt='\"Welcome to Wonderland,\" by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. ' width=\"1000\" height=\"384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland.png 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-800x307.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Welcome20to20Wonderland-768x295.png 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">“Welcome to Wonderland,” by Rish Saito, is a finalist in the Urban Confluence Silicon Valley competition. \u003ccite>(Courtesy of Urban Confluence Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My idea is how to make this a surreal environment by playing with abstraction. Some researchers say a violation of your expectation in a strange and fantastical circumstance refines the flexibility and creativity of your brain,” Saito said. \u003cb>\u003c/b>Silicon Valley and San Jose, he noted, is known for technological advancement, but he wants to celebrate the region’s history advancing imagination, wonder and innovation.\u003c/p>\n\u003cp>Next steps for Urban Confluence include ginning up more donations, as this landmark is primarily privately financed. One of the biggest donations to date comes from Adobe, which has packed the towers of its downtown headquarters with all kinds of \u003ca href=\"https://www.kqed.org/news/11187250/theres-a-secret-message-to-decode-in-san-jose\" target=\"_blank\" rel=\"noopener noreferrer\">public art\u003c/a>. But more money is needed.\u003c/p>\n\u003cp>Each designer will get a $150,000 stipend to develop the concepts into workable plans over the next few months with outside experts in landscaping, lighting, hydrology, and civil engineering. The winner be announced early next year. Groundbreaking is expected in 2022.\u003c/p>\n\u003cp>\u003cb>\u003c/b>And what of the critics? San Jose no stranger to \u003ca href=\"https://www.kqed.org/news/11668265/the-serpent-statue-in-san-jose-that-people-think-is-something-else\" target=\"_blank\" rel=\"noopener noreferrer\">controversy\u003c/a> over public art downtown. Borkenhagen is ready with answers, acknowledging there’s no hope of winning over everybody.\u003c/p>\n\u003cp>“We’re committed to building something magnificent and beautiful. But art and beauty are subjective,” he said, noting some people in Paris wanted to tear down the Eiffel Tower after the 1889 World’s Fair. “They thought it was an abomination.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Goats in San Jose got to live out everyone’s shelter-in-place fantasies last night after getting together in a massive group and going out to a bunch of places they’re not supposed to go.\u003c/p>\n\u003cp>The herd of 200 broke a fence and gallivanted through the streets of the East Foothills neighborhood until a rancher could contain them again.\u003c/p>\n\u003cp>The goat party was witnessed by Terry Roelands and his son Zach, who live near the hill the goats currently reside on. Zach caught some of the chaos on tape:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-QJCdhXXU4\u003c/p>\n\u003cp>Goats are proving to be supremely opportunistic animals during shelter in place. The San Jose herd follows the now-infamous Llandudno goats, who have been “\u003ca href=\"https://www.theguardian.com/news/2020/mar/31/llandudno-goats-herd-running-riot-coronavirus-lockdown\" target=\"_blank\" rel=\"noopener noreferrer\">running riot\u003c/a>” and “\u003ca href=\"https://www.theguardian.com/news/2020/mar/31/llandudno-goats-herd-running-riot-coronavirus-lockdown\" target=\"_blank\" rel=\"noopener noreferrer\">munching through gardens\u003c/a>” in the Welsh seaside resort since late March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/zeblet_jmh/status/1260599199017689088\u003c/p>\n\u003cp>It’s not just goats though. Last month, Turkish TV channel TRT made a helpful compilation of animals invading urban spaces and taking advantage of the decrease in humans wandering around.\u003c/p>\n\u003cp>Enjoy it while you can, creatures of the world …\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OP3XclQXrFQ\u003c/p>\n\n",
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"title": "Hooray, You Can Go to the Movies Again—at a Drive-In Theater",
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"content": "\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Drive-in theaters in San Jose and Concord reopened to the general public on Tuesday, providing a welcome respite for those missing a communal movie-watching experience. \u003c/p>\n\u003cp>The West Wind-owned theaters, among the last remaining drive-ins in the Bay Area, will enforce strict rules: you’ll have to wear a mask to leave your car, and can only exit your car to go to the bathroom. Cars must park 10 feet apart. And the concession stand will be closed. (Customers may bring their own snacks.) \u003c/p>\n\u003cp>So… what’s playing? You can find full current schedules for each theater \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. But as a taste, in San Jose, the following double features are showing at the Capitol Drive-In this week:\u003c/p>\n\u003cp>\u003cem>The Hunt\u003c/em> and \u003cem>The Invisible Man\u003c/em>\u003cbr>\n\u003cem>Gretel & Hansel\u003c/em> and \u003cem>Brahms: The Boy II\u003c/em>\u003cbr>\n\u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em> and \u003cem>Good Boys\u003c/em>\u003cbr>\n\u003cem>The Wretched\u003c/em> and \u003cem>Disappearance at Clifton Hill\u003c/em>\u003cbr>\n\u003cem>Trolls World Tour\u003c/em> and \u003cem>Dolittle\u003c/em>\u003cbr>\n\u003cem>Onward\u003c/em> and \u003cem>Trolls World Tour\u003c/em>\u003c/p>\n\u003cp>Never been to a drive-in theater before? Here are \u003ca href=\"https://www.westwinddi.com/blog/2018/10-drive-in-movie-tips\" rel=\"noopener noreferrer\" target=\"_blank\">some tips\u003c/a> for those ready to try the classic drive-in experience. (And if you’re closer to Sacramento, West Wind also operates a \u003ca href=\"https://www.westwinddi.com/locations/sacramento\" rel=\"noopener noreferrer\" target=\"_blank\">drive-in theater\u003c/a> there, currently showing an extra-nostalgic double feature of \u003cem>Raiders of the Lost Ark\u003c/em> and \u003cem>Indiana Jones and the Last Crusade\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets are $8.25 general admission / $1.75 for kids age 5–11. (No smuggling your friends in the trunk, now!) \u003ca href=\"https://www.westwinddi.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fSDVgS7CTr4\u003c/p>\n\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 40 years now, an all-female vocal ensemble from Oakland has led audiences in the Bay Area and beyond down a musical rabbit hole to visit the imagined recesses of our collective past in Europe and Eurasia.\u003c/p>\n\u003cp>The eight women of \u003ca href=\"http://www.kitka.org\" target=\"_blank\" rel=\"noopener\">Kitka Women’s Vocal Ensemble\u003c/a> call on that past in polyphonic unison, performing a staggering variety of traditional music that evokes, not \u003cem>your\u003c/em> past per se, but that of your great-grandmothers, in some village lost to the mists of time, and often, tragedy. It’s powerful stuff, both because the singing is fabulous, but also because the singers of Kitka do their homework and collaborate with people who come from the countries where these ancient lullabies, love songs and laments are sung.\u003c/p>\n\u003cp>This month, Kitka brought over \u003ca href=\"http://www.road-to-armenia.com/hasmik/hasmik.html\" target=\"_blank\" rel=\"noopener\">Hasmik Harutyunyan\u003c/a>, one of the premier voices of Armenian folk music, who runs the \u003ca href=\"https://musicofarmenia.com/shoghaken-folk-ensemble\" target=\"_blank\" rel=\"noopener\">Shoghaken Folk Ensemble\u003c/a> and directs the Hayrik Muradyan Traditional Song and Dance Children’s Ensemble in the Armenian capital, Yerevan. Tonight, she performs the last concert of a series, \u003cem>\u003ca href=\"http://www.kitka.org/events/2019/10/17/kitka-amp-hasmik-harutyunyan-in-concert-gorani-love-songs-and-lullabies-to-lost-homelands-435tp\" target=\"_blank\" rel=\"noopener\">Gorani: Love Songs to Lost Homelands\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Harutyunyan says the concerts delivers exactly what the title implies: a musical bridge to village life before the slaughter and forced diaspora of the early 20th century.\u003c/p>\n\u003cp>“After the concert, people are coming to me and sometimes they’re so excited. They’re telling, ‘Oh that’s the song my parents or grandparents were singing.’” This music, she says, takes them on a journey to their childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is actually our third collaborative project with Hasmik Harutyunyan,” says Kitka’s longtime artistic director Shira Cion. “She’s taught us so much. She’s so generous spirited. She’s like an encyclopedia of Armenian folk music.”\u003c/p>\n\u003cfigure id=\"attachment_13868488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868488\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg\" alt=\"Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences.\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/RS39594_Kitka.-Photo-by-Tomas-Pacha-2-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area institution Kitka is celebrating its 40th year performing traditional folk music from Europe and Eurasia, as well as introducing folk musicians from those regions to American audiences. \u003ccite>(Photo: Courtesy of Tomas Pacha)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harutyunyan is no stranger to the US. She was last in the US with Kitka nearly ten years ago. She performed at Carnegie Hall and participated in Yo-Yo Ma’s \u003ca href=\"https://www.silkroad.org\" target=\"_blank\" rel=\"noopener\">Silk Road\u003c/a> Project. Her music can also be heard on the soundtrack of the film \u003cem>Ararat\u003c/em>.\u003c/p>\n\u003cp>Kitka’s fascination with Armenian folk singing might seem obvious, but the music is a departure from the rich harmonies and intricate ornamentation of traditional Eastern European vocal music Kitka is known for. (Kitka means “bouquet” in Bulgarian and Macedonian.)\u003c/p>\n\u003cp>“Armenian music is really a different colored crayon than what we’re accustomed to,” says Cion. “Most of Kitka’s repertoire is polyphonic, meaning scored for many voices singing in harmony. Whereas Armenian music is modal music and monodic music. So it’s different. It’s really based on melody lines that interact with a bass drone pitch. This sort of music is much more common in the Near East, in Indian music and Persian music. Because there isn’t so much fussing with the harmonies, the melody lines are particularly beautiful, intricate, rich and compelling.”\u003c/p>\n\u003cp>This program also features the music of by the Armenian composer and folk song collector Komitas Vardapet (1869-1935), an iconic figure in Armenian history.\u003c/p>\n\u003cp>“He was very much like Bartok was for Hungary or Alan Lomax was for American folk music. As a Western trained classical composer, he took inspiration from these folk melodies and created harmonized choral pieces in a more Western classical tradition, both for choirs and for the piano,” Cion says.\u003c/p>\n\u003cp>Thanks to the work of Vardapet and his students, thousands of traditional songs survived the Armenian Genocide of 1914-1923. Harutyunyan aims to do the same in modern times. \u003cem>Ororotsayin\u003c/em>, Harutyunyan’s new book and CD anthology of 57 historical Armenian lullabies, includes mostly songs that have never been recorded before.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fSDVgS7CTr4'\n title='//www.youtube.com/embed/fSDVgS7CTr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harutyunyan first learned to love her tradition at the knee of her grandmother who sang to her as a child in historic (Western) Armenia. As an adult, Harutyunyan picked up more from other grandmothers, as well as from their descendants and old song collections.\u003c/p>\n\u003cp>For Harutyunyan, this practice of ethnomusicology is not academic. “Folk songs are the road to take to go back to our homeland. If we lose that road, we are going to be lost forever.”\u003c/p>\n\u003cp>Along those lines, Harutyunyan notes, “We still have thousands of music, songs and melodies in \u003cem>khaz\u003c/em>. That’s the old Armenian notation system. We lost the key to read these melodies. So we are still waiting for some day when some smart generation will be able to read these melodies and songs.\u003c/p>\n\u003cp>There’s a sizable Armenian-American population \u003ca href=\"https://www.kqed.org/bayareabites/70323/food-spirituality-fall-feast-with-armenians-in-san-francisco\" target=\"_blank\" rel=\"noopener\">in the San Francisco Bay Area\u003c/a>, concentrated in and around San Francisco, Oakland and San Jose. Harutyunyan’s concerts typically draw a large turnout. Might there be some Silicon Valley techies in the audience game to take up that challenge? “Maybe,” she muses, laughing. “Computer now is doing so many amazing things. Why not? This is the time!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can catch the last concert of this series tonight at the Hammer Theatre Center in San Jose. \u003ca href=\"https://hammertheatre.com/calendar/\" target=\"_blank\" rel=\"noopener\">\u003cem>Details here\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "after-grassroots-organizing-san-jose-recognizes-chicano-murals-as-historic-sites",
"title": "After Grassroots Organizing, San Jose Recognizes Chicano Murals as Historic Sites",
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"content": "\u003cp>\u003ci>This article originally appeared in \u003c/i>\u003ca href=\"http://peninsulapress.com/2019/10/16/community-celebrates-first-ever-protections-for-chicano-murals/\" rel=\"noopener\" target=\"_blank\">Peninsula Press\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Community members who want to preserve Chicano art in San Jose are celebrating a unanimous decision by the city’s Historic Landmarks Commission to grant protections to six murals previously at risk of being painted over.\u003c/p>\n\u003cp>The commission’s Oct. 2 decision to add the murals to a database of historic sites—the \u003ca href=\"https://www.sanjoseca.gov/index.aspx?NID=2172\" rel=\"noopener\" target=\"_blank\">Historic Resources Inventory\u003c/a>—comes after nearly a year of advocacy by a group of artists, activists and residents who were alarmed by the sudden removal of \u003cem>Mural de la Raza\u003c/em>, which was on the side of a now-shuttered Payless ShoeSource. The organizing group, El Comité for the Preservation of Chicano Arts, worried that incidents like this would continue without government action.\u003c/p>\n\u003cp>[aside postID='arts_13845793' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg']\u003c/p>\n\u003cp>“Every time we passed by, my parents were able to point out the parts of Mexican history that they… recognized in that mural,” San Jose resident Cristal Olivas told the commission about \u003cem>Mural de la Raza\u003c/em>.\u003c/p>\n\u003cp>“In this critical time of increasing displacement, preserving these cultural pieces is a small step in showing us that our communities belong… and that we are wanted,” Olivas added.\u003c/p>\n\u003cp>Olivas joined 20 other El Comité representatives who testified before the commission about the importance of preserving Chicano culture in a city where a third of the population is Latino, many of them of Mexican descent.\u003c/p>\n\u003cp>This is the first time a Chicano mural will be added to the inventory, which is composed mostly of homes deemed historic for their architectural design.\u003c/p>\n\u003cfigure id=\"attachment_13868391\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg\" alt=\"One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13868391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The murals prominently feature Mexican symbols, including the Aztec calendar and the Virgin Mary. One mural spans the building where labor leaders Cesar Chavez and Dolores Huerta organized farmworkers in the 1960s and 1970s. Painted by Jose Mesa Velasquez in 1985, \u003cem>Mural de la Raza\u003c/em> featured the faces of well-known local activists and residents.\u003c/p>\n\u003cp>But the murals are not fully in the clear.\u003c/p>\n\u003cp>“This is kind of just a first step,” said Juliet Arroyo, the city’s Historic Preservation Officer who reviews any proposed additions to the inventory.\u003c/p>\n\u003cp>Arroyo explained that inclusion in the inventory acts as a “red flag” that alerts officials at the Department of Planning, Building and Code Enforcement that proposed changes to a property with a mural must undergo additional scrutiny. There is no guarantee that a mural will be spared after review.\u003c/p>\n\u003cp>El Comité aims to get the city to recognize each mural as a City Landmark, a designation that ensures they will be preserved and routinely maintained. Landmark designation requires approval from city council.\u003c/p>\n\u003cp>The move brings San Jose in step with Los Angeles, Oakland and others where city governments have granted protections to Chicano murals. In San Diego, the Barrio Logan Chicano Park, with more than 80 murals, is a national landmark.\u003c/p>\n\u003cp>“San Jose is not unique in protecting this culture but it’s a long time coming,” said Samantha Emmanuel, a professional art conservator who has volunteered her expertise with El Comité.\u003c/p>\n\u003cfigure id=\"attachment_13868393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg\" alt=\"Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13868393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be considered for the inventory, the murals needed detailed documentation, which hadn’t been done before. El Comité members spent the last eight months photographing the murals, taking dimensions, identifying the artists, and researching the years they were painted.\u003c/p>\n\u003cp>El Comité plans on trying to add eight more murals to the inventory.\u003c/p>\n\u003cp>Because a mural is often painted in an informal arrangement between an artist and a property owner, there is typically no official record of the agreement.\u003c/p>\n\u003cp>Also, a change in ownership can lead to a mural’s removal. That’s what happened to \u003cem>Mural de la Raza\u003c/em> in August 2018 and at least four others since 2002.\u003c/p>\n\u003cp>One such mural, \u003cem>El Tarasco\u003c/em> was painted after the artist, Alfonso Salazar, received permission and $500 in commission from the owner of the taqueria across the street from where he worked. After twenty-five years, the restaurant went out of business, and with it his mural.\u003c/p>\n\u003cp>Five of the six murals are on properties whose owners El Comité expected would be amenable to preserving public art: a church, three schools and a community health center. Arroyo, however, said that because none of the properties are fully owned by the city (the health center is partly owned by the city), the fate of the murals is still uncertain.\u003c/p>\n\u003cp>The sixth mural is the most vulnerable. It is painted on a building that used to be Guadelajara Market, and neither Arroyo nor members of El Comité can identify the owner and whether the building is for sale or for lease.\u003c/p>\n\u003cp>“This is a good reason to add it to the inventory,” said Emmanuel. “A new owner or new buyer may not know anything about the significance of the mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "For the first time, Chicano murals will enter the city's Historic Resources Inventory, which is mostly composed of architecturally significant homes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This article originally appeared in \u003c/i>\u003ca href=\"http://peninsulapress.com/2019/10/16/community-celebrates-first-ever-protections-for-chicano-murals/\" rel=\"noopener\" target=\"_blank\">Peninsula Press\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Community members who want to preserve Chicano art in San Jose are celebrating a unanimous decision by the city’s Historic Landmarks Commission to grant protections to six murals previously at risk of being painted over.\u003c/p>\n\u003cp>The commission’s Oct. 2 decision to add the murals to a database of historic sites—the \u003ca href=\"https://www.sanjoseca.gov/index.aspx?NID=2172\" rel=\"noopener\" target=\"_blank\">Historic Resources Inventory\u003c/a>—comes after nearly a year of advocacy by a group of artists, activists and residents who were alarmed by the sudden removal of \u003cem>Mural de la Raza\u003c/em>, which was on the side of a now-shuttered Payless ShoeSource. The organizing group, El Comité for the Preservation of Chicano Arts, worried that incidents like this would continue without government action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Every time we passed by, my parents were able to point out the parts of Mexican history that they… recognized in that mural,” San Jose resident Cristal Olivas told the commission about \u003cem>Mural de la Raza\u003c/em>.\u003c/p>\n\u003cp>“In this critical time of increasing displacement, preserving these cultural pieces is a small step in showing us that our communities belong… and that we are wanted,” Olivas added.\u003c/p>\n\u003cp>Olivas joined 20 other El Comité representatives who testified before the commission about the importance of preserving Chicano culture in a city where a third of the population is Latino, many of them of Mexican descent.\u003c/p>\n\u003cp>This is the first time a Chicano mural will be added to the inventory, which is composed mostly of homes deemed historic for their architectural design.\u003c/p>\n\u003cfigure id=\"attachment_13868391\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg\" alt=\"One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13868391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/03_Murals_COVER-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the six murals that the San Jose Historic Landmarks Commission recently added to the Historic Resources Inventory is painted on the shuttered Guadelajara Market #2 on Empire Street in San Jose. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The murals prominently feature Mexican symbols, including the Aztec calendar and the Virgin Mary. One mural spans the building where labor leaders Cesar Chavez and Dolores Huerta organized farmworkers in the 1960s and 1970s. Painted by Jose Mesa Velasquez in 1985, \u003cem>Mural de la Raza\u003c/em> featured the faces of well-known local activists and residents.\u003c/p>\n\u003cp>But the murals are not fully in the clear.\u003c/p>\n\u003cp>“This is kind of just a first step,” said Juliet Arroyo, the city’s Historic Preservation Officer who reviews any proposed additions to the inventory.\u003c/p>\n\u003cp>Arroyo explained that inclusion in the inventory acts as a “red flag” that alerts officials at the Department of Planning, Building and Code Enforcement that proposed changes to a property with a mural must undergo additional scrutiny. There is no guarantee that a mural will be spared after review.\u003c/p>\n\u003cp>El Comité aims to get the city to recognize each mural as a City Landmark, a designation that ensures they will be preserved and routinely maintained. Landmark designation requires approval from city council.\u003c/p>\n\u003cp>The move brings San Jose in step with Los Angeles, Oakland and others where city governments have granted protections to Chicano murals. In San Diego, the Barrio Logan Chicano Park, with more than 80 murals, is a national landmark.\u003c/p>\n\u003cp>“San Jose is not unique in protecting this culture but it’s a long time coming,” said Samantha Emmanuel, a professional art conservator who has volunteered her expertise with El Comité.\u003c/p>\n\u003cfigure id=\"attachment_13868393\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg\" alt=\"Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13868393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/00_-Murals_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Residents Juan Carlos Araujo and Maricela Lechuga hold up signs urging the Historic Landmarks Commission to help protect Chicano murals at City Hall in San Jose, on Oct. 2, 2019. \u003ccite>(Vanessa Ochavillo/Peninsula Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To be considered for the inventory, the murals needed detailed documentation, which hadn’t been done before. El Comité members spent the last eight months photographing the murals, taking dimensions, identifying the artists, and researching the years they were painted.\u003c/p>\n\u003cp>El Comité plans on trying to add eight more murals to the inventory.\u003c/p>\n\u003cp>Because a mural is often painted in an informal arrangement between an artist and a property owner, there is typically no official record of the agreement.\u003c/p>\n\u003cp>Also, a change in ownership can lead to a mural’s removal. That’s what happened to \u003cem>Mural de la Raza\u003c/em> in August 2018 and at least four others since 2002.\u003c/p>\n\u003cp>One such mural, \u003cem>El Tarasco\u003c/em> was painted after the artist, Alfonso Salazar, received permission and $500 in commission from the owner of the taqueria across the street from where he worked. After twenty-five years, the restaurant went out of business, and with it his mural.\u003c/p>\n\u003cp>Five of the six murals are on properties whose owners El Comité expected would be amenable to preserving public art: a church, three schools and a community health center. Arroyo, however, said that because none of the properties are fully owned by the city (the health center is partly owned by the city), the fate of the murals is still uncertain.\u003c/p>\n\u003cp>The sixth mural is the most vulnerable. It is painted on a building that used to be Guadelajara Market, and neither Arroyo nor members of El Comité can identify the owner and whether the building is for sale or for lease.\u003c/p>\n\u003cp>“This is a good reason to add it to the inventory,” said Emmanuel. “A new owner or new buyer may not know anything about the significance of the mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Poetry is having a moment in San Jose right now. A week, really: the 5th Annual \u003ca href=\"http://pcsj.org/festival\" target=\"_blank\" rel=\"noopener\">San José Poetry Festival\u003c/a> started Thursday night and runs through Tuesday at a variety of venues downtown.\u003c/p>\n\u003cp>Poems are like cats. Not everybody loves them, but those that do feel an inexplicable sense of ownership over particular individuals, like they were written for the express purpose of pleasing you. Though, of course, you can’t own a poem, anymore than you can own a cat.\u003c/p>\n\u003cp>So there’s really no point in telling you what you want to see amongst the smorgasbord of options to choose from. But Saturday night, a solid bet is MACLA on 1st Street, which will feature youth poets Emma Rheams, Rohnny Vallarta, and Anouk Yeh from MACLA’s DMC Studio program. They’ll be followed by performances from Riley O’Connell, editor-in-chief of \u003ca href=\"https://santaclarareview.com\" target=\"_blank\" rel=\"noopener\">The Santa Clara Review\u003c/a>, and \u003ca href=\"https://www.hercampus.com/author/christina-madueno\" target=\"_blank\" rel=\"noopener\">Christina Madueño\u003c/a>.\u003c/p>\n\u003cp>They’ll be followed in turn by my new favorite, \u003ca href=\"http://brendanconstantine.com/brendan/\" target=\"_blank\" rel=\"noopener\">Brendan Constantine\u003c/a> of Los Angeles. He teaches poetry, which inspires poetry, like his masterpiece “The Opposites,” which inspired this animated interpretation from TED-ed:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=KO6527S5JOU]\u003c/p>\n\u003cp>Brendan Constantine’s work can be found in such salubrious publications as \u003cem>Best American Poetry, Poem-a-Day, Tin House, Rattle, \u003c/em>and \u003cem>Chautauqua.\u003c/em> Alongside him is no slouch \u003ca href=\"http://authorjoyelan.com\" target=\"_blank\" rel=\"noopener\">Joy Elan\u003c/a> from the East Bay. She won twice at the National Poetry Awards for Poetry Video of the Year (2015) and Poet of the Year (2016).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"style30\" align=\"left\">Constantine will also lead a Sunday poetry workshop at \u003ca href=\"https://workssanjose.org\" target=\"_blank\" rel=\"noopener\">Works/San José\u003c/a>). Promised topics include dreams, writer’s block, and “how to end a poem.” No experience necessary.\u003c/p>\n\u003cp>Sunday, you won’t want to miss spoken word artist Bri Blue of Berkeley, who’s a joy to watch on YouTube, and even better live at the \u003ca href=\"http://www.caravanloungesanjose.com\" target=\"_blank\" rel=\"noopener\">Caravan Lounge\u003c/a>. Don’t know if you believe me? Watch this.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5AVsHXL4dmc]\u003c/p>\n\u003cp>“I love an incredible turn of phrase,” says outgoing Santa Clara County Poet Laureate \u003ca href=\"https://mightymikemcgee.com\" target=\"_blank\" rel=\"noopener\">Mighty Mike McGee\u003c/a>. (Submissions for the next one are being accepted \u003ca href=\"https://www.svcreates.org/santa-clara-county-poet-laureate-guidelines-and-application-instructions/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. “I’m hoping thousands of people apply.”)\u003c/p>\n\u003cp>He gave the festival’s keynote address and he’ll be here out all week. Literally.\u003c/p>\n\u003cp>“I’m telling ya. There is a poem out there for you. Whether you want to write it or not. Somebody will write the poem that you need. And you will likely hear it if you go out there enough,” he said.\u003c/p>\n\u003cp>So go out there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">The \u003cstrong>San Jose Poetry Festival\u003c/strong> runs Sept. 5-10 at various venues in downtown San Jose. For more information, click \u003ca href=\"http://pcsj.org/festival\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry is having a moment in San Jose right now. A week, really: the 5th Annual \u003ca href=\"http://pcsj.org/festival\" target=\"_blank\" rel=\"noopener\">San José Poetry Festival\u003c/a> started Thursday night and runs through Tuesday at a variety of venues downtown.\u003c/p>\n\u003cp>Poems are like cats. Not everybody loves them, but those that do feel an inexplicable sense of ownership over particular individuals, like they were written for the express purpose of pleasing you. Though, of course, you can’t own a poem, anymore than you can own a cat.\u003c/p>\n\u003cp>So there’s really no point in telling you what you want to see amongst the smorgasbord of options to choose from. But Saturday night, a solid bet is MACLA on 1st Street, which will feature youth poets Emma Rheams, Rohnny Vallarta, and Anouk Yeh from MACLA’s DMC Studio program. They’ll be followed by performances from Riley O’Connell, editor-in-chief of \u003ca href=\"https://santaclarareview.com\" target=\"_blank\" rel=\"noopener\">The Santa Clara Review\u003c/a>, and \u003ca href=\"https://www.hercampus.com/author/christina-madueno\" target=\"_blank\" rel=\"noopener\">Christina Madueño\u003c/a>.\u003c/p>\n\u003cp>They’ll be followed in turn by my new favorite, \u003ca href=\"http://brendanconstantine.com/brendan/\" target=\"_blank\" rel=\"noopener\">Brendan Constantine\u003c/a> of Los Angeles. He teaches poetry, which inspires poetry, like his masterpiece “The Opposites,” which inspired this animated interpretation from TED-ed:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KO6527S5JOU'\n title='//www.youtube.com/embed/KO6527S5JOU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Brendan Constantine’s work can be found in such salubrious publications as \u003cem>Best American Poetry, Poem-a-Day, Tin House, Rattle, \u003c/em>and \u003cem>Chautauqua.\u003c/em> Alongside him is no slouch \u003ca href=\"http://authorjoyelan.com\" target=\"_blank\" rel=\"noopener\">Joy Elan\u003c/a> from the East Bay. She won twice at the National Poetry Awards for Poetry Video of the Year (2015) and Poet of the Year (2016).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"style30\" align=\"left\">Constantine will also lead a Sunday poetry workshop at \u003ca href=\"https://workssanjose.org\" target=\"_blank\" rel=\"noopener\">Works/San José\u003c/a>). Promised topics include dreams, writer’s block, and “how to end a poem.” No experience necessary.\u003c/p>\n\u003cp>Sunday, you won’t want to miss spoken word artist Bri Blue of Berkeley, who’s a joy to watch on YouTube, and even better live at the \u003ca href=\"http://www.caravanloungesanjose.com\" target=\"_blank\" rel=\"noopener\">Caravan Lounge\u003c/a>. Don’t know if you believe me? Watch this.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5AVsHXL4dmc'\n title='//www.youtube.com/embed/5AVsHXL4dmc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I love an incredible turn of phrase,” says outgoing Santa Clara County Poet Laureate \u003ca href=\"https://mightymikemcgee.com\" target=\"_blank\" rel=\"noopener\">Mighty Mike McGee\u003c/a>. (Submissions for the next one are being accepted \u003ca href=\"https://www.svcreates.org/santa-clara-county-poet-laureate-guidelines-and-application-instructions/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. “I’m hoping thousands of people apply.”)\u003c/p>\n\u003cp>He gave the festival’s keynote address and he’ll be here out all week. Literally.\u003c/p>\n\u003cp>“I’m telling ya. There is a poem out there for you. Whether you want to write it or not. Somebody will write the poem that you need. And you will likely hear it if you go out there enough,” he said.\u003c/p>\n\u003cp>So go out there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">The \u003cstrong>San Jose Poetry Festival\u003c/strong> runs Sept. 5-10 at various venues in downtown San Jose. For more information, click \u003ca href=\"http://pcsj.org/festival\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds",
"headTitle": "How Sonido Clash Music Fest Became a Hub for Forward-Thinking Latinx Sounds | KQED",
"content": "\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> [aside postid='arts_13864931']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. [aside postid='arts_13861579']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Azucena Rasilla\u003c/strong>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before Chicanx singer-songwriter Cuco had international buzz, he was handpicked to perform at \u003c/span>\u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash Music Fest\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a small but influential upstart out of East San Jose, in the heart of Silicon Valley. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the past ten years, the \u003c/span>\u003ca href=\"http://sonidoclash.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sonido Clash\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> crew has created a platform for emerging, out-there Latinx sounds, curating events with an eclectic mix of genres such as punk, cumbia, alternativo, oldies and hip-hop. The collective (comprised of \u003c/span>\u003ca href=\"http://instagram.com/mextape\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Angel “Mextape” Luna\u003c/span>\u003c/a>; \u003ca href=\"https://www.instagram.com/turbosonidero/?hl=en\">\u003cspan style=\"font-weight: 400\">Roman Zepeda, a.k.a. Turbo Sonidero\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/thereal_chalebrown\">\u003cspan style=\"font-weight: 400\">Thomas Ramon Aguilar, a.k.a. Chale Brown\u003c/span>\u003c/a>;\u003ca href=\"http://instagram.com/sonido_ozzy\">\u003cspan style=\"font-weight: 400\"> Osvaldo Chavez, a.k.a. Sonido Ozzy\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ca href=\"http://instagram.com/quynhlatifah\">\u003cspan style=\"font-weight: 400\">Quynh-Mai Nguyen\u003c/span>\u003c/a>;\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"http://instagram.com/tlacoyo\">\u003cspan style=\"font-weight: 400\">Fernando J. Pérez Fiesco, a.k.a. Tlacoyo\u003c/span>\u003c/a>)\u003cspan style=\"font-weight: 400\"> reflects the Bay Area’s melting pot, and is committed to representing Eastside San Jose’s Latinx community amid ongoing gentrification. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With DJs and culture workers among their ranks, the members of Sonido Clash have a knack for booking buzzworthy acts before they blow up, and for introducing important international artists to the Bay Area music scene. For the festival’s fourth installation on Sept. 1, expect to hear music from Argentine-Spanish perreo artist Ms Nina, cumbia DJ G-Flux from Mexico City and headliners Nina Sky, the Puerto Rican twin duo known for 2000s pop hits like “Move Ya Body.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg\" alt=\"Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez.\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash-1200x825.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Sonido-Clash.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash members (from left to right) Fernando J. Pérez Fiesco, Ramon Zepeda, Quynh-Mai Nguyen, Angel Luna, Thomas Aguilar and Osvaldo Chavez. \u003ccite>(Azucena Rasilla)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sonido Clash’s events represent a multicultural viewpoint familiar to many Latinx folks in the United States, where cumbia and ranchera sounds might be the norm in some households, while soul, hip-hop and oldies are in rotation in others. Previous editions of Sonido Clash Music Fest have featured new and old-school acts alike, such as Mexican dembow producer Chico Sonido, garage-pop band Los Blenders, electronic “cholo goth” duo Prayers and electro-funk pioneer Egyptian Lover. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Keeping it hella San Jose, the festival takes place at the School of Arts and Culture at the Mexican Heritage Plaza. Since 1999, the Mexican Heritage Plaza has been a hub for Chicanx culture in the South Bay, hosting concerts by Mexican bands like Kinky when rock en Español\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">reigned supreme. For the past four summers, Sonido Clash Music Fest has transformed the campus into a vibrant celebration of Latinx youth culture.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every year at Sonido Clash Music Fest, local vendors’ and visual artists’ booths line the pathways of the Mexican Heritage Plaza. In addition to two music stages, there’s one devoted to spoken-word poetry. This year, the Poets of Color podcast crew and San Jose undocu-artist, poet and author Yosimar Reyes are slated to perform.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While in recent years, reggaeton and Latinx trap have become fixtures on the radio, and collaborations among artists from different genres are no longer uncommon, this was far from the norm when the Sonido Clash crew got their start back in 2009. “Everyone was [musically] segregated,” says Luna, adding that those into rock en Español, cumbia or pop did not mingle with one another. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The crew put their ideas and resources together and got to work. Their first events took place at Silicon Valley De-Bug (where Pérez works), an organization rooted in social-justice organizing through multimedia storytelling. For one of their first events, titled Cultura en Tu Idioma (or Culture in Your Language), they booked Cuban artists DJ Leidis and Las Krudas, as well as Mexican rapper and poet Bocafloja. “We had punk bands with cumbia bands all together,” Zepeda adds. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13865322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865322\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg\" alt=\"Sonido Clash's eclectic booking has made the collective a force in the South Bay music scene and beyond.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/71tb573Q.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonido Clash’s eclectic booking has made the collective a force in the South Bay music scene and beyond. \u003ccite>(Franz Berrato )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was through Aguilar’s reputation as a hip-hop DJ that Sonido Clash was able to break into clubs that typically played hip-hop and Top 40, though the crew encountered some resistance from club owners at first. “It was difficult,” Luna says. “[There was] ignorance about the music we were playing, and what we were doing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After years of making a name for themselves with monthly parties, the crew’s inaugural Sonido Clash fest in 2016 was well received, with over 600 people in attendance, exceeding the 250 that the collective had anticipated. That year, artists like bilingual hip-hop duo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Los Rakas\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> hip-hop and funk band \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/bang-data-joins-the-resistance/Content?oid=9423362\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bang Data\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, East Los Angeles disco-pop artist Tropa Magica and DJ collective Chulita Vinyl Club were on the lineup. By 2018, the number of attendees grew to 1,700. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the last decade, the members of Sonido Clash have seen their influence grow. This year, they curated a stage at the renowned San Jose Jazz Summer Fest. And former Sonido Clash member \u003c/span>\u003ca href=\"https://www.instagram.com/eazyuno/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Eazy Uno\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> recently set up a similar event in Los Angeles, El Meneaito at La Cita Bar. “He was the best DJ in our collective,” Zepeda says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Following in Sonido Clash’s footsteps, new Bay Area party crews specializing in eclectic Latinx sounds have sprung up in recent years, including Chulita Vinyl Club (whose \u003c/span>\u003ca href=\"https://www.instagram.com/mare.e.fresh/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Mare E. Fresh\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> joined Sonido Clash as a resident DJ) and the Central American DJ collective \u003c/span>\u003ca href=\"https://www.instagram.com/amordigital415/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Amor Digital\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, comprised of Juanny Depp, Namaste Shawty and 99 Percent Lean.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the members of Sonido Clash celebrate their 10th anniversary as a crew, they have a clear vision of the work they want to continue in the years to come. As they get older and start families, they want to inspire the next generation to take risks and continue building space for communities of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Luna put it, “We’re not afraid to be who we are and preserve history.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Not Your Grandma's Big Band: 7th Street Reaches for the Edge of Jazz",
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"content": "\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13863049,arts_13804037,arts_10885260' label='More San Jose Jazz']But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czvmy1qYOis\u003c/p>\n\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pretty much the only thing traditional about San Jose’s \u003ca href=\"https://www.7thstreetbigband.com/\">7th Street Big Band\u003c/a> is the instrumentation.\u003c/p>\n\u003cp>At a recent rehearsal, the group’s founder, band leader and drum set player Gabby Horlick, ticked off the personnel.\u003c/p>\n\u003cp>“Today we’ll have four trumpets, four trombones, five saxophones, a flute and a full rhythm section,” said Horlick. “We have a bunch of singers coming today, also.”\u003c/p>\n\u003cp>Horlick said people filter in and out of the band, but there’s usually about 20 members. They barely fit in Horlick’s living room, which she converts to a rehearsal space every other Sunday.\u003c/p>\n\u003cp>Now, if big band makes you think swing music, you might be disappointed with the sound of 7th Street.\u003c/p>\n\u003cfigure id=\"attachment_13862984\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38386_IMG_3054-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Besides playing the drums in the band, Gabby Horlick organizes band charts and gigs and helps lead rehearsals.\u003c/figcaption>\u003c/figure>\n\u003cp>“Our tagline is ‘we’re not your grandparents big band’,” said Horlick. “ We don’t really play “In the Mood” and “Sing Sing Sing” and these traditional big band songs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But, Horlick says, they do have the chops to play those songs and they’ve performed standards like those when the group first got together in 2013.\u003c/p>\n\u003cp>Like many musicians today, they feel free to draw from multiple musical traditions. Influences range from pop and funk to hip hop, as well as jazz. And they do covers, like Childish Gambino’s “Redbone”.\u003c/p>\n\u003cp>But the 7th Street Big Band plays a lot of original music, too. Their most streamed song on Spotify, from their 2018 album “Off Cinderella Lane” was written by their tenor saxophone player. It’s called “\u003ca href=\"https://open.spotify.com/track/5L3FLFDJCua5vqhtNe3j5s\" target=\"_blank\" rel=\"noopener\">One Man’s Trash\u003c/a>” and it’s another piece that bucks big band tradition with its heavy tinges of electronic dance music.\u003c/p>\n\u003cp>Most members of the band are recent grads from San Jose State. Hence the band name, a nod to one of the prominent streets adjacent to campus.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/czvmy1qYOis'\n title='//www.youtube.com/embed/czvmy1qYOis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>24-year-old band member Brittany Biala studied jazz at San Jose State and graduated last year. Now she teaches music and plays saxophone with the group. Biala said this is not the first time she’s played with a big band.\u003c/p>\n\u003cp>“The typical big bands that I’ve been in definitely have an older generation of people who want to play mostly straight-ahead jazz, which is awesome,” says Biala. “But we definitely play some funkier versions. And we have a rapper.”\u003c/p>\n\u003cp>Biala says the band members, who are almost all in their 20s, enjoy each other’s company and that leads to more musical experimentation. And, of course, jazz is all about experimentation.\u003c/p>\n\u003cp>“It’s survived by mixing with so many genres,” says Biala. “And that’s how it always is turning into something new, creating something new, becoming something new.”\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> 7th Street Big Band\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the Swing Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Jazz Summer Fest: In the Pocket at 30",
"headTitle": "San Jose Jazz Summer Fest: In the Pocket at 30 | KQED",
"content": "\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>[aside postID='arts_13857655,arts_13804037,arts_10885260' label='More San Jose Jazz']Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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"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>",
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"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?",
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"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",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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