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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",
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"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",
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"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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"title": "'Be it, so others can see it.' SF 'Hamilton' Actors Run Improv Workshop at San Jose High School",
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"content": "\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, when you ask, you receive. So it was for Rolland Janairo, the new executive director of the \u003ca href=\"https://www.svudl.org/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Urban Debate League\u003c/a>. A few months ago, he attended a performance of \u003ca href=\"https://hamiltonmusical.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton\u003c/em>\u003c/a> in San Francisco, went back stage to meet the actors, pitched Christopher Henry Young on coaching a gaggle of high school debate students, and “his eyes just lit up.” \u003c/p>\n\u003cp>So it was, with an assist from the \u003ca href=\"http://www.sfbatco.org\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Theatre Company\u003c/a>, that Young showed up with at Yerba Buena High School in San Jose last week with three fellow cast members (in an unofficial capacity, as far as the musical is concerned). Unofficial or not, it was the headlining highlight of this year’s SVUDL summer debate institute.\u003c/p>\n\u003cp>“Little secret,” Young confided before the group gathered in the cafeteria. “We’re all much shyer than we appear. It’s all smoke and mirrors. So I’m able to be up here, and look you in the eye, not because it’s natural to me, but because I’ve had to learn tools and tricks,” said the \u003cem>Hamilton\u003c/em> ensemble member, who’s also been in \u003cem>The Wiz\u003c/em> and \u003cem>Guys and Dolls\u003c/em> on Broadway.\u003c/p>\n\u003cp>Frankly, they could have recited the \u003cem>U.S. Constitution\u003c/em> and this crowd of 35 students would have paid rapt attention, but it turns out debate and public speaking are legitimately a lot like theatre, because performers have to be prepared to respond to the unexpected while performing on stage.\u003c/p>\n\u003cp>“A lot of the exercises that we’re going to have you do today are things like we’ve done in theatre classes. They all help with concentration, flexibility, being able to think on your feet, focus, empathizing and sharing experiences with each other,” said Marja Harmon, who is the standby for all the Schuyler sisters in the local tour of \u003cem>Hamilton, \u003c/em>after stints in \u003cem>Book of Mormon \u003c/em>and\u003cem> Cat on a Hot Tin Roof\u003c/em> on Broadway\u003cem>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13862370\" class=\"wp-caption aligncenter\" style=\"max-width: 2013px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862370\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg\" alt=\"\" width=\"2013\" height=\"1328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM.jpeg 2013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-800x528.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1020x673.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1200x792.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-26-at-4.28.46-PM-1920x1267.jpeg 1920w\" sizes=\"(max-width: 2013px) 100vw, 2013px\">\u003cfigcaption class=\"wp-caption-text\">Broadway actors Christopher Henry Young, Marja Harmon and Morgan Wood pay rapt attention as students with Silicon Valley Urban Debate League perform an improv exercise. \u003ccite>(Photo: Courtesy of SF BATCO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were powerful moments of poignancy as a few students were called up on stage and asked to describe themselves in 90 seconds. Think you can do it on the spot? Not so easy, regardless of your age. Most of us shy away from the most compelling thing you can be in front of others: confidently genuine. It’s what a lot of people describe as “owning your own truth,” and if it were easy, we’d all be doing it, all the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, everybody, students and debate coaches alike, were waiting for Q&A time, when they got to ask the actors about their careers and advice on life generally.\u003c/p>\n\u003cp>Morgan Anita Wood (a \u003cem>Hamilton\u003c/em> ensemble member and understudy for the the Schuyler sisters) admitted she’s a natural extrovert. When students asked what she likes best about acting, she professed she loves to play characters completely unlike her. “Everyone has their truth and their story. You could be playing a murderer, and there’s a reason they did what they did. Getting to play people who are completely outside of my personal realm of understanding makes me a more empathetic human being.”\u003c/p>\n\u003cp>The actors are not too far from high school themselves, and Young made a point of urging students to accept themselves in all their awkward, teenage glory. “When I was younger, if I would have saw me, I would not have been afraid to be me then. Be it, so others can see it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That, really, was the point of the program, said Janairo, noting that SVUDL is focused on low-income students in East Palo Alto and San Jose. “I hope they’re taking some nuggets home about how to present themselves, how to speak their truth, and find their joy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose",
"headTitle": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
"content": "\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. [youtube https://www.youtube.com/watch?v=j2WZsDB2LHM]\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\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 class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Mayan Traje at the San Jose Museum of Quilts and Textiles is a rare opportunity to explore the history and creativity of the dress form.",
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"title": "Mayan Fashion a Feast for the Eyes in San Jose | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For thousands of years, Mayan women have woven their own fabrics, and embroidered on top of that to create works of art to wear on holidays and at religious ceremonies. In many ways, this dress has become iconic: what we think of when we think of modern Mayan culture.\u003c/p>\n\u003cp>The San Francisco Bay Area is home to a growing number of Mayans from Guatemala, including local members of a group called \u003ca href=\"http://www.ixchelfriends.org\" target=\"_blank\" rel=\"noopener\">Friends of the Ixchel Museum\u003c/a>, which is located in \u003ca href=\"https://museoixchel.org/home\" target=\"_blank\" rel=\"noopener\">Guatemala City\u003c/a>. (Ixchel is the Mayan goddess of weaving, among other things.)\u003c/p>\n\u003cp>So it was they made curator Amy DiPlacido of the \u003ca href=\"https://www.sjquiltmuseum.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Quilts and Textiles\u003c/a> an offer she couldn’t refuse: an exhibition of Mayan traje (clothing), much of it dating back to the early 20th century, from their private collections here in the United States.\u003c/p>\n\u003cp>It’s not often you get the chance to move in close and stare at wearable art, but you can in San Jose, where the exhibition \u003cem>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i> \u003c/em>presents the clothing on walls and manikins out in the open, not parked behind glass.\u003c/p>\n\u003cfigure id=\"attachment_13861828\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg\" alt=\"Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38164_Photo-Jul-18-1-37-43-PM-2-qut-1200x900.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Behold the Wall of Skirts. These fabrics feature ikat, a dyeing technique used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means you can really take in the quality of the weaving and embroidery; the creative choices made, the effort put in. It’s a feast for the eyes, for newbies and textile artists alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really, this show is focusing on pieces never made for the tourist market but very traditional to the indigenous people,” DiPlacido said.\u003c/p>\n\u003cp>She explained there are four parts to the traditional woman’s outfit, or \u003cem>traje\u003c/em>: the boxy blouse up top called the \u003cem>huipal\u003c/em>, the ankle length skirt underneath, the apron, or \u003cem>delantal,\u003c/em> worn over that, and a \u003cem>faje\u003c/em>, or embroidered belt, that ties it all together.\u003c/p>\n\u003cp>For centuries, each Mayan village cultivated a distinctive visual tradition, a point of pride and handy visual guide announcing a woman’s hometown when she traveled in the region.\u003c/p>\n\u003cfigure id=\"attachment_13861827\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg\" alt=\"\" width=\"1920\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38162_Photo-Jul-18-1-32-41-PM-qut-1200x832.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of a Mayan weaver using a backstrap loom. So-called because the loom comes around the back of the weaver. The museum will feature a live demonstration on July 21, 2019, the opening date of the exhibit. \u003ccite>(Photo: Courtesy of Yolanda Alcorta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mayans have acquired smart phones and satellite dishes just like the rest of us, and this exhibition is keen to show how the tradition has adapted to changing modern tastes.\u003c/p>\n\u003cp>Today, cloth is often purchased instead of woven by backstrap loom. \u003cem>Huipals\u003c/em> and \u003cem>delentales\u003c/em> now feature computer generated designs, sparkly rhinestones, and even cell phone pockets.\u003c/p>\n\u003cp>Mayan women also no longer feel constrained to represent their village with their dress. They’re free to wear designs of all kinds, and do. That said, there’s a keen awareness of how their tradition has been \u003ca href=\"https://globalvoices.org/2017/09/25/after-years-of-cultural-appropriation-mayan-weavers-want-legal-protection-for-their-heritage/\" target=\"_blank\" rel=\"noopener\">culturally appropriated\u003c/a> by non-indigenous designers and even the Guatemalan government, keen to use the art form to promote tourism.\u003c/p>\n\u003cp>That’s despite its historic neglect of indigenous Guatemalans, who make up approximately 40 percent of the population but account for \u003ca href=\"http://www.americasquarterly.org/content/repression-resistance-and-indigenous-rights-guatemala\">80 percent of the country’s poor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13861833\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg\" alt=\"Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/RS38166_Photo-Jul-18-1-32-07-PM-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Modern Maya aprons, or delentales, are flashy creatures, often featuring lace, rhinestones and beads. Hidden pockets hold necessities like phones. Unlike antique clothing, modern fashions spread like wildfire through the highlands of Guatemala, then give way quickly to the new, new thing. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Guatemalan Civil War that raged between 1960 and 1996 disproportionately victimized Mayans, and that’s a history you see reflected in the clothing as well. “The political upheaval changed the style of dress,” noted DiPlacido, adding something as basic as dyes were made of what was available.\u003c/p>\n\u003cp>The antique textiles have been through a lot: wear, washing, war. There are items that date to the 1850s, “but past that, you don’t usually see them anymore, because they do tend to wear down,” DiPlacido said.\u003c/p>\n\u003cp>The museum has posted explanatory text in English and Spanish, but perhaps it was a bridge too far to add Mam to the mix. Mam is a Mayan language spoken by about half a million people in throughout Central America. \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/j2WZsDB2LHM'\n title='//www.youtube.com/embed/j2WZsDB2LHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nHere in the San Francisco Bay Area, there are just a few thousand Mam speakers. You can bet many of them will be making their way to this exhibition in the coming months.\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 class=\"site-name\">\u003cem>\u003cstrong>\u003ci>Mayan Traje: A Tradition in Transition\u003c/i>\u003c/strong> runs July 21 – October 13, 2019 at the San Jose Museum of Quilts and Textiles. For more information, click \u003cstrong>\u003ca href=\"https://www.sjquiltmuseum.org/current-exhibitions\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In San Jose’s Japantown, Contemporary Transience Takes on Historical Weight",
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"content": "\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the four artists in \u003ca href=\"https://www.artobjectgallery.com/\" rel=\"noopener\" target=\"_blank\">ArtObjectGallery\u003c/a>’s \u003ci>Transient Existence\u003c/i>, the exhibition title refers not just to their own experiences of living abroad (all were born in Japan, but two now live in the Bay Area, two in Berlin), but of the historical movement of people—especially people of Japanese descent, and especially in the United States. \u003c/p>\n\u003cp>In the show, opening June 21 in the heart of San Jose’s Japantown, \u003ca href=\"http://aisukekondo.com/Home.html\" rel=\"noopener\" target=\"_blank\">Aisuke Kondo\u003c/a>, \u003ca href=\"http://takeshimoro.com/\" rel=\"noopener\" target=\"_blank\">Takeshi Moro\u003c/a>, \u003ca href=\"http://yukikonagakura.com/yukikonagakura.html\" rel=\"noopener\" target=\"_blank\">Yukiko Nagakura\u003c/a> and \u003ca href=\"http://kaoriyamashita.com/\" rel=\"noopener\" target=\"_blank\">Kaori Yamashita\u003c/a> deal mostly, but not exclusively, with their connections to the Tule Lake and Topaz concentration camps used to incarcerate Japanese Americans during WWII. \u003c/p>\n\u003cp>Nearly 80 years after President Franklin D. Roosevelt signed and issued Executive Order 9066, few survive who can speak to the experience of being wrongfully detained in their own country. At Tule Lake and Topaz—located at the California/Oregon border and in Utah, respectively—little but historical plaques remain. The artists of \u003ci>Transient Existence\u003c/i> find ways to amplify and broaden that story, exploring dynamics of power, vulnerability and impermanence across works of photography, sculpture and collage. \u003c/p>\n\u003cfigure id=\"attachment_13859836\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg\" alt=\"Takeshi Moro, 'The Gleaner,' 2019; Pigmented Inkjet Print.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13859836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Transient4_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Takeshi Moro, ‘The Gleaner,’ 2019; Pigmented Inkjet Print. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The projects displayed are as varied as their individual practices and backgrounds. Kondo’s ongoing series \u003ci>Matter and Memory\u003c/i> retraces his great-grandfather’s life as an immigrant in the United States, during which he was relocated from San Francisco to Topaz. Moro’s work is informed by his years of working with elders at San Jose’s Japantown senior center, and with the Japanese American Museum of San Jose. Nagakura is particularly interested in highlighting instances of gender inequality; an example of work from the show pulls from racist newspaper reporting about Japanese women. And Yamashita’s previous work—delicate ceramics and sculptural installations hinting at architectural ruins—demonstrates an ability to gesture at larger, universal concerns within the format of carefully constructed tableaux. \u003c/p>\n\u003cp>Together, the artists of \u003ci>Transient Existence\u003c/i> find common ground in their shared experience of living “elsewhere,” and in doing so, usher our understanding of contemporary transience (its privileges and pains) into conversation with forced movements of the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=RqATb20dO34]\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>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Science fiction has always been a creative space for working out our deepest hopes and fears about the future, and really, the present. White males have dominated the genre for decades, but that’s not to say it’s a white, male genre. After all, it all started with Mary Shelley’s seminal 1818 novel \u003cem>Frankenstein.\u003c/em>\u003c/p>\n\u003cp>So let’s start here with the idea that Latino artists and writers have a long history mining ancient and native mythologies and incorporating them into modern contexts with magical realism, as in Gabriel García Márquez’s \u003cem>One Hundred Years of Solitude\u003c/em>.\u003c/p>\n\u003cp>GenXers and younger will recall \u003ca href=\"http://www.fantagraphics.com/series/loveandrockets/\" target=\"_blank\" rel=\"noopener\">\u003cem>Love and Rockets\u003c/em>\u003c/a>, a comic book series birthed in the early 1980 and recently rebooted by Fantagraphics from brothers Gilbert, Jaime, and Mario Hernandez of Oxnard.\u003c/p>\n\u003cp>Sci fi is not a stretch.\u003c/p>\n\u003cfigure id=\"attachment_13859673\" class=\"wp-caption aligncenter\" style=\"max-width: 1369px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37717.jpg\" alt=\""El Calendario," by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera's iconic 1966 painting "La Leyenda de los Volcanes" purports to come from the East Palo Alto bakery called the Pink Elephant.\" width=\"1369\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717.jpg 1369w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-800x1197.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-768x1149.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1020x1526.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-802x1200.jpg 802w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37717-1920x2872.jpg 1920w\" sizes=\"(max-width: 1369px) 100vw, 1369px\">\u003cfigcaption class=\"wp-caption-text\">“El Calendario,” by San Jose artist Claudia Blanco. Note that this sci fi nod to Jesus Helguera’s iconic 1966 painting “La Leyenda de los Volcanes” purports to come from the East Palo Alto bakery called the\u003ca href=\"http://thepinkelephantbakery.com\" target=\"_blank\" rel=\"noopener\"> Pink Elephant\u003c/a>. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unicorns, Aliens, and Futuristic Cities at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose is a pocket-sized exhibit that showcases a handful of contemporary visual artists exploring dystopian paranoia, fantasy and humor. The exhibition was co-curated by Joey Reyes and MACLA’s Visual Arts Engagement Coordinator Maryela Perez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>El Calen\u003c/i>\u003ci>da\u003c/i>\u003ci>rio\u003c/i>, a painting created for this exhibit by San Jose artist Claudia Blanco, functions as its visual mascot, and for good reason. “She reimagines a calendar that a lot of Latino folks that visit bakeries, like, panderias, they get at the end of the year,” Perez says.\u003c/p>\n\u003cp>Many of these calendars feature a particular, iconic image by Mexican artist Jesus Helguera called \u003ci>La Leyenda de los Volcanes,\u003c/i> or \u003cem>The Legend of the Volcanos\u003c/em>. Our Aztec hero staggers forward with his dead lover, tragically limp in his arms. On Blanco’s calendar, the warrior is replaced by an alien from the 1996 movie \u003ca href=\"https://www.rottentomatoes.com/m/mars_attacks\" target=\"_blank\" rel=\"noopener\">\u003cem>Mars Attacks\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13859674\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859674\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg\" alt='\"Birth of the Four Directions,\" by Jorge Gonzales. Color pencil on paper, 2016.' width=\"1920\" height=\"1625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1020x863.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37719_Photo-Jun-14-9-28-02-AM-qut-1200x1016.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Birth of the Four Directions,” by Jorge Gonzales. Color pencil on paper, 2016. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibit also explores an unexpected affinity between science fiction and spirituality. Take \u003cem>Birth of the Four Directions\u003c/em> by Jorge Gonzales. The pencil drawing depicts a ball of concentrated energy in the cosmos bursting into four directions.\u003cbr>\n“We often think about the Big Bang and how it was the birth of the universe, but you can easily connect the birth of the four directions,” Perez says.\u003c/p>\n\u003cp>There is an aspect of science fiction that echoes the imperialistic compulsions of colonialism. Think of the appeal of creating “new worlds,” bumping aside “alien” species to pursue a nationalistic vision with self-righteous violence.\u003c/p>\n\u003cp>\u003cem>La Raza Cosmica\u003c/em> (see above) by Michael Menchaca reinterprets an essay by Mexican philosopher Jose Vasconcelo that imagines a “fifth race” in the Americas. Inspired by pre-Columbian iconography, Menchaca deconstructs Vasconcelo’s mestizo identity theory with animated animals.\u003c/p>\n\u003cfigure id=\"attachment_13859675\" class=\"wp-caption aligncenter\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg\" alt='\"Double Ass Coyotl\" by Javier Martinez. \"No matter what way you turn, your past is going to be following you,\" says MACLA’s Visual Arts Engagement Coordinator Maryela Perez.' width=\"858\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/RS37715_Double20Ass20Coyotl20-20Javier20Martinez-qut-768x527.jpg 768w\" sizes=\"(max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">“Double Ass Coyotl” by Javier Martinez. “No matter what way you turn, your past is going to be following you,” says MACLA’s Visual Arts Engagement Coordinator Maryela Perez. \u003ccite>(Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cats, clowns, bears and elephants dance about in the multi-media video installation, at once cartoonish and fantastical. With multi-layered humor, Menchaca is essentially thumbing his nose at Spanish racism as it’s played out in the New World.\u003c/p>\n\u003cp>Even lowrider culture gets a spacey nod from Javier Martinez, who explores fantastical combinations of machine, machine and animal in three pieces on view in the gallery. Each one is funny, but also a little bit disturbing, provocative.\u003c/p>\n\u003cp>Have you noticed? Latinx sci fi is having a moment right now: in \u003ca href=\"http://www.comicosity.com/tag/comix-latinx/\" target=\"_blank\" rel=\"noopener\">comic books\u003c/a>, \u003ca href=\"https://queensmuseum.org/2018/09/mundos-alternos\" target=\"_blank\" rel=\"noopener\">museums\u003c/a>, even \u003ci>Black Mirror \u003c/i>on Netflix, which just produced a series of \u003ca href=\"https://www.youtube.com/channel/UC5ZiUaIJ2b5dYBYGf5iEUrA\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> shorts in Spanish , featuring a cast of Latinx social media stars.\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/RqATb20dO34'\n title='//www.youtube.com/embed/RqATb20dO34'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ci>Unicorns, Aliens, and Futuristic Cities \u003c/i>\u003c/strong>runs June 5 – August 19, 2019 at Movimiento de Arte y Cultura Latino Americana (MACLA) in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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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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"masters-of-scale": {
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},
"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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