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"disqusTitle": "Nearly 40 Years Later, Jonestown Offers a Lesson in Demagoguery",
"title": "Nearly 40 Years Later, Jonestown Offers a Lesson in Demagoguery",
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"content": "\u003cp>On Nov. 18, 1978, an itinerant preacher, faith healer and civil rights activist named the Rev. Jim Jones led more than 900 of his followers to kill themselves by drinking cyanide-laced Flavor Aid at their Jonestown settlement in the jungle of Guyana. Nearly 40 years later, questions still linger regarding the Jonestown massacre and the man who inspired it.\u003c/p>\n\u003cp>Journalist Jeff Guinn details how Jones captivated his followers in his new book, \u003cem>The Road to Jonestown. \u003c/em>He calls Jones a \"tremendous performer\" who exhibited \"the classic tendencies of the demagogue.\"\u003c/p>\n\u003cp>Guinn says Jones, who founded Peoples Temple church, would take current events and exaggerate them to create a sense of fear and urgency. He drew his followers to Guyana by convincing them that America was facing imminent threats of martial law, concentration camps and nuclear war.\u003c/p>\n\u003cp>[contextly_sidebar id=\"VKDWporEIpc13cjWlLOLZ6f5lczScgnS\"]\u003c/p>\n\u003cp>After claims of abuse in Jonestown surfaced, California Rep. Leo Ryan came to Guyana to investigate. A number of Jonestown residents sought to return to the U.S. with Ryan, but others opened fire on the delegation, killing the congressman and four others. The mass suicide followed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guinn says the lessons of Jonestown still resonate today.\u003c/p>\n\u003cp>\"Jim Jones epitomizes the worst that can happen when we let one person dictate what we hear [and] what we believe,\" he says. \"We can only change that if we learn from the past and try to apply it to today.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/523348069/523435966\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the idealistic side of Jones' Peoples Temple church\u003c/strong>\u003c/p>\n\u003cp>Jim Jones originally organized Peoples Temple as a storefront church in Indianapolis in the late 1940s and early 1950s. It became one of the first major mixed-race churches in that part of the country, and Jones was instrumental in integrating Indianapolis, which had been one of the most segregated cities in America. They later moved to California.\u003c/p>\n\u003cp>The purpose of Peoples Temple, as stated, was to feed the hungry, clothe the needy, ostensibly to try to raise up all the people who had been left out by society. Privately, within their organization, within their meetings where no outsiders were allowed, they also talked about what they were trying to do was set a \"socialist example,\" everyone treated the same, where race, money, nothing mattered. Human dignity was at a premium.\u003c/p>\n\u003cp>\u003cstrong>On how Jones tricked people but also appealed to their interest in social justice\u003c/strong>\u003c/p>\n\u003cp>Instinctively, he understood the things that he would need to do in front of a crowd, not just to get their attention, but to hold it and be remembered by them. ... He would [fake] being able to summon cancers from people's bodies, which were actually rotten chicken parts that he would have planted earlier.\u003c/p>\n\u003cp>[contextly_sidebar id=\"kArpSdkY2HOmlg3WCMZU1IgHxH2A6ulS\"]\u003c/p>\n\u003cp>And even then, as he starts to gain a following through these apparent miracles, he has a number of followers who are well aware [that] it's a trick. But they tell themselves Jim is doing what he has to do to bring people in for the greater good, because at the same time he's ... tricking people, he's also out there working for integration, for civil rights, for women's rights, and that is his argument: \"I need to do whatever is necessary to get people into the cause. After that we can all accomplish great things.\"\u003c/p>\n\u003cp>\u003cstrong>On how Jones targeted poor people to join his following\u003c/strong>\u003c/p>\n\u003cp>The whole idea was that they would distribute these flyers, not in the well-to-do parts of town; they would go into the ghettos, into the public housing, where people have absolutely nothing. He understood that when you believe life is almost hopeless, that's when you're most ready to buy into some miracle that might lift you up. ...\u003c/p>\n\u003cp>The people who followed Jim Jones, many of them, [were] intelligent, socially conscious, ready to work hard to make the world better, and ultimately he sacrificed them to his own ego and his own belief in himself. That is unforgivable.\u003c/p>\n\u003cp>\u003cstrong>On Jones orchestrating a mass suicide of his followers\u003c/strong>\u003c/p>\n\u003cp>By the end in November 1978, Jones' attitude towards his followers had changed. In the early stages of his ministry, when actually great things were often being accomplished, he thought of himself as the shepherd guarding his flock. More and more over the years, as his paranoia increased, as his drug use increased, he began to think of himself at war with almost everyone in the outside world — the United States government, all kinds of secret forces. ...\u003c/p>\n\u003cp>At the end he saw himself as a general, and his followers were his troops, and ... Jones made the decision that there must be one last great gesture so that his name would live in history ... [and that it] would require the deaths of his followers. ...\u003c/p>\n\u003cp>If Leo Ryan, the congressman, had not come to Jonestown there still would've been some event at this point that would've triggered Jones' order to everyone to commit a \"revolutionary act,\" as he called it. He tried to convince them it wasn't suicide, it was something much grander than that.\u003c/p>\n\u003cp>\u003cstrong>On trying to understand how 900 victims agreed to the suicide\u003c/strong>\u003c/p>\n\u003cp>One of the things that's hardest for us to understand now, looking back almost 40 years, is how almost 900 people ... could have followed what appeared to be ridiculous orders from an obvious demagogue to kill themselves — but it's much more complicated than that.\u003c/p>\n\u003cp>[contextly_sidebar id=\"qExD8o8WQ3JQxQazYiTIuuEfeNKU9g3b\"]\u003c/p>\n\u003cp>First of all, not everybody in Jonestown that day did agree to die, to drink the poison. ... Out of over 900 human beings, 300 children, many of them infants, they have no choice. Their parents are making the choice for them.\u003c/p>\n\u003cp>Then, we have another third, who are elderly people, who aren't in the best of health, who if they don't follow Jim Jones' orders are going to be left out in the deepest, densest, most dangerous jungle in the world. Their choices essentially are die quickly or die long, lingering deaths.\u003c/p>\n\u003cp>In the middle you have the adults, the younger people, and even among them there's no unanimity. Some do believe that Jim Jones is God or something close to God and they worship him and if he says \"do this\" they're going to. Others don't believe Jones is a god, but they believe in their cause, and they have bought into his preaching that the rest of the world is coming in to get them.\u003c/p>\n\u003cp>\u003cstrong>On the day that the Guyanese troops came to Jonestown and saw what happened\u003c/strong>\u003c/p>\n\u003cp>The Guyanese troops that came in the next morning thought they were going to be facing armed revolutionaries. They guessed there might be 100 or more Jonestown men armed with rifles waiting for them, so they're coming through the jungle cautiously.\u003c/p>\n\u003cp>It's the hot season in Guyana. There's been a torrential downpour the day before and steam is coming up from the floor of the jungle. It's almost like fog. And so they're coming into Jonestown in the perimeter expecting to be attacked any minute. 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To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nearly+40+Years+Later%2C+Jonestown+Offers+A+Lesson+In+Demagoguery+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 18, 1978, an itinerant preacher, faith healer and civil rights activist named the Rev. Jim Jones led more than 900 of his followers to kill themselves by drinking cyanide-laced Flavor Aid at their Jonestown settlement in the jungle of Guyana. Nearly 40 years later, questions still linger regarding the Jonestown massacre and the man who inspired it.\u003c/p>\n\u003cp>Journalist Jeff Guinn details how Jones captivated his followers in his new book, \u003cem>The Road to Jonestown. \u003c/em>He calls Jones a \"tremendous performer\" who exhibited \"the classic tendencies of the demagogue.\"\u003c/p>\n\u003cp>Guinn says Jones, who founded Peoples Temple church, would take current events and exaggerate them to create a sense of fear and urgency. He drew his followers to Guyana by convincing them that America was facing imminent threats of martial law, concentration camps and nuclear war.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After claims of abuse in Jonestown surfaced, California Rep. Leo Ryan came to Guyana to investigate. A number of Jonestown residents sought to return to the U.S. with Ryan, but others opened fire on the delegation, killing the congressman and four others. The mass suicide followed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guinn says the lessons of Jonestown still resonate today.\u003c/p>\n\u003cp>\"Jim Jones epitomizes the worst that can happen when we let one person dictate what we hear [and] what we believe,\" he says. \"We can only change that if we learn from the past and try to apply it to today.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/523348069/523435966\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the idealistic side of Jones' Peoples Temple church\u003c/strong>\u003c/p>\n\u003cp>Jim Jones originally organized Peoples Temple as a storefront church in Indianapolis in the late 1940s and early 1950s. It became one of the first major mixed-race churches in that part of the country, and Jones was instrumental in integrating Indianapolis, which had been one of the most segregated cities in America. They later moved to California.\u003c/p>\n\u003cp>The purpose of Peoples Temple, as stated, was to feed the hungry, clothe the needy, ostensibly to try to raise up all the people who had been left out by society. Privately, within their organization, within their meetings where no outsiders were allowed, they also talked about what they were trying to do was set a \"socialist example,\" everyone treated the same, where race, money, nothing mattered. Human dignity was at a premium.\u003c/p>\n\u003cp>\u003cstrong>On how Jones tricked people but also appealed to their interest in social justice\u003c/strong>\u003c/p>\n\u003cp>Instinctively, he understood the things that he would need to do in front of a crowd, not just to get their attention, but to hold it and be remembered by them. ... He would [fake] being able to summon cancers from people's bodies, which were actually rotten chicken parts that he would have planted earlier.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And even then, as he starts to gain a following through these apparent miracles, he has a number of followers who are well aware [that] it's a trick. But they tell themselves Jim is doing what he has to do to bring people in for the greater good, because at the same time he's ... tricking people, he's also out there working for integration, for civil rights, for women's rights, and that is his argument: \"I need to do whatever is necessary to get people into the cause. After that we can all accomplish great things.\"\u003c/p>\n\u003cp>\u003cstrong>On how Jones targeted poor people to join his following\u003c/strong>\u003c/p>\n\u003cp>The whole idea was that they would distribute these flyers, not in the well-to-do parts of town; they would go into the ghettos, into the public housing, where people have absolutely nothing. He understood that when you believe life is almost hopeless, that's when you're most ready to buy into some miracle that might lift you up. ...\u003c/p>\n\u003cp>The people who followed Jim Jones, many of them, [were] intelligent, socially conscious, ready to work hard to make the world better, and ultimately he sacrificed them to his own ego and his own belief in himself. That is unforgivable.\u003c/p>\n\u003cp>\u003cstrong>On Jones orchestrating a mass suicide of his followers\u003c/strong>\u003c/p>\n\u003cp>By the end in November 1978, Jones' attitude towards his followers had changed. In the early stages of his ministry, when actually great things were often being accomplished, he thought of himself as the shepherd guarding his flock. More and more over the years, as his paranoia increased, as his drug use increased, he began to think of himself at war with almost everyone in the outside world — the United States government, all kinds of secret forces. ...\u003c/p>\n\u003cp>At the end he saw himself as a general, and his followers were his troops, and ... Jones made the decision that there must be one last great gesture so that his name would live in history ... [and that it] would require the deaths of his followers. ...\u003c/p>\n\u003cp>If Leo Ryan, the congressman, had not come to Jonestown there still would've been some event at this point that would've triggered Jones' order to everyone to commit a \"revolutionary act,\" as he called it. He tried to convince them it wasn't suicide, it was something much grander than that.\u003c/p>\n\u003cp>\u003cstrong>On trying to understand how 900 victims agreed to the suicide\u003c/strong>\u003c/p>\n\u003cp>One of the things that's hardest for us to understand now, looking back almost 40 years, is how almost 900 people ... could have followed what appeared to be ridiculous orders from an obvious demagogue to kill themselves — but it's much more complicated than that.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>First of all, not everybody in Jonestown that day did agree to die, to drink the poison. ... Out of over 900 human beings, 300 children, many of them infants, they have no choice. Their parents are making the choice for them.\u003c/p>\n\u003cp>Then, we have another third, who are elderly people, who aren't in the best of health, who if they don't follow Jim Jones' orders are going to be left out in the deepest, densest, most dangerous jungle in the world. Their choices essentially are die quickly or die long, lingering deaths.\u003c/p>\n\u003cp>In the middle you have the adults, the younger people, and even among them there's no unanimity. Some do believe that Jim Jones is God or something close to God and they worship him and if he says \"do this\" they're going to. Others don't believe Jones is a god, but they believe in their cause, and they have bought into his preaching that the rest of the world is coming in to get them.\u003c/p>\n\u003cp>\u003cstrong>On the day that the Guyanese troops came to Jonestown and saw what happened\u003c/strong>\u003c/p>\n\u003cp>The Guyanese troops that came in the next morning thought they were going to be facing armed revolutionaries. They guessed there might be 100 or more Jonestown men armed with rifles waiting for them, so they're coming through the jungle cautiously.\u003c/p>\n\u003cp>It's the hot season in Guyana. There's been a torrential downpour the day before and steam is coming up from the floor of the jungle. It's almost like fog. And so they're coming into Jonestown in the perimeter expecting to be attacked any minute. 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"content": "\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H8EddMOUDAk&feature=youtu.be\u003c/p>\n\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=le8nQjXRkiA&feature=youtu.be\u003c/p>\n\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TFTGu2ZDTtc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\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/H8EddMOUDAk'\n title='//www.youtube.com/embed/H8EddMOUDAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\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/le8nQjXRkiA'\n title='//www.youtube.com/embed/le8nQjXRkiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Forgotten Fresno Recording Finds New Life in Oscar-Winning ‘Moonlight’",
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"content": "\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D82kFc9nHUU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\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/D82kFc9nHUU'\n title='//www.youtube.com/embed/D82kFc9nHUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Jazz Releases from Alex Cline and Cameron Graves Draw on Spiritual Inspiration",
"title": "New Jazz Releases from Alex Cline and Cameron Graves Draw on Spiritual Inspiration",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Los Angeles is often described as an atomized metropolis where it’s nearly impossible to build a sense of community. The sprawling geography (and soul-sucking traffic!) certainly present daunting challenges, but new albums by two very different L.A. musicians highlight some of the enduring creative networks thriving in the Southland.\u003c/p>\n\u003ch2>Alex Cline\u003c/h2>\n\u003cp>\u003ca href=\"https://cryptogramophone.com/artists/alex-cline\">Percussionist/composer Alex Cline\u003c/a> has been a quiet force on the L.A. scene for nearly four decades, and his sumptuous new double album \u003cem>Oceans of Vows\u003c/em> (Cryptogramophone) flows from relationships that have defined his life (starting with his twin brother, guitarist Nels Cline). Long interested in setting the poetry of Vietnamese Buddhist monk and peace activist \u003ca href=\"http://plumvillage.org/about/thich-nhat-hanh/\">Thich Nhat Hanh\u003c/a> and verses from the \u003ca href=\"https://en.wikipedia.org/wiki/Avatamsaka_Sutra\">Avatamsaka Sutra\u003c/a> to music, he created two expansive suites of five pieces each for the Flower Garland Orchestra, a 14-piece ensemble conducted by new music pianist \u003ca href=\"http://pianospheres.org/artists/another/vicki-ray/\">Vicki Ray\u003c/a>.\u003c/p>\n\u003cp>The music takes some patience. The forms are long and often develop slowly, with improvised stretches emerging seamless from the thrumming orchestrations. I love the way Cline uses twinned instrumentation. Every player has a counterpart. There’s Nels Cline and GE Stinson’s guitars, the electric violins of Jeff Gauthier and Miguel Atwood-Ferguson, and the keyboards of Wayne Peet and Yuka Honda, though Chi Li’s traditional Chinese instruments (two-string erhu, lower-pitched zhonghu, and zither-like zheng) stand out strikingly in the mix. The crystalline vocalist,\u003ca href=\"http://www.arenismiles.com/areni---bio.html\"> Areni Agbabian, \u003c/a>delivers the lyrics at an incantatory tempo and adds wordless vocal textures.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/187518937\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Meditative, roiling and shimmering, the music draws you in, and often arrives at a breathtaking plateau. Enlightenment may not arrive with Atwood-Ferguson’s final solo on the nearly 23-minute closing piece, “The Ten Great Aspirations of Samantabhadra Bodhisattva,” but I felt like I’d completed a rewarding journey.\u003c/p>\n\u003ch2>Cameron Graves\u003c/h2>\n\u003cp>Atwood-Ferguson doesn’t play on pianist/composer Cameron Graves’ debut album “Planetary Prince” (Mack Avenue), but as a Kendrick Lamar collaborator he’s one point of connection between Graves’ West Coast Get Down and Cline’s crew. Like Cline, Graves has surrounded himself with artists he’s been making music with his whole life, and it shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-11363815\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-800x800.jpg\" alt=\"RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where Cline’s music seems to represent an inward journey, Graves is all about mixing it up in the world, and his music is inspired by a mysterious spiritual tome that appeared in Chicago in the 1920s called “\u003ca href=\"https://en.wikipedia.org/wiki/The_Urantia_Book\">The Urantia Book\u003c/a>” (an esoteric text that also inspired Stockhausen and Hendrix).\u003c/p>\n\u003cp>He’s part of a new wave of jazz musicians who intersected with L.A.'s hip-hop scene, particularly Kendrick Lamar. Like Kamasi Washington, he’s a founding member of the West Coast Get Down collective, and his piano work is all over \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Planetary Prince\u003c/em> also features Washington’s burly tenor sax, trombonist Ryan Porter, bassist Stephen “Thundercat” Bruner, and his brother, drummer Ronald Bruner Jr. But if you’re expecting “The Epic, Part 2,” you’ll be disappointed. Like Washington, Graves is bursting with ambition and has no shortage of ideas.\u003c/p>\n\u003cp>Listening to a piece like the torrential “El Diablo,” I kept thinking he’s learned a lot from the jazz rock fusion of the 1970s in a good way, as if he took the guitar out of Chick Corea’s Elektric Band and added a horn section instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GgIEmOitspg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With his percussive touch, Graves locks in again and again with Thundercat and Bruner, a remarkable bass and drums tandem. His compositions drill down into grooves and then suddenly spring open, like the stunning \"Satania” and the herky funk of \"End of Corporatism.” Clocking in at a generous 80 minutes, \u003cem>Planetary Prince\u003c/em> is a more fully realized statement than \u003cem>The Epic\u003c/em>, which tended to sprawl and repeat itself. As impressive as it is, I get the sense that \u003cem>Planetary Prince\u003c/em> is just one small chapter in the unfolding book of Cameron Graves.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles is often described as an atomized metropolis where it’s nearly impossible to build a sense of community. The sprawling geography (and soul-sucking traffic!) certainly present daunting challenges, but new albums by two very different L.A. musicians highlight some of the enduring creative networks thriving in the Southland.\u003c/p>\n\u003ch2>Alex Cline\u003c/h2>\n\u003cp>\u003ca href=\"https://cryptogramophone.com/artists/alex-cline\">Percussionist/composer Alex Cline\u003c/a> has been a quiet force on the L.A. scene for nearly four decades, and his sumptuous new double album \u003cem>Oceans of Vows\u003c/em> (Cryptogramophone) flows from relationships that have defined his life (starting with his twin brother, guitarist Nels Cline). Long interested in setting the poetry of Vietnamese Buddhist monk and peace activist \u003ca href=\"http://plumvillage.org/about/thich-nhat-hanh/\">Thich Nhat Hanh\u003c/a> and verses from the \u003ca href=\"https://en.wikipedia.org/wiki/Avatamsaka_Sutra\">Avatamsaka Sutra\u003c/a> to music, he created two expansive suites of five pieces each for the Flower Garland Orchestra, a 14-piece ensemble conducted by new music pianist \u003ca href=\"http://pianospheres.org/artists/another/vicki-ray/\">Vicki Ray\u003c/a>.\u003c/p>\n\u003cp>The music takes some patience. The forms are long and often develop slowly, with improvised stretches emerging seamless from the thrumming orchestrations. I love the way Cline uses twinned instrumentation. Every player has a counterpart. There’s Nels Cline and GE Stinson’s guitars, the electric violins of Jeff Gauthier and Miguel Atwood-Ferguson, and the keyboards of Wayne Peet and Yuka Honda, though Chi Li’s traditional Chinese instruments (two-string erhu, lower-pitched zhonghu, and zither-like zheng) stand out strikingly in the mix. The crystalline vocalist,\u003ca href=\"http://www.arenismiles.com/areni---bio.html\"> Areni Agbabian, \u003c/a>delivers the lyrics at an incantatory tempo and adds wordless vocal textures.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/187518937\" width=\"800\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Meditative, roiling and shimmering, the music draws you in, and often arrives at a breathtaking plateau. Enlightenment may not arrive with Atwood-Ferguson’s final solo on the nearly 23-minute closing piece, “The Ten Great Aspirations of Samantabhadra Bodhisattva,” but I felt like I’d completed a rewarding journey.\u003c/p>\n\u003ch2>Cameron Graves\u003c/h2>\n\u003cp>Atwood-Ferguson doesn’t play on pianist/composer Cameron Graves’ debut album “Planetary Prince” (Mack Avenue), but as a Kendrick Lamar collaborator he’s one point of connection between Graves’ West Coast Get Down and Cline’s crew. Like Cline, Graves has surrounded himself with artists he’s been making music with his whole life, and it shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-11363815\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-800x800.jpg\" alt=\"RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS24655_MAC1123-Cameron-Graves_Cover_1500pxRGB-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where Cline’s music seems to represent an inward journey, Graves is all about mixing it up in the world, and his music is inspired by a mysterious spiritual tome that appeared in Chicago in the 1920s called “\u003ca href=\"https://en.wikipedia.org/wiki/The_Urantia_Book\">The Urantia Book\u003c/a>” (an esoteric text that also inspired Stockhausen and Hendrix).\u003c/p>\n\u003cp>He’s part of a new wave of jazz musicians who intersected with L.A.'s hip-hop scene, particularly Kendrick Lamar. Like Kamasi Washington, he’s a founding member of the West Coast Get Down collective, and his piano work is all over \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Planetary Prince\u003c/em> also features Washington’s burly tenor sax, trombonist Ryan Porter, bassist Stephen “Thundercat” Bruner, and his brother, drummer Ronald Bruner Jr. But if you’re expecting “The Epic, Part 2,” you’ll be disappointed. Like Washington, Graves is bursting with ambition and has no shortage of ideas.\u003c/p>\n\u003cp>Listening to a piece like the torrential “El Diablo,” I kept thinking he’s learned a lot from the jazz rock fusion of the 1970s in a good way, as if he took the guitar out of Chick Corea’s Elektric Band and added a horn section instead.\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/GgIEmOitspg'\n title='//www.youtube.com/embed/GgIEmOitspg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>With his percussive touch, Graves locks in again and again with Thundercat and Bruner, a remarkable bass and drums tandem. His compositions drill down into grooves and then suddenly spring open, like the stunning \"Satania” and the herky funk of \"End of Corporatism.” Clocking in at a generous 80 minutes, \u003cem>Planetary Prince\u003c/em> is a more fully realized statement than \u003cem>The Epic\u003c/em>, which tended to sprawl and repeat itself. As impressive as it is, I get the sense that \u003cem>Planetary Prince\u003c/em> is just one small chapter in the unfolding book of Cameron Graves.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "building-the-wall-imagines-post-trump-dystopia",
"title": "'Building the Wall' Imagines Post-Trump Dystopia",
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"headTitle": "‘Building the Wall’ Imagines Post-Trump Dystopia | KQED",
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"content": "\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out — to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, “\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">Building the Wall\u003c/a>.”\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,” he says to the play’s other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>“You’re in solitary, yes?” asks Gloria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of “Building the Wall.” \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There’s nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, “The Kentucky Cycle,” and for screenwriting credits that include films like “The Quiet American” and 2016’s Academy Award-nominated “Hacksaw Ridge” — projects that typically have long gestation and production periods. To find more exciting stories that you can read online, you may explore sites like \u003ca href=\"https://my-drama.com/\">my-drama.com\u003c/a>.\u003c/p>\n\u003cp>But Schenkkan says “Building the Wall” came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\" rel=\"noopener\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn’t really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like “The Kentucky Cycle” that require large ensemble casts, “Building the Wall” is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’ \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other’s motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\" rel=\"noopener\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it’s not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump’s candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\" rel=\"noopener\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, ‘I will not do this. I will not follow orders.’ ”\u003c/p>\n\u003cp>To make room for the play’s three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast — in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?” asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>“Building the Wall” premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a “rolling premiere” in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\" rel=\"noopener\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>“Building the Wall” is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s “rolling world premiere” of Robert Schenkkan’s “Building the Wall”:\u003c/span>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> – March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> – April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> – April 30. Santa Fe – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> – June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> – Sept. 1. Miami – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> – Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the year 2019. President Trump may or may not still be the president. His immigration policies, however, have been carried out — to an extreme. And at least one person is paying the price.\u003c/p>\n\u003cp>That’s the backdrop of playwright Robert Schenkkan’s latest stage work, “\u003ca href=\"https://www.youtube.com/watch?v=M0vV_aJ2xzA&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">Building the Wall\u003c/a>.”\u003c/p>\n\u003cp>We first meet Rick, played by Bo Foxworth, inside a federal lockup. He’s a military veteran who grew up in Texas. Now he’s a prisoner.\u003c/p>\n\u003cp>“I don’t have anybody to talk to in here,” he says to the play’s other main protagonist, Gloria, played by Judith Moreland.\u003c/p>\n\u003cp>“You’re in solitary, yes?” asks Gloria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For my own protection,” responds Rick.\u003c/p>\n\u003cfigure id=\"attachment_11363907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363907\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-4.jpg 1800w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of “Building the Wall.” \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rick used to work in a place just like this: a private prison on the Tex-Mex border housing scores of immigrants rounded up under the Trump administration. He was the warden, and some very bad things happened on his watch.\u003c/p>\n\u003cp>“There’s nothing really extraordinary about him except the circumstances in which he finds himself and the choices he sadly makes,” says\u003ca href=\"http://www.robertschenkkan.com/\"> Schenkkan\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11363910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363910\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg\" alt=\"Playwright Robert Schenkkan \" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1020x651.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016-520x332.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-WALL-Schenkkan20Headshot20Batur202016.jpg 1666w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Robert Schenkkan \u003ccite>(Robert Schenkkan )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like the character of Rick, Schenkkan also grew up in Texas. He is probably best known for his \u003ca href=\"http://www.pulitzer.org/winners/robert-schenkkan\">Pulitzer Prize\u003c/a>-winning saga, “The Kentucky Cycle,” and for screenwriting credits that include films like “The Quiet American” and 2016’s Academy Award-nominated “Hacksaw Ridge” — projects that typically have long gestation and production periods. To find more exciting stories that you can read online, you may explore sites like \u003ca href=\"https://my-drama.com/\">my-drama.com\u003c/a>.\u003c/p>\n\u003cp>But Schenkkan says “Building the Wall” came on fast.\u003c/p>\n\u003cp>“I wrote this before the (November) election in what I describe as a white-hot fury in the space of a week,” says Schenkkan, speaking in the upstairs cafe at the \u003ca href=\"http://www.fountaintheatre.com/event/building-the-wall/\" target=\"_blank\" rel=\"noopener\">Fountain Theatre\u003c/a> in Hollywood where the 90-minute play is premiering.\u003c/p>\n\u003cp>Schenkkan says he was spurred on by the anti-immigrant rhetoric and policies of Donald Trump. But it was written more as a warning, a cautionary tale that imagines what could happen if a man like Donald Trump actually became president and successfully carried out his most extreme immigration policies. But like many people, Schenkkan didn’t really think Trump would win.\u003c/p>\n\u003cp>Unlike previous works like “The Kentucky Cycle” that require large ensemble casts, “Building the Wall” is the epitome of theater minimalism: one room, two characters.\u003c/p>\n\u003cp>“It only needed these two people,” says Schenkkan.\u003c/p>\n\u003cfigure id=\"attachment_11363979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11363979\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg\" alt=\"Bo Foxworth and Judith Moreland star in the L.A. staging of Building the Wall.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/BUILDING-THE-WALL-ACTORS-2-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’ \u003ccite>(Ed Krieger / Fountain Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Out of that we feel an entire world of individuals caught up by events. But it is not necessary for us to see those events or to visit with those people.”\u003c/p>\n\u003cp>The drama revolves around Rick and a historian named Gloria, whom he’s agreed to speak with about the events that led to his conviction.\u003c/p>\n\u003cp>We learn more about both as they question each other’s motives and beliefs. He’s white, she’s black. She didn’t support Donald Trump. He did.\u003c/p>\n\u003cp>In one scene, Rick rapturously describes attending his first Trump campaign rally.\u003c/p>\n\u003cp>“It was like being part of a wave or something. Bigger than yourself. You didn’t feel little anymore, put down anymore, shamed.”\u003c/p>\n\u003cp>But Gloria wants to know: What about the violence and threats of violence that often punctuated Trump rallies?\u003c/p>\n\u003cp>“Protesters getting beaten up?” she asks\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“Those guys were there to provoke people and they succeeded,” snorts Rick. “The whole thing was like, I don’t know, a pro-wrestling kinda thing!”\u003c/p>\n\u003cp>“Some people got hurt,” says Gloria.\u003c/p>\n\u003cp>“Nobody died,” says Rick.\u003c/p>\n\u003cp>“No,” says Gloria. “That would come later.”\u003c/p>\n\u003cfigure id=\"attachment_11363983\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11363983 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg\" alt=\"building wall actors 3\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/building-wall-actors-3.jpg 1024w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bo Foxworth and Judith Moreland star in the L.A. staging of ‘Building the Wall.’\u003c/figcaption>\u003c/figure>\n\u003cp>Later. Just what did happen \u003cem>later\u003c/em>?\u003c/p>\n\u003cp>We learn details of Rick’s crimes as the drama unfolds. His attorney told him not to testify at trial. Now he wants to set the record straight, wants to tell people he’s not some kind of monster. And apparently that he did not act alone.\u003c/p>\n\u003cp>“I saw things,” says Rick gravely. “I know stuff that’ll make a lot of people look bad.”\u003c/p>\n\u003cp>Rick chooses the historian Gloria as his confessor. The atrocities are of historic proportion.\u003c/p>\n\u003cp>“Before this play is over we may still have some judgments, but we understand him in a very different way,” says director \u003ca href=\"http://www.bostoncourt.com/staff\" target=\"_blank\" rel=\"noopener\">Michael Michetti. \u003c/a>\u003c/p>\n\u003cp>Michetti jumped at the chance to work with a Robert Schenkkan script that he believes is so timely. He also says it’s not a partisan diatribe against Trump. It takes on themes of race, class and reconciliation.\u003c/p>\n\u003cp>“Robert gives a real voice to the people who we now know felt very underrepresented, and therefore they supported Trump’s candidacy and presidency,” says Michetti.\u003c/p>\n\u003cp>“The character of Rick has to answer a very important question and that is: When is it time to say no?” says producer and Fountain Theatre artistic director \u003ca href=\"http://www.stephensachs.com/\" target=\"_blank\" rel=\"noopener\">Stephen Sachs\u003c/a>. “When is it time to stand up and say, ‘I will not do this. I will not follow orders.’ ”\u003c/p>\n\u003cp>To make room for the play’s three-month run, the Fountain Theatre preempted another previously scheduled performance. The cast and staging, like the script, were assembled fast — in a matter of weeks.\u003c/p>\n\u003cp>“Oh, it’s extraordinary,” says Sachs. “This does not happen.”\u003c/p>\n\u003cp>On the afternoon I visit the Fountain, the set is still being painted, actors deep in rehearsal. Schenkkan says it typically takes months, if not years, to take a work from the page to the stage.\u003c/p>\n\u003cp>“It will be too late by then! American theater today has to decide: Are we curating history or we going to make history? Are we going to be involved in what is happening right now?” asks Schenkkan.\u003c/p>\n\u003cp>“This play has been designed to be the first of what I hope will be many such new paradigms for the production and creation of responsive American theater.”\u003c/p>\n\u003cp>“Building the Wall” premieres this weekend at the Fountain Theatre in Hollywood. Theaters in five other U.S. cities will stage performances of their own as part of a “rolling premiere” in collaboration with the \u003ca href=\"http://nnpn.org/\" target=\"_blank\" rel=\"noopener\">National New Play Network\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>“Building the Wall” is also due to be published in book form in April.\u003c/p>\n\u003cp>“We are now aggressively licensing the play to anyone who wants to do it. Whether they want to do a production or they want to do a reading, it doesn’t matter,” says Schenkkan.\u003c/p>\n\u003cp>“You want to do this play for 20 people in your living room? God bless, go out there and do it. Let’s respond now.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">The National New Play Network’s “rolling world premiere” of Robert Schenkkan’s “Building the Wall”:\u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"color: #000000\">Los Angeles – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://www.fountaintheatre.com/\">The Fountain Theat\u003c/a>re\u003c/u> – March 18, 2017. \u003c/span>\u003c/em>\u003cem>\u003cspan style=\"color: #000000\">Denver – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://curioustheatre.org/\">The Curious Theat\u003c/a>re Co.\u003c/u> – April 4. Washington, D.C. – \u003ca style=\"color: #000000\" href=\"https://forum-theatre.org/\">\u003cu>Forum Theatre/at Arena Stage\u003c/u>\u003c/a> – April 30. Santa Fe – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"http://adoberosetheatre.org/\">Adobe Rose Theat\u003c/a>re\u003c/u> – June 15. Tucson – \u003ca style=\"color: #000000\" href=\"http://www.robertschenkkan.com/www.borderlandstheater.org/\">\u003cu>Borderlands Theater\u003c/u>\u003c/a> – Sept. 1. Miami – \u003cu style=\"color: #000000\">\u003ca style=\"color: #000000\" href=\"https://www.citytheatre.com/\">City Theat\u003c/a>re\u003c/u> – Sept. 29\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "whats-that-thing-off-280-the-flintstone-house",
"title": "What's That Thing Off 280? The Flintstone House",
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"headTitle": "What’s That Thing Off 280? The Flintstone House | KQED",
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"content": "\u003cp>[dropcap]W[/dropcap]e don’t normally profile real estate listings for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>, but this one was too fascinating to pass up. The “Flintstone House,” as Peninsula locals call it, is on the market for $3.2 million. Which means we have a rare opportunity to \u003ca href=\"http://www.flintstonehouse280.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>peek inside\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>If you’ve ever driven northbound on Interstate 280 through Hillsborough, you’ve surely seen this house from the highway. There is nothing else like it in the neighborhood, which looks much like something out of “The Brady Bunch”: that is to say, sedate, one-story ranch homes circa the 1960s.\u003c/p>\n\u003cp>Locals named this the Flintstone House because it looks like one of the domed houses you might see in the 1960s Hanna-Barbera cartoon.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=uq7noaMwLfg]And 45 Berryessa Way does look like it could be home to Fred and Wilma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I asked the listing agent for the house, Judy Meuschke, if this is the most eccentric house she’s ever been involved in listing — “Yes!”\u003c/p>\n\u003cp>Meuschke says many people are surprised when they walk inside this 2,700-square-foot, three-bedroom, two-bathroom home. They expect something cavelike: dark, musty, weird. Instead, the interior is bright and airy, a meditation in cream with orange accents.\u003c/p>\n\u003cfigure id=\"attachment_11350378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350378\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg\" alt=\"The owner loves art, making the interior a showcase in more ways than one.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The owner loves art, making the interior a showcase in more ways than one. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cozy,” Meuschke says. “It’s really livable. I love the house.”\u003c/p>\n\u003cp>She is showing me around because the current owner has moved to a smaller place, not too far from here. The woman keeps a low profile and doesn’t want her name used for this story, but she has done a lot of work on the place over the more than two decades she lived here.\u003c/p>\n\u003cp>The orange-and-purple paint job on the house is relatively new, as are a number of structural renovations, including a waterproof membrane, and insulation that obviates the need for air conditioning in the warmer months.\u003c/p>\n\u003cp>The kitchen, remodeled in the 2000s, looks to me like a biotech lab designed by Gustav Klimt. It was designed and built by Emeryville architect \u003ca href=\"http://eugenetsui.com/\" target=\"_blank\" rel=\"noopener\">Eugene Tssui\u003c/a>. His marching orders?\u003c/p>\n\u003cp>“The owner lives a life of art. She loves to live in art. She said to me, ‘I need a stove. I need a place for a fridge. But otherwise, anything goes,’ ” Tssui says.\u003c/p>\n\u003cfigure id=\"attachment_11350436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350436 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg\" alt='\"What if the kitchen became a work of art in itself?\" asked architect Eugene Tssui. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“What if the kitchen became a work of art in itself?” asked architect Eugene Tssui. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything is round in the house, creating a biomorphic quality to the place. Even the walls are curved. You don’t hang a painting. You set it on the floor and lean it back. Or build an alcove to house it.\u003c/p>\n\u003cp>“Because it’s a circular plan, I felt like the vocabulary of the design needed to fit that, the grammar of the geometry,” Tssui says. “Nothing like that had ever been done before. We had to experiment ahead of time and adapt it to that space: the way that space works, the way it accommodates movement.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" ids=\"11361109,11361108,11361107\"]\u003c/p>\n\u003cp>Why the cables holding up the glass countertop? Earthquake safety. Tssui explains they “allow for flex, and they allow the glass countertop to float above the ground.”\u003c/p>\n\u003cp>Looking back at the project after about a decade, Tssui says he’s most happy about the quality of the light in the space, and its effect on the viewer: “a kind of a shimmering, soaring feeling.”\u003c/p>\n\u003cfigure id=\"attachment_11350442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350442 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg\" alt=\"Inside the dome, in the “conversation pit,”, there’s tons of natural light, and a great view of the Crystal Springs Reservoir out of the window – which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the “conversation pit,” there’s tons of natural light, and a great view of Crystal Springs Reservoir out of the window — which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the rooms that face 280 and Crystal Springs Reservoir, there is a lot of natural light, pouring in through amoeba-shaped windows like the one above.\u003c/p>\n\u003cp>So who would spend $3.2 million on a party pad like this? For a number of months, there was a fair bit of interest in renting it out for $700+ a night on \u003ca href=\"https://www.airbnb.com/rooms/15148453\" target=\"_blank\" rel=\"noopener\">Airbnb\u003c/a>. But it’s been a challenge to find the wealthy person with as big a sense of whimsy as the Flintstone House requires.\u003c/p>\n\u003cp>Over the years, assessor’s records show, the house has sold five times. This time around, the Flintstone House went on the market for $4.2 million in September 2015, but there have been two price reductions since then.\u003c/p>\n\u003cfigure id=\"attachment_11350460\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350460 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg\" alt=\"Wherever you stand or sit in the Flintstone House, you’re looking into other rooms.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wherever you stand or sit in the Flintstone House, you’re looking into other rooms. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meuschke acknowledges the house is not conventional.\u003c/p>\n\u003cp>“I think the pool of buyers is much smaller,” she says, adding she does not imagine anyone would spend this kind of money just to tear this house down.\u003c/p>\n\u003cp>\u003cstrong>A Spirit of Adventure in the 1970s\u003c/strong>\u003c/p>\n\u003cp>When you think about it, it’s kind of crazy that other home owners in the San Francisco Bay Area haven’t built more outlandish experiments like the Flintstone House.\u003c/p>\n\u003cp>I did check with Hillsborough’s planning division, and there aren’t any rules against wacky, \u003cem>per se\u003c/em>.\u003c/p>\n\u003cp>That said, the owner had plans to build a second house to rent out on the property, designed by Tssui. Officials denied her proposal.\u003c/p>\n\u003cp>The owner wasn’t willing to fight, but Tssui still harbors misgivings.\u003c/p>\n\u003cp>“Planning departments promote conformity and a meek approach to design,” Tssui says. “It’s an aggressive hindrance to the freedom of human thought and action, forcing citizens to conform to personal, subjective edicts, which should be fought.”\u003c/p>\n\u003cfigure id=\"attachment_11350449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350449 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg\" alt=\"Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \u003ccite>(Photo: Courtesy of Eugene Tsui)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s an expression of its time,” says \u003ca href=\"http://www.pierluigiserraino.com/\" target=\"_blank\" rel=\"noopener\">Pierluigi Serraino\u003c/a>, an architect in Alameda who also writes books about architectural history.\u003c/p>\n\u003cp>“I find it, in many respects, endearing,” he says of the Flintstone House. “I’ve always seen it from the freeway and I always thought it was a classic period piece, a bit of a folly.”\u003c/p>\n\u003cp>The original owners built this place in 1977. In the late 1970s, Serraino says, people were more comfortable letting their freak flag fly.\u003c/p>\n\u003cp>“There have always been certain strands in architecture that try to establish some relationship with the organic world,” he says.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In some respects, the Flintstone House follows a long line of fanciful architecture, with prestigious forbears including the famous Spanish architect \u003ca href=\"https://en.wikipedia.org/wiki/Antoni_Gaud%C3%AD\" target=\"_blank\" rel=\"noopener\">Antoni Gaudi\u003c/a>.\u003c/p>\n\u003cp>Also, the development of “shotcrete” at the turn of the last century opened a lot of doors for architecture. It’s a process in which concrete is sprayed through a hose at high velocity onto a frame of, typically, steel rebar and mesh.\u003c/p>\n\u003cp>“Shotcrete is a way to essentially create a sculptural fantasy, that then you cover with this layer of fluid stone,” says Serraino.\u003c/p>\n\u003cp>Think about that next time you’re driving past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"excerpt": "Take a tour inside this unique Peninsula home that architects find whimsical. ",
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"title": "What's That Thing Off 280? The Flintstone House | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>e don’t normally profile real estate listings for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a>, but this one was too fascinating to pass up. The “Flintstone House,” as Peninsula locals call it, is on the market for $3.2 million. Which means we have a rare opportunity to \u003ca href=\"http://www.flintstonehouse280.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>peek inside\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you’ve ever driven northbound on Interstate 280 through Hillsborough, you’ve surely seen this house from the highway. There is nothing else like it in the neighborhood, which looks much like something out of “The Brady Bunch”: that is to say, sedate, one-story ranch homes circa the 1960s.\u003c/p>\n\u003cp>Locals named this the Flintstone House because it looks like one of the domed houses you might see in the 1960s Hanna-Barbera cartoon.\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/uq7noaMwLfg'\n title='//www.youtube.com/embed/uq7noaMwLfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>And 45 Berryessa Way does look like it could be home to Fred and Wilma.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I asked the listing agent for the house, Judy Meuschke, if this is the most eccentric house she’s ever been involved in listing — “Yes!”\u003c/p>\n\u003cp>Meuschke says many people are surprised when they walk inside this 2,700-square-foot, three-bedroom, two-bathroom home. They expect something cavelike: dark, musty, weird. Instead, the interior is bright and airy, a meditation in cream with orange accents.\u003c/p>\n\u003cfigure id=\"attachment_11350378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11350378\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg\" alt=\"The owner loves art, making the interior a showcase in more ways than one.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23949_170127_FlintstonesHouse_bhs01-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The owner loves art, making the interior a showcase in more ways than one. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s cozy,” Meuschke says. “It’s really livable. I love the house.”\u003c/p>\n\u003cp>She is showing me around because the current owner has moved to a smaller place, not too far from here. The woman keeps a low profile and doesn’t want her name used for this story, but she has done a lot of work on the place over the more than two decades she lived here.\u003c/p>\n\u003cp>The orange-and-purple paint job on the house is relatively new, as are a number of structural renovations, including a waterproof membrane, and insulation that obviates the need for air conditioning in the warmer months.\u003c/p>\n\u003cp>The kitchen, remodeled in the 2000s, looks to me like a biotech lab designed by Gustav Klimt. It was designed and built by Emeryville architect \u003ca href=\"http://eugenetsui.com/\" target=\"_blank\" rel=\"noopener\">Eugene Tssui\u003c/a>. His marching orders?\u003c/p>\n\u003cp>“The owner lives a life of art. She loves to live in art. She said to me, ‘I need a stove. I need a place for a fridge. But otherwise, anything goes,’ ” Tssui says.\u003c/p>\n\u003cfigure id=\"attachment_11350436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350436 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg\" alt='\"What if the kitchen became a work of art in itself?\" asked architect Eugene Tssui. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23958_170127_FlintstonesHouse_bhs10-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“What if the kitchen became a work of art in itself?” asked architect Eugene Tssui. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everything is round in the house, creating a biomorphic quality to the place. Even the walls are curved. You don’t hang a painting. You set it on the floor and lean it back. Or build an alcove to house it.\u003c/p>\n\u003cp>“Because it’s a circular plan, I felt like the vocabulary of the design needed to fit that, the grammar of the geometry,” Tssui says. “Nothing like that had ever been done before. We had to experiment ahead of time and adapt it to that space: the way that space works, the way it accommodates movement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Why the cables holding up the glass countertop? Earthquake safety. Tssui explains they “allow for flex, and they allow the glass countertop to float above the ground.”\u003c/p>\n\u003cp>Looking back at the project after about a decade, Tssui says he’s most happy about the quality of the light in the space, and its effect on the viewer: “a kind of a shimmering, soaring feeling.”\u003c/p>\n\u003cfigure id=\"attachment_11350442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350442 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg\" alt=\"Inside the dome, in the “conversation pit,”, there’s tons of natural light, and a great view of the Crystal Springs Reservoir out of the window – which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23952_170127_FlintstonesHouse_bhs06-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the “conversation pit,” there’s tons of natural light, and a great view of Crystal Springs Reservoir out of the window — which is shaped, as many of the windows in this home are, like an amoeba. Everything accentuates the biomorphic quality of the place. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Especially in the rooms that face 280 and Crystal Springs Reservoir, there is a lot of natural light, pouring in through amoeba-shaped windows like the one above.\u003c/p>\n\u003cp>So who would spend $3.2 million on a party pad like this? For a number of months, there was a fair bit of interest in renting it out for $700+ a night on \u003ca href=\"https://www.airbnb.com/rooms/15148453\" target=\"_blank\" rel=\"noopener\">Airbnb\u003c/a>. But it’s been a challenge to find the wealthy person with as big a sense of whimsy as the Flintstone House requires.\u003c/p>\n\u003cp>Over the years, assessor’s records show, the house has sold five times. This time around, the Flintstone House went on the market for $4.2 million in September 2015, but there have been two price reductions since then.\u003c/p>\n\u003cfigure id=\"attachment_11350460\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350460 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg\" alt=\"Wherever you stand or sit in the Flintstone House, you’re looking into other rooms.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS23951_170127_FlintstonesHouse_bhs14-qut-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wherever you stand or sit in the Flintstone House, you’re looking into other rooms. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meuschke acknowledges the house is not conventional.\u003c/p>\n\u003cp>“I think the pool of buyers is much smaller,” she says, adding she does not imagine anyone would spend this kind of money just to tear this house down.\u003c/p>\n\u003cp>\u003cstrong>A Spirit of Adventure in the 1970s\u003c/strong>\u003c/p>\n\u003cp>When you think about it, it’s kind of crazy that other home owners in the San Francisco Bay Area haven’t built more outlandish experiments like the Flintstone House.\u003c/p>\n\u003cp>I did check with Hillsborough’s planning division, and there aren’t any rules against wacky, \u003cem>per se\u003c/em>.\u003c/p>\n\u003cp>That said, the owner had plans to build a second house to rent out on the property, designed by Tssui. Officials denied her proposal.\u003c/p>\n\u003cp>The owner wasn’t willing to fight, but Tssui still harbors misgivings.\u003c/p>\n\u003cp>“Planning departments promote conformity and a meek approach to design,” Tssui says. “It’s an aggressive hindrance to the freedom of human thought and action, forcing citizens to conform to personal, subjective edicts, which should be fought.”\u003c/p>\n\u003cfigure id=\"attachment_11350449\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11350449 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg\" alt=\"Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/edises-residence-june-28-2010_FIXED-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hillsborough planners put the kibosh on plans to build a second house on the property in 2006. \u003ccite>(Photo: Courtesy of Eugene Tsui)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You know, it’s an expression of its time,” says \u003ca href=\"http://www.pierluigiserraino.com/\" target=\"_blank\" rel=\"noopener\">Pierluigi Serraino\u003c/a>, an architect in Alameda who also writes books about architectural history.\u003c/p>\n\u003cp>“I find it, in many respects, endearing,” he says of the Flintstone House. “I’ve always seen it from the freeway and I always thought it was a classic period piece, a bit of a folly.”\u003c/p>\n\u003cp>The original owners built this place in 1977. In the late 1970s, Serraino says, people were more comfortable letting their freak flag fly.\u003c/p>\n\u003cp>“There have always been certain strands in architecture that try to establish some relationship with the organic world,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In some respects, the Flintstone House follows a long line of fanciful architecture, with prestigious forbears including the famous Spanish architect \u003ca href=\"https://en.wikipedia.org/wiki/Antoni_Gaud%C3%AD\" target=\"_blank\" rel=\"noopener\">Antoni Gaudi\u003c/a>.\u003c/p>\n\u003cp>Also, the development of “shotcrete” at the turn of the last century opened a lot of doors for architecture. It’s a process in which concrete is sprayed through a hose at high velocity onto a frame of, typically, steel rebar and mesh.\u003c/p>\n\u003cp>“Shotcrete is a way to essentially create a sculptural fantasy, that then you cover with this layer of fluid stone,” says Serraino.\u003c/p>\n\u003cp>Think about that next time you’re driving past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>In honor of Cesar Chavez Day, the\u003ca href=\"https://library.fresnostate.edu/about\"> Henry Madden Library\u003c/a> at California State University, Fresno has partnered with \u003ca href=\"http://www.storycorps.org\" target=\"_blank\" rel=\"noopener\">StoryCorps\u003c/a> to \u003ca href=\"http://www.fresnostatenews.com/2016/02/11/madden-library-partners-with-storycorps-to-record-stories-of-area-latino-families/\" target=\"_blank\" rel=\"noopener\">record and preserve\u003c/a> the stories of Latino families in the San Joaquin Valley. \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’ll be airing excerpts of some of those conversations over the next several weeks on \u003c/em>The California Report Magazine. \u003cem>This week, we hear from farmworker activist Graciela Martinez and her son, Richard Herron.\u003c/em>\u003c/p>\n\u003cp>Graciela Martinez has a long history of civil rights activism.\u003c/p>\n\u003cp>The septuagenarian joined up with the \u003ca href=\"http://www.ufw.org/\">United Farm Workers\u003c/a> at 19 with dreams of becoming Cesar Chavez’s personal secretary — a dream she would eventually realize.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/03/20170310dtcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Richard-Herron-and-Graciela-Martinez-672x372.jpg\" Title=\"Septuagenarian Recalls Roots of a 'Lifelong Battle' for Justice\" program=\"The California Report\"]\u003c/p>\n\u003cp>She worked for many years with the \u003ca href=\"https://www.afsc.org/\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> and got the opportunity to go to Montgomery, Ala. to march with Dr. Martin Luther King Jr.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She spent decades as a typist, secretary and interpreter helping provide legal services to farmworkers.\u003c/p>\n\u003cp>“The lullabies that you went to sleep with was the clack of my typewriter,” Graciela tells her son, Richard Herron.\u003c/p>\n\u003cp>Richard remembers watching television with his sisters in the living room while his mom transcribed in the kitchen.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t sounded like you were typing 5,000 words per minute,” Richard said, “and you would look at the TV and sometimes carry on short conversations at the same time while you would transcribe, and I always thought that was just amazing that you could do that.”\u003c/span>\u003c/p>\n\u003cp>Richard sat down with his mom for a StoryCorps interview to learn more about her life of activism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The project was co-sponsored by the California State University, Fresno Office of the President, the College of Arts and Humanities, the College of Social Sciences and Valley Public Radio.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In honor of Cesar Chavez Day, the\u003ca href=\"https://library.fresnostate.edu/about\"> Henry Madden Library\u003c/a> at California State University, Fresno has partnered with \u003ca href=\"http://www.storycorps.org\" target=\"_blank\" rel=\"noopener\">StoryCorps\u003c/a> to \u003ca href=\"http://www.fresnostatenews.com/2016/02/11/madden-library-partners-with-storycorps-to-record-stories-of-area-latino-families/\" target=\"_blank\" rel=\"noopener\">record and preserve\u003c/a> the stories of Latino families in the San Joaquin Valley. \u003c/em>\u003c/p>\n\u003cp>\u003cem>We’ll be airing excerpts of some of those conversations over the next several weeks on \u003c/em>The California Report Magazine. \u003cem>This week, we hear from farmworker activist Graciela Martinez and her son, Richard Herron.\u003c/em>\u003c/p>\n\u003cp>Graciela Martinez has a long history of civil rights activism.\u003c/p>\n\u003cp>The septuagenarian joined up with the \u003ca href=\"http://www.ufw.org/\">United Farm Workers\u003c/a> at 19 with dreams of becoming Cesar Chavez’s personal secretary — a dream she would eventually realize.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She worked for many years with the \u003ca href=\"https://www.afsc.org/\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> and got the opportunity to go to Montgomery, Ala. to march with Dr. Martin Luther King Jr.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She spent decades as a typist, secretary and interpreter helping provide legal services to farmworkers.\u003c/p>\n\u003cp>“The lullabies that you went to sleep with was the clack of my typewriter,” Graciela tells her son, Richard Herron.\u003c/p>\n\u003cp>Richard remembers watching television with his sisters in the living room while his mom transcribed in the kitchen.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t sounded like you were typing 5,000 words per minute,” Richard said, “and you would look at the TV and sometimes carry on short conversations at the same time while you would transcribe, and I always thought that was just amazing that you could do that.”\u003c/span>\u003c/p>\n\u003cp>Richard sat down with his mom for a StoryCorps interview to learn more about her life of activism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The project was co-sponsored by the California State University, Fresno Office of the President, the College of Arts and Humanities, the College of Social Sciences and Valley Public Radio.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Afghan Rockers Start New Musical Life in Oakland",
"title": "Afghan Rockers Start New Musical Life in Oakland",
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"content": "\u003cp>I first met Sulyman Qardash and his band \u003ca href=\"https://www.kabuldreams.com/\">Kabul Dreams\u003c/a> in 2014, when they came to the U.S. to play at \u003ca href=\"https://www.sxsw.com/\">South by Southwest\u003c/a>, a music festival in Austin. The band decided to call Oakland their home soon after, because they'd received death threats back in Afghanistan for being in a Western rock band.\u003c/p>\n\u003cp>Three years later, in February 2017, they released their first U.S.-produced album, called \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>. Sulyman says that in the wake of President Trump’s second travel ban, and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\u003c/p>\n\u003cp>“If a kid in California finds out about Kabul Dreams being from Afghanistan and being an Oakland-based band,\" Qardash says when we met up at a rehearsal studio in Oakland, \"if they listen to our music and they say, ‘Oh, wow, I like their music,' I'm pretty sure they would change their perspective about immigrants and people from different backgrounds.\"\u003c/p>\n\u003cp>Qardash has dark eyes, black hair and a thin frame. He’s dressed in a black leather jacket and Converse shoes. He picks up a guitar and plays a song for me off their new album, called \"\u003ca href=\"https://www.youtube.com/watch?v=y_-wEm07oyE\">Saturated Hope\u003c/a>,\" about the feeling of never being able to live in the place you call home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y_-wEm07oyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i4kAvjgqh-U\u003c/p>\n\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I first met Sulyman Qardash and his band \u003ca href=\"https://www.kabuldreams.com/\">Kabul Dreams\u003c/a> in 2014, when they came to the U.S. to play at \u003ca href=\"https://www.sxsw.com/\">South by Southwest\u003c/a>, a music festival in Austin. The band decided to call Oakland their home soon after, because they'd received death threats back in Afghanistan for being in a Western rock band.\u003c/p>\n\u003cp>Three years later, in February 2017, they released their first U.S.-produced album, called \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>. Sulyman says that in the wake of President Trump’s second travel ban, and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\u003c/p>\n\u003cp>“If a kid in California finds out about Kabul Dreams being from Afghanistan and being an Oakland-based band,\" Qardash says when we met up at a rehearsal studio in Oakland, \"if they listen to our music and they say, ‘Oh, wow, I like their music,' I'm pretty sure they would change their perspective about immigrants and people from different backgrounds.\"\u003c/p>\n\u003cp>Qardash has dark eyes, black hair and a thin frame. He’s dressed in a black leather jacket and Converse shoes. He picks up a guitar and plays a song for me off their new album, called \"\u003ca href=\"https://www.youtube.com/watch?v=y_-wEm07oyE\">Saturated Hope\u003c/a>,\" about the feeling of never being able to live in the place you call home.\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/y_-wEm07oyE'\n title='//www.youtube.com/embed/y_-wEm07oyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\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/i4kAvjgqh-U'\n title='//www.youtube.com/embed/i4kAvjgqh-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "one-mans-mission-to-keep-aztecs-ancient-language-alive",
"title": "One Man's Mission to Keep Aztecs' Ancient Language Alive",
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"content": "\u003cp>There’s no dearth of culture and language in Southern California. The Census Bureau rates the 40 most common languages spoken by Americans — and 39 of them are spoken in L.A.\u003c/p>\n\u003cp>At a church in Santa Ana, you’ll hear sounds that have resonated for thousands of years. Each Saturday morning, people gather to speak and learn the ancient language of the Aztecs: Nahuatl.\u003c/p>\n\u003cp>Five centuries after the Aztec culture was crushed by Spanish conquistadors, the language survives, still spoken by an estimated 1.5 million people, mostly in central Mexico.\u003c/p>\n\u003ch2>A Man on a Mission\u003c/h2>\n\u003cp>For about 26 years, David Vazquez has been teaching the ancient language and culture of the Aztecs.\u003c/p>\n\u003cp>“One class usually goes over history, customs and traditions and words the students aren’t familiar with,” said Vazquez. “The goal is to continue, with our students, to try to rescue our official language.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The classroom at Messiah Episcopal Church in Santa Ana holds about 30 students. Among the students was Vazquez’s own granddaughter, Citlali Jimenez.\u003c/p>\n\u003cp>“Learning this language that my grandfather teaches is important to me,” Jimenez said, “because seeing him teaching other people … it’s inspiring that other people are trying to learn this language, too.”\u003c/p>\n\u003cfigure id=\"attachment_11352026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11352026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg\" alt=\"David Vazquez teaches Aztec language class in Santa Ana.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Vazquez teaches Aztec language class in Santa Ana. \u003ccite>(Lori Galarreta/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also attending was Jose Vega, who cited his reason for attending class as an interest in tracing his roots.\u003c/p>\n\u003cp>“I’ve been coming to these classes close to four months now. I just had to get a better understanding of what the past was. Now we’re living, and we don’t know who we are or where we come from. Some of us don’t bother to look back and see who our people used to be or the way they used to live,” he said.\u003c/p>\n\u003cp>Ulises de Los Cobos grew up in San Diego and had heard of David’s work from 200 miles away, “I had heard his slogan ‘Mexica Tiahui.’ Mexica, which is also known as the Aztecs, and Tiahui, means forward, so Mexica Tiahui is Mexica forward. To me, it means we are moving forward. It’s the next step.”\u003c/p>\n\u003cp>Inspiring students to get in touch with their roots and also creating new Nahuatl teachers is David’s main goal. He keeps his classroom doors open to all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We welcome anyone as long as they feel the love, care and respect to learn this language. Our purpose is to be inclusive. Whoever speaks English, Spanish or just wants to improve their Nahuatl, we’re all happy to support them. That way we can have new teachers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no dearth of culture and language in Southern California. The Census Bureau rates the 40 most common languages spoken by Americans — and 39 of them are spoken in L.A.\u003c/p>\n\u003cp>At a church in Santa Ana, you’ll hear sounds that have resonated for thousands of years. Each Saturday morning, people gather to speak and learn the ancient language of the Aztecs: Nahuatl.\u003c/p>\n\u003cp>Five centuries after the Aztec culture was crushed by Spanish conquistadors, the language survives, still spoken by an estimated 1.5 million people, mostly in central Mexico.\u003c/p>\n\u003ch2>A Man on a Mission\u003c/h2>\n\u003cp>For about 26 years, David Vazquez has been teaching the ancient language and culture of the Aztecs.\u003c/p>\n\u003cp>“One class usually goes over history, customs and traditions and words the students aren’t familiar with,” said Vazquez. “The goal is to continue, with our students, to try to rescue our official language.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The classroom at Messiah Episcopal Church in Santa Ana holds about 30 students. Among the students was Vazquez’s own granddaughter, Citlali Jimenez.\u003c/p>\n\u003cp>“Learning this language that my grandfather teaches is important to me,” Jimenez said, “because seeing him teaching other people … it’s inspiring that other people are trying to learn this language, too.”\u003c/p>\n\u003cfigure id=\"attachment_11352026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11352026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg\" alt=\"David Vazquez teaches Aztec language class in Santa Ana.\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-1180x820.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/AztecClass-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Vazquez teaches Aztec language class in Santa Ana. \u003ccite>(Lori Galarreta/KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also attending was Jose Vega, who cited his reason for attending class as an interest in tracing his roots.\u003c/p>\n\u003cp>“I’ve been coming to these classes close to four months now. I just had to get a better understanding of what the past was. Now we’re living, and we don’t know who we are or where we come from. Some of us don’t bother to look back and see who our people used to be or the way they used to live,” he said.\u003c/p>\n\u003cp>Ulises de Los Cobos grew up in San Diego and had heard of David’s work from 200 miles away, “I had heard his slogan ‘Mexica Tiahui.’ Mexica, which is also known as the Aztecs, and Tiahui, means forward, so Mexica Tiahui is Mexica forward. To me, it means we are moving forward. It’s the next step.”\u003c/p>\n\u003cp>Inspiring students to get in touch with their roots and also creating new Nahuatl teachers is David’s main goal. He keeps his classroom doors open to all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We welcome anyone as long as they feel the love, care and respect to learn this language. Our purpose is to be inclusive. Whoever speaks English, Spanish or just wants to improve their Nahuatl, we’re all happy to support them. That way we can have new teachers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With what can seem like a nonstop torrent of complex political news coming at Americans on a daily basis, many people are craving humor as a way to escape — and make sense of — everything that’s happening.\u003c/p>\n\u003cp>“I’ve gotten so many messages from people saying, ‘We need you now more than ever!'” says cartoonist Lalo Alcaraz.\u003c/p>\n\u003cp>People are turning to Alcaraz because he’s used his cartoons — including \u003ca href=\"http://www.gocomics.com/lacucaracha/\" target=\"_blank\" rel=\"noopener\">La Cucaracha\u003c/a>, the first nationally-syndicated, politically-themed Latino daily comic strip — to talk about issues for more than two decades. His work is the subject of a new book, “\u003ca href=\"http://www.upress.state.ms.us/books/2019\" target=\"_blank\" rel=\"noopener\">Lalo Alcaraz: Political Cartooning in the Latino Community\u003c/a>” by Hector D. Fernandez L’Hoeste.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/03/2017-03-03a-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Alcaraz-960x782.jpg\" Title=\"Latino Cartoonist Says 'You Have to Laugh' in Uncertain Times\" program=\"The California Report\"]\u003c/p>\n\u003cp>Lately he’s turned his focus to President Donald Trump’s administration and its impact on the Latino community in particular.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etVt4TV_bIQ\u003c/p>\n\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lately he’s turned his focus to President Donald Trump’s administration and its impact on the Latino community in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\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/etVt4TV_bIQ'\n title='//www.youtube.com/embed/etVt4TV_bIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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