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"content": "\u003cp>FRISCO.\u003c/p>\n\u003cp>Just try dropping that word into conversation these days and see what kind of response you get. Chances are good the nickname will be met with a healthy dose of side-eye, a grimace or even a slap on the wrist.\u003c/p>\n\u003cp>Frisco is the nickname we love to hate.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>\u003ca href=\"http://kqed.org/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a> listener Rena Yang, a native of \u003ca href=\"http://www2.oaklandnet.com/\" target=\"_blank\" rel=\"noopener\">Oaktown \u003c/a>(people seem fine with this one), asked us why she can’t say “Frisco” without someone’s head exploding nearby.\u003c/p>\n\u003cp>Growing up, Rena relied on her friends to learn the local lingo, since her family spoke Chinese at home. One of the slang words her friends taught her was Frisco. She used it for years, until one day she slipped it in while talking to a co-worker.\u003c/p>\n\u003cfigure id=\"attachment_11340962\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-thumbnail wp-image-11340962\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/yang-160x212.jpg\" alt=\"Rena Yang has been wondering why some people don't like "Frisco" for years.\" width=\"160\" height=\"212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-160x212.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-800x1059.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1020x1351.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1920x2542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1180x1563.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-960x1271.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-240x318.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-375x497.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-520x689.jpg 520w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Rena Yang has been wondering why some people don’t like “Frisco” for years. \u003ccite>(Courtesy of Rena Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She stops me or she kind of looks at me, and says, ‘Wait, I thought people don’t like that name.’ And I said, ‘Really? I don’t think so,’ ” Rena recalls.\u003c/p>\n\u003cp>Suddenly, even though she’s a Bay Area native, she felt like an outsider. Ever since she’s wondered: Why all the hate?\u003cbr>\n[ad fullwidth]\u003cbr>\nIf you ask around, people say it’s because it’s disrespectful, truncated, ugly-sounding or icky. Basically, they don’t think the name does the city justice. But we had to find out where these arguments originally came from.\u003c/p>\n\u003ch3>A Mysterious Birth\u003c/h3>\n\u003cp>Let’s start with some history. (Read a \u003ca href=\"http://www.motherjones.com/media/2016/01/san-francisco-frisco-timeline\" target=\"_blank\" rel=\"noopener\">great timeline from Mother Jones\u003c/a> here.)\u003c/p>\n\u003cfigure id=\"attachment_11340965\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11340965\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/friscogirl1-160x214.jpg\" alt='Sheet music from 1897 is among the earliest known documents that uses the word \"Frisco.\"' width=\"250\" height=\"335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-160x214.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-240x321.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-375x502.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-520x696.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1.jpg 600w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Sheet music from 1897 is among the earliest known documents that uses the word “Frisco.” \u003ccite>(\u003ca href=\"http://www.sfmuseum.org/hist1/friscogirl.html\" target=\"_blank\">The Virtual Museum of the City of San Francisco\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Charles Fracchia, the founder of the \u003ca href=\"http://www.sfhistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum and Historical Society\u003c/a>, tells me nobody knows exactly where the word originated, but he thinks Frisco got its start in the late 1800s — potentially from some drunkard making a contraction out of San Francisco.\u003c/p>\n\u003cp>He thinks one of the first written uses was maybe on some sheet music, \u003ca href=\"http://www.sfmuseum.org/hist1/friscogirl.html\" target=\"_blank\" rel=\"noopener\">like this example from 1897.\u003c/a> Other people say it may have come earlier, perhaps during the Gold Rush.\u003c/p>\n\u003cp>Frisco’s use was probably in its heyday when the ports were strong here, around the time of World War II in the 1940s.\u003c/p>\n\u003cp>“It was kind of a working man’s period of time,” Fracchia says. “The port was thriving, you had lots of small manufactories here. Frisco is kind of a working man’s word.”\u003c/p>\n\u003ch3>A Trashy Name for a Classy City?\u003c/h3>\n\u003cp>The other thing to know: Not long after people started using it, other people started hating it. They said only out-of-towners used it. Tourists, basically.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>What Should We Call San Francisco?\u003c/h2>\n\u003cp>Listener Mark Coor, wanted to know what nickname locals are OK with. We conducted a highly \u003ca href=\"https://www.facebook.com/KQED/posts/10154024427206191?match=ZnJpc2NvLGtxZWQ%3D\" target=\"_blank\" rel=\"noopener\">unscientific survey\u003c/a>.\u003c/p>\n\u003cp>Widely considered OK:\u003cbr>\nSan Francisco\u003cbr>\nThe City*\u003c/p>\n\u003cp>Sometimes OK:\u003cbr>\nSF\u003c/p>\n\u003cp>Needs further discussion:\u003cbr>\nFrisco\u003cbr>\nSan Fran**\u003c/p>\n\u003cp>\u003cem>*People agree ‘the city’ makes the most sense if you’re near the city but not actually physically in it. But that it makes no sense if you’re near another big city like, say, Hong Kong or New York.\u003c/em>\u003c/p>\n\u003cp>\u003cem>**This is my 5-year-old son’s personal favorite because … logic.\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/news/11652705/americas-emperor-san-franciscos-treasure-who-was-emperor-norton\" target=\"_blank\" rel=\"noopener\">self-proclaimed emperor\u003c/a> — the Brit Joshua Norton — supposedly banned the use of Frisco in 1872 and said whoever used it would have to pay a $25 fine. But that has not been verified.\u003c/p>\n\u003cp>One person we do know hated the word: Herb Caen, \u003ca href=\"http://www.nytimes.com/1997/02/02/us/herb-caen-80-san-francisco-voice-dies.html\" target=\"_blank\" rel=\"noopener\">the revered columnist\u003c/a> for the San Francisco Chronicle. When he wrote about the city, people listened.\u003c/p>\n\u003cp>“Herb Caen made San Francisco into almost a village,” Fracchia says. “By the fact that his columns were very popular. There was kind of a lingua franca about them.”\u003c/p>\n\u003cp>Caen came along after the city had grown from a dinky West Coast outpost into a Gold Rush boomtown with saloons and debauchery, and later into a city that looked more like the East Coast and European cities it wanted to imitate.\u003c/p>\n\u003cp>Caen wanted San Francisco to be more classy, more chic.\u003c/p>\n\u003cp>His book, “\u003ca href=\"http://www.goodreads.com/book/show/8682323-don-t-call-it-frisco\" target=\"_blank\" rel=\"noopener\">Don’t Call It Frisco\u003c/a>,” came out in 1953.\u003c/p>\n\u003cp>The opening paragraph:\u003c/p>\n\u003cblockquote>\u003cp>“Don’t call it Frisco — it’s San Francisco, because it was named after St. Francis of Assisi. And because “Frisco” is a nickname that reminds the city uncomfortably of the early, brawling, boisterous days of the Barbary Coast and the cribs and sailors who were shanghaied. And because Frisco shows disrespect for a city that is now big and proper and respectable. And because only tourists call it Frisco anyway, and you don’t want to be taken for a tourist, do you?”\u003c/p>\u003c/blockquote>\n\u003cp>Fracchia says Caen’s book ruined the nickname for a lot of people. People wanted to seem proper, and cultured, so they listened to Caen and shunned it.\u003c/p>\n\u003cp>“That’s when I think it became controversial or contentious,” Fracchia says.\u003c/p>\n\u003ch3>Frisco is Loved, Too\u003c/h3>\n\u003cp>Now, many people associate the word with an earlier generation. And rightly so.\u003c/p>\n\u003cp>Take Joey Wilson, co-owner of a tattoo shop in the Mission called … yep, Frisco Tattoo.\u003c/p>\n\u003cfigure id=\"attachment_11339901\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11339901\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-800x533.jpg\" alt=\"Customers of Frisco Tattoo in the Mission sometimes get local pride tattoos that say 'Frisco' or 'San Franpsycho' in fancy lettering.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Customers of Frisco Tattoo in the Mission sometimes get local pride tattoos that say ‘Frisco’ or ‘San Franpsycho’ in fancy lettering. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My parents always called it that,” Wilson says. “They were blue-collar workers. It was just something that was instilled in me as a kid.”\u003c/p>\n\u003cp>Wilson remembers Frisco as a part of his childhood.\u003c/p>\n\u003cp>“When I was a little kid, I think I was 12 or 13, there was a bike shop called Frisco Choppers,” Wilson says. “I’d race down there on the bus, down Valencia Street, just to buy a T-shirt that said Frisco in big, bold letters because that was the coolest.”\u003c/p>\n\u003cp>Today he’s in the Hells Angels — the Frisco chapter.\u003c/p>\n\u003cfigure id=\"attachment_11339672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11339672 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-800x533.jpg\" alt=\"Joey Wilson co-owns the Mission District tattoo shop, Frisco Tattoo. He grew up saying 'Frisco' and has it tattooed on his wrist.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Wilson co-owns the Mission District tattoo shop, Frisco Tattoo. He grew up saying ‘Frisco’ and has it tattooed on his wrist. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His wife, Lilah Wilson, says they have lots of friends who love Frisco as much as they do.\u003c/p>\n\u003cp>“A lot of our friends are kind of small-business owners in the city here actually, and really are owners of the name Frisco,” she says. “We had Frisco Boxing, we have 415 Clothing, we had Frisco Choppers years back. Just kind of the root and background of that name and took it far, with T-shirts and tattoos and blew up that name.”\u003c/p>\n\u003cp>And now Joey Wilson wants to know why Caen’s opinion should matter more than his. After all, Caen was born in Sacramento.\u003c/p>\n\u003cp>“So that’s the question — why does it upset you to call it Frisco?” he says. “Give us a reason. And who are you to tell us what we can and can’t do? I’m from here. I’m born and raised here, so I think I got rights to call it whatever I want.”\u003c/p>\n\u003cp>Working on this story one day, I grabbed a Lyft and got to talking with the driver, a guy named Lorenzo Beasley.\u003c/p>\n\u003cp>“I grew up on the bottom of the city, a small neighborhood called Visitacion Valley,” Beasley says. “I think more of the urban community, like blacks or Hispanics in the city, those people always grew up using that word.”\u003c/p>\n\u003cp>Beasley says you hear it in Hunters Point, Lakeview, the Fillmore, Potrero Hill and especially the Mission.\u003c/p>\n\u003cp>I asked him who doesn’t like Frisco.\u003c/p>\n\u003cp>“It’s like a higher class of people, I guess,” Beasley says. “People who stay in Nob Hill and stuff. They look at it like slang, so they’re not really with it. It’s definitely a bit of snob thing involved.”\u003c/p>\n\u003cp>For Beasley, whether you use Frisco says what neighborhood you’re from.\u003c/p>\n\u003cp>\u003ca href=\"http://web.stanford.edu/~tcpratt/\" target=\"_blank\" rel=\"noopener\"> Stanford linguist Teresa Pratt\u003c/a> echoes that. She says that when you’re talking about language and word choice, like nicknames, you’re virtually always talking about money and power.\u003c/p>\n\u003cp>“Institutions or people who have power have an interest in maintaining that the way they speak is the right way to speak,” Pratt says. “Because it helps them. Because it’s coupled with this ideology that’s really widespread, that there’s a right way to speak, that there’s a way to speak that gets you ahead.”\u003c/p>\n\u003cp>Pratt says word choice is like a signal.\u003c/p>\n\u003cp>“Language as cultural capital, right?” she says. “It’s something like knowing exactly where to put your forks at the end of a meal.”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>Nicknames are even more like that. Knowing which one to use and which one not to use tells people where you belong. Which brings us back to Rena, our question-asker, who suddenly felt out of place because she was called out for using Frisco.\u003c/p>\n\u003cp>“For someone to correct you on that, it’s kind of like, ‘Ugh, did I have it wrong this whole time?’ ” she says.\u003c/p>\n\u003cp>Well, we have some good news for Rena. The famous Herb Caen eventually flip-flopped on Frisco a couple of times in the 1990s. It turns out we’ve built our anti-Frisco bias on some shaky ground.\u003c/p>\n\u003cp>And, there are a some admirable bootstrap efforts to bring it back.\u003c/p>\n\u003cp>SFGate predicted awhile ago that the \u003ca href=\"http://www.sfgate.com/entertainment/article/Frisco-that-once-verboten-term-for-the-city-by-2582886.php\" target=\"_blank\" rel=\"noopener\">young and hip\u003c/a> would revive it. Joe Eskenazi wrote for \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/dont-call-it-frisco-if-youre-old-and-white/Content?oid=2828709\" target=\"_blank\" rel=\"noopener\">SF Weekly\u003c/a> that it’s mostly old white people who don’t like it. And Buzzfeed launched a \u003ca href=\"https://www.buzzfeed.com/mathonan/17-reasons-why-its-okay-to-call-it-frisco?utm_term=.taYPdapGR#.oqk835R6q\" target=\"_blank\" rel=\"noopener\">“Call It Frisco” campaign\u003c/a> last year.\u003c/p>\n\u003cp>Join the movement?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Not long after people started using it, others started hating it. They said only out-of-towners used it. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>FRISCO.\u003c/p>\n\u003cp>Just try dropping that word into conversation these days and see what kind of response you get. Chances are good the nickname will be met with a healthy dose of side-eye, a grimace or even a slap on the wrist.\u003c/p>\n\u003cp>Frisco is the nickname we love to hate.\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>\u003ca href=\"http://kqed.org/baycurious\" target=\"_blank\" rel=\"noopener\">Bay Curious\u003c/a> listener Rena Yang, a native of \u003ca href=\"http://www2.oaklandnet.com/\" target=\"_blank\" rel=\"noopener\">Oaktown \u003c/a>(people seem fine with this one), asked us why she can’t say “Frisco” without someone’s head exploding nearby.\u003c/p>\n\u003cp>Growing up, Rena relied on her friends to learn the local lingo, since her family spoke Chinese at home. One of the slang words her friends taught her was Frisco. She used it for years, until one day she slipped it in while talking to a co-worker.\u003c/p>\n\u003cfigure id=\"attachment_11340962\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-thumbnail wp-image-11340962\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/yang-160x212.jpg\" alt=\"Rena Yang has been wondering why some people don't like "Frisco" for years.\" width=\"160\" height=\"212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-160x212.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-800x1059.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1020x1351.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1920x2542.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-1180x1563.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-960x1271.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-240x318.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-375x497.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/yang-520x689.jpg 520w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Rena Yang has been wondering why some people don’t like “Frisco” for years. \u003ccite>(Courtesy of Rena Yang)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She stops me or she kind of looks at me, and says, ‘Wait, I thought people don’t like that name.’ And I said, ‘Really? I don’t think so,’ ” Rena recalls.\u003c/p>\n\u003cp>Suddenly, even though she’s a Bay Area native, she felt like an outsider. Ever since she’s wondered: Why all the hate?\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nIf you ask around, people say it’s because it’s disrespectful, truncated, ugly-sounding or icky. Basically, they don’t think the name does the city justice. But we had to find out where these arguments originally came from.\u003c/p>\n\u003ch3>A Mysterious Birth\u003c/h3>\n\u003cp>Let’s start with some history. (Read a \u003ca href=\"http://www.motherjones.com/media/2016/01/san-francisco-frisco-timeline\" target=\"_blank\" rel=\"noopener\">great timeline from Mother Jones\u003c/a> here.)\u003c/p>\n\u003cfigure id=\"attachment_11340965\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11340965\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/friscogirl1-160x214.jpg\" alt='Sheet music from 1897 is among the earliest known documents that uses the word \"Frisco.\"' width=\"250\" height=\"335\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-160x214.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-240x321.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-375x502.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1-520x696.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/friscogirl1.jpg 600w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Sheet music from 1897 is among the earliest known documents that uses the word “Frisco.” \u003ccite>(\u003ca href=\"http://www.sfmuseum.org/hist1/friscogirl.html\" target=\"_blank\">The Virtual Museum of the City of San Francisco\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Charles Fracchia, the founder of the \u003ca href=\"http://www.sfhistory.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum and Historical Society\u003c/a>, tells me nobody knows exactly where the word originated, but he thinks Frisco got its start in the late 1800s — potentially from some drunkard making a contraction out of San Francisco.\u003c/p>\n\u003cp>He thinks one of the first written uses was maybe on some sheet music, \u003ca href=\"http://www.sfmuseum.org/hist1/friscogirl.html\" target=\"_blank\" rel=\"noopener\">like this example from 1897.\u003c/a> Other people say it may have come earlier, perhaps during the Gold Rush.\u003c/p>\n\u003cp>Frisco’s use was probably in its heyday when the ports were strong here, around the time of World War II in the 1940s.\u003c/p>\n\u003cp>“It was kind of a working man’s period of time,” Fracchia says. “The port was thriving, you had lots of small manufactories here. Frisco is kind of a working man’s word.”\u003c/p>\n\u003ch3>A Trashy Name for a Classy City?\u003c/h3>\n\u003cp>The other thing to know: Not long after people started using it, other people started hating it. They said only out-of-towners used it. Tourists, basically.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>What Should We Call San Francisco?\u003c/h2>\n\u003cp>Listener Mark Coor, wanted to know what nickname locals are OK with. We conducted a highly \u003ca href=\"https://www.facebook.com/KQED/posts/10154024427206191?match=ZnJpc2NvLGtxZWQ%3D\" target=\"_blank\" rel=\"noopener\">unscientific survey\u003c/a>.\u003c/p>\n\u003cp>Widely considered OK:\u003cbr>\nSan Francisco\u003cbr>\nThe City*\u003c/p>\n\u003cp>Sometimes OK:\u003cbr>\nSF\u003c/p>\n\u003cp>Needs further discussion:\u003cbr>\nFrisco\u003cbr>\nSan Fran**\u003c/p>\n\u003cp>\u003cem>*People agree ‘the city’ makes the most sense if you’re near the city but not actually physically in it. But that it makes no sense if you’re near another big city like, say, Hong Kong or New York.\u003c/em>\u003c/p>\n\u003cp>\u003cem>**This is my 5-year-old son’s personal favorite because … logic.\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/news/11652705/americas-emperor-san-franciscos-treasure-who-was-emperor-norton\" target=\"_blank\" rel=\"noopener\">self-proclaimed emperor\u003c/a> — the Brit Joshua Norton — supposedly banned the use of Frisco in 1872 and said whoever used it would have to pay a $25 fine. But that has not been verified.\u003c/p>\n\u003cp>One person we do know hated the word: Herb Caen, \u003ca href=\"http://www.nytimes.com/1997/02/02/us/herb-caen-80-san-francisco-voice-dies.html\" target=\"_blank\" rel=\"noopener\">the revered columnist\u003c/a> for the San Francisco Chronicle. When he wrote about the city, people listened.\u003c/p>\n\u003cp>“Herb Caen made San Francisco into almost a village,” Fracchia says. “By the fact that his columns were very popular. There was kind of a lingua franca about them.”\u003c/p>\n\u003cp>Caen came along after the city had grown from a dinky West Coast outpost into a Gold Rush boomtown with saloons and debauchery, and later into a city that looked more like the East Coast and European cities it wanted to imitate.\u003c/p>\n\u003cp>Caen wanted San Francisco to be more classy, more chic.\u003c/p>\n\u003cp>His book, “\u003ca href=\"http://www.goodreads.com/book/show/8682323-don-t-call-it-frisco\" target=\"_blank\" rel=\"noopener\">Don’t Call It Frisco\u003c/a>,” came out in 1953.\u003c/p>\n\u003cp>The opening paragraph:\u003c/p>\n\u003cblockquote>\u003cp>“Don’t call it Frisco — it’s San Francisco, because it was named after St. Francis of Assisi. And because “Frisco” is a nickname that reminds the city uncomfortably of the early, brawling, boisterous days of the Barbary Coast and the cribs and sailors who were shanghaied. And because Frisco shows disrespect for a city that is now big and proper and respectable. And because only tourists call it Frisco anyway, and you don’t want to be taken for a tourist, do you?”\u003c/p>\u003c/blockquote>\n\u003cp>Fracchia says Caen’s book ruined the nickname for a lot of people. People wanted to seem proper, and cultured, so they listened to Caen and shunned it.\u003c/p>\n\u003cp>“That’s when I think it became controversial or contentious,” Fracchia says.\u003c/p>\n\u003ch3>Frisco is Loved, Too\u003c/h3>\n\u003cp>Now, many people associate the word with an earlier generation. And rightly so.\u003c/p>\n\u003cp>Take Joey Wilson, co-owner of a tattoo shop in the Mission called … yep, Frisco Tattoo.\u003c/p>\n\u003cfigure id=\"attachment_11339901\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-11339901\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-800x533.jpg\" alt=\"Customers of Frisco Tattoo in the Mission sometimes get local pride tattoos that say 'Frisco' or 'San Franpsycho' in fancy lettering.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22143_161021_FriscoTattoo_bhs05-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Customers of Frisco Tattoo in the Mission sometimes get local pride tattoos that say ‘Frisco’ or ‘San Franpsycho’ in fancy lettering. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My parents always called it that,” Wilson says. “They were blue-collar workers. It was just something that was instilled in me as a kid.”\u003c/p>\n\u003cp>Wilson remembers Frisco as a part of his childhood.\u003c/p>\n\u003cp>“When I was a little kid, I think I was 12 or 13, there was a bike shop called Frisco Choppers,” Wilson says. “I’d race down there on the bus, down Valencia Street, just to buy a T-shirt that said Frisco in big, bold letters because that was the coolest.”\u003c/p>\n\u003cp>Today he’s in the Hells Angels — the Frisco chapter.\u003c/p>\n\u003cfigure id=\"attachment_11339672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11339672 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-800x533.jpg\" alt=\"Joey Wilson co-owns the Mission District tattoo shop, Frisco Tattoo. He grew up saying 'Frisco' and has it tattooed on his wrist.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/RS22149_161021_FriscoTattoo_bhs11-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Wilson co-owns the Mission District tattoo shop, Frisco Tattoo. He grew up saying ‘Frisco’ and has it tattooed on his wrist. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His wife, Lilah Wilson, says they have lots of friends who love Frisco as much as they do.\u003c/p>\n\u003cp>“A lot of our friends are kind of small-business owners in the city here actually, and really are owners of the name Frisco,” she says. “We had Frisco Boxing, we have 415 Clothing, we had Frisco Choppers years back. Just kind of the root and background of that name and took it far, with T-shirts and tattoos and blew up that name.”\u003c/p>\n\u003cp>And now Joey Wilson wants to know why Caen’s opinion should matter more than his. After all, Caen was born in Sacramento.\u003c/p>\n\u003cp>“So that’s the question — why does it upset you to call it Frisco?” he says. “Give us a reason. And who are you to tell us what we can and can’t do? I’m from here. I’m born and raised here, so I think I got rights to call it whatever I want.”\u003c/p>\n\u003cp>Working on this story one day, I grabbed a Lyft and got to talking with the driver, a guy named Lorenzo Beasley.\u003c/p>\n\u003cp>“I grew up on the bottom of the city, a small neighborhood called Visitacion Valley,” Beasley says. “I think more of the urban community, like blacks or Hispanics in the city, those people always grew up using that word.”\u003c/p>\n\u003cp>Beasley says you hear it in Hunters Point, Lakeview, the Fillmore, Potrero Hill and especially the Mission.\u003c/p>\n\u003cp>I asked him who doesn’t like Frisco.\u003c/p>\n\u003cp>“It’s like a higher class of people, I guess,” Beasley says. “People who stay in Nob Hill and stuff. They look at it like slang, so they’re not really with it. It’s definitely a bit of snob thing involved.”\u003c/p>\n\u003cp>For Beasley, whether you use Frisco says what neighborhood you’re from.\u003c/p>\n\u003cp>\u003ca href=\"http://web.stanford.edu/~tcpratt/\" target=\"_blank\" rel=\"noopener\"> Stanford linguist Teresa Pratt\u003c/a> echoes that. She says that when you’re talking about language and word choice, like nicknames, you’re virtually always talking about money and power.\u003c/p>\n\u003cp>“Institutions or people who have power have an interest in maintaining that the way they speak is the right way to speak,” Pratt says. “Because it helps them. Because it’s coupled with this ideology that’s really widespread, that there’s a right way to speak, that there’s a way to speak that gets you ahead.”\u003c/p>\n\u003cp>Pratt says word choice is like a signal.\u003c/p>\n\u003cp>“Language as cultural capital, right?” she says. “It’s something like knowing exactly where to put your forks at the end of a meal.”\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>Nicknames are even more like that. Knowing which one to use and which one not to use tells people where you belong. Which brings us back to Rena, our question-asker, who suddenly felt out of place because she was called out for using Frisco.\u003c/p>\n\u003cp>“For someone to correct you on that, it’s kind of like, ‘Ugh, did I have it wrong this whole time?’ ” she says.\u003c/p>\n\u003cp>Well, we have some good news for Rena. The famous Herb Caen eventually flip-flopped on Frisco a couple of times in the 1990s. It turns out we’ve built our anti-Frisco bias on some shaky ground.\u003c/p>\n\u003cp>And, there are a some admirable bootstrap efforts to bring it back.\u003c/p>\n\u003cp>SFGate predicted awhile ago that the \u003ca href=\"http://www.sfgate.com/entertainment/article/Frisco-that-once-verboten-term-for-the-city-by-2582886.php\" target=\"_blank\" rel=\"noopener\">young and hip\u003c/a> would revive it. Joe Eskenazi wrote for \u003ca href=\"http://archives.sfweekly.com/sanfrancisco/dont-call-it-frisco-if-youre-old-and-white/Content?oid=2828709\" target=\"_blank\" rel=\"noopener\">SF Weekly\u003c/a> that it’s mostly old white people who don’t like it. And Buzzfeed launched a \u003ca href=\"https://www.buzzfeed.com/mathonan/17-reasons-why-its-okay-to-call-it-frisco?utm_term=.taYPdapGR#.oqk835R6q\" target=\"_blank\" rel=\"noopener\">“Call It Frisco” campaign\u003c/a> last year.\u003c/p>\n\u003cp>Join the movement?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Music From Chicano Batman, Jay Som, Grandaddy",
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"headTitle": "New Music From Chicano Batman, Jay Som, Grandaddy | KQED",
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"content": "\u003cp>Never mind Lego Batman. Here’s \u003ca href=\"http://chicanobatman.com\">Chicano Batman\u003c/a>. And instead of capes, these crusaders wear vintage suits and ruffled shirts, looking like a ‘70s wedding band. And like the Dark Knight, this quartet is on a mission for justice.\u003c/p>\n\u003cp>That might not be evident from a first listen and look. On \u003cem>Freedom Is Free, \u003c/em>the third Chicano Batman album since the Los Angeles band started in the late 2000s, they mine the sounds of ‘60s and ‘70s East L.A., the soul and funk of\u003ca href=\"http://tierramusic.com/\"> Tierra\u003c/a> and El Chicano. But just as strong an influence is the quasi-psychedelic swirls of Brazil’s Tropicalia movement of the same era, notably such prime acts as \u003ca href=\"http://www.luakabop.com/os_mutantes/\">Os Mutantes\u003c/a> and Caetano Veloso. One highlight, “Flecha Al Sol,” could pass for vintage Veloso, and singer Bardo Martinez favors his same low-key, conversational alto, often sliding into an effectively stretched, vulnerable falsetto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11336831\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg\" alt=\"ChicanoBatmanCover\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s fun stuff, Spanglish nostalgia with some stylish twists. But carried in it are some pointed and poignant messages. If you saw the ad Chicano Batman did recently for a whiskey company, the band doing \u003ca href=\"https://www.youtube.com/watch?v=8Hva8tS5C1U\">a bilingual version of “This Land Is Your Land”\u003c/a> shot around their L.A. neighborhoods, you won’t be so surprised. The grand gesture in that regard here is “The Taker Story,” with a subdued War-like groove underscoring a dark decrying of both geographic and cultural imperialism.\u003c/p>\n\u003cp>But most of the justice being fought for is on a more personal level. “Friendship (Is a Small Boat In a Storm)” calms the waters with an earnest, soulful outreached hand, Martinez’s taking a turn on organ in a little musical dance with co-founder Carlos Arévalo’s understated guitar licks. “Angel Child” is an open-hearted portrait, with shifting time signatures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3k9TVfnHH8Q&feature=youtu.be\u003c/p>\n\u003cp>The funky, bouncy title song, Martinez has explained, takes on the old “freedom isn’t free” catchphrase that’s been used in connection with various U.S. military actions. Here Martinez implores people to get outside of their routines and conventions and be free in their own ways. The song’s opening line, “Nobody likes you, nobody cares,” doesn’t seem liberating, maybe. But as someone else once sang, freedom’s just another word for … well, you know.\u003c/p>\n\u003ch2>Jay Som\u003c/h2>\n\u003cfigure id=\"attachment_11332383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11332383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg\" alt=\"Jay Som, the musical project of Oakland's Melina Duterte, makes its full album debut.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som, the musical project of Oakland’s Melina Duterte, makes its full album debut.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a lot of first-person on \u003ca href=\"http://www.jaysommusic.com\">Jay Som\u003c/a>’s debut album, \u003cem>Everybody Works\u003c/em>. Every song, for that matter: I this, I that. The very first word of the first song, “Lipstick Stains,” is “I,” emerging from layers of what sound like harps and zithers in an almost Wagnerian revelry as if it’s the very dawn of creation.\u003c/p>\n\u003cp>The music, too, is first-person. Every note, aside from some background vocals by friends, was sung or played by the artist in her bedroom. It’s kind of ironic, coming from someone who performs under a pseudonym, her real name being Melina Duterte.\u003c/p>\n\u003cp>But it’s not self-absorption. It’s a point of view. And yes, there can be a very fine line between the two, but Duterte/Som finds a perfect, if sometimes teetering, balance between solitude and connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg\" alt=\"RS24388_prc329-qut(1)\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>That first first-person song, just six short lines — three of them starting with “I,” and the first two repeated in the second three-line stanza — languorously recounts the way a lover’s “lipstick stains the corner of my smile.” It’s at once an entry in a young woman’s diary and vivid, concise poetry. That song has the fewest words, but the album is marked by that economy and directness, at once crisp and wistful, in the moment and yearning for whatever comes next.\u003c/p>\n\u003cp>The music also teeters between the scruffy lo-fi charm you’d expect from bedroom recordings to some surprisingly sophisticated turns. On one end of the scale is “1 Billion Dogs” with its rushed confusion culminating in a squonky electric guitar solo. On the other end is the first single, “Baybee,” also about relational uncertainty but in a smooth-soul setting album reminiscent of Paul Weller’s sheeny Style Council side trips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cRES6Af_Wyg\u003c/p>\n\u003cp>Where “Lipstick Stains” starts the album with its sensual sense of beginnings, “For Light” closes it with a sense of renewal, Duterte taking a walk to “feel the sun against my skin” as she recharges for new challenges, the song ending in strums on an electric guitar, echoing that opening revelry as a new day, or new phase, dawns.\u003c/p>\n\u003ch2>Grandaddy\u003c/h2>\n\u003cp>In the first place, Modesto’s \u003ca href=\"http://www.grandaddymusic.com\">Grandaddy\u003c/a> seemed poised for big things with its tantalizing mix of glorious pop craft and idiosyncratic take on structures and sonics virtually upon the arrival of its 1997 debut album \u003cem>Under the Western Freeway\u003c/em>.\u003c/p>\n\u003cp>We’re talking \u003ca href=\"http://www.flaminglips.com/?frontpage=true\">Flaming Lips\u003c/a> big things, perhaps even \u003ca href=\"https://www.youtube.com/user/radiohead\">Radiohead \u003c/a>big things. Putting-Modesto-on-the-musical-map big things. Also in the second place, third place and fourth place with its three subsequent albums, each one winningly oddball but resonant.\u003c/p>\n\u003cfigure id=\"attachment_11332391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11332391 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg\" alt=\"Modesto band Grandaddy makes a strong return after an 11-year hiatus.\" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Modesto band Grandaddy makes a strong return after an 11-year hiatus.\u003c/figcaption>\u003c/figure>\n\u003cp>Obviously, it didn’t quite work out that way, and following 2006’s \u003cem>Just Like the Fambly Cat\u003c/em>, the group split, with members — particularly Jason Lytel and Jim Fairchild — moving on to various other project.\u003c/p>\n\u003cp>Well, after dipping its collective toes back in the waters with reunion shows in 2012, Grandaddy is back with a full new album, \u003cem>Last Place\u003c/em>.\u003c/p>\n\u003cp>If commercial expectations may not be as lofty as they once were, the music still is. “Last Place,” whether the title means being behind the pack or gives a sense of just-one-more-time finality, suffers neither from the resignation or desperation coursing through many belated reunions. Rather, it carries the aura of a band that just had to wait a little until the time was right to renew its collective creativity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QX34Qhmto0Y\u003c/p>\n\u003cp>And it’s not just a reunion, but also a homecoming, as Lytle made a prodigal return to Modesto after living in Montana and then Portland in recent years. The song “I Don’t Want to Live Here Anymore” was written shortly after his move to Portland, where he also lived through the end of a long-term relationship, echoes of which reverberate throughout the album.\u003c/p>\n\u003cp>Flaming Lips and Radiohead remain apt reference points, the former in a general quizzical sense of the world’s turnings as in the ghostly, wandering wondering of “A Lost Machine,” the latter particularly prominent in the muted melancholy of “This Is the Part.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg\" alt=\"RS24389_LastPlace_Art-qut\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>On other fronts, the instrumental interlude “Oh She Deleter” reminiscent of Eno’s “Another Green World,” giving way to the “Ram”-era McCartney-ish pop of “The Boat Is In the Barn.”\u003c/p>\n\u003cp>Mostly, though, all of these attributes swirl together in a way that is distinct to Grandaddy, as fresh and assured as in the band’s prime, captured in full in the pulsating pop of “Evermore.” Now, we don’t know with Grandaddy if there will be an ever, or a more. But this and the rest of “Last Place” are welcome reminders of why we loved them in the first place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2w8gxStEaic\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Never mind Lego Batman. Here’s \u003ca href=\"http://chicanobatman.com\">Chicano Batman\u003c/a>. And instead of capes, these crusaders wear vintage suits and ruffled shirts, looking like a ‘70s wedding band. And like the Dark Knight, this quartet is on a mission for justice.\u003c/p>\n\u003cp>That might not be evident from a first listen and look. On \u003cem>Freedom Is Free, \u003c/em>the third Chicano Batman album since the Los Angeles band started in the late 2000s, they mine the sounds of ‘60s and ‘70s East L.A., the soul and funk of\u003ca href=\"http://tierramusic.com/\"> Tierra\u003c/a> and El Chicano. But just as strong an influence is the quasi-psychedelic swirls of Brazil’s Tropicalia movement of the same era, notably such prime acts as \u003ca href=\"http://www.luakabop.com/os_mutantes/\">Os Mutantes\u003c/a> and Caetano Veloso. One highlight, “Flecha Al Sol,” could pass for vintage Veloso, and singer Bardo Martinez favors his same low-key, conversational alto, often sliding into an effectively stretched, vulnerable falsetto.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11336831\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg\" alt=\"ChicanoBatmanCover\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/ChicanoBatmanCover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s fun stuff, Spanglish nostalgia with some stylish twists. But carried in it are some pointed and poignant messages. If you saw the ad Chicano Batman did recently for a whiskey company, the band doing \u003ca href=\"https://www.youtube.com/watch?v=8Hva8tS5C1U\">a bilingual version of “This Land Is Your Land”\u003c/a> shot around their L.A. neighborhoods, you won’t be so surprised. The grand gesture in that regard here is “The Taker Story,” with a subdued War-like groove underscoring a dark decrying of both geographic and cultural imperialism.\u003c/p>\n\u003cp>But most of the justice being fought for is on a more personal level. “Friendship (Is a Small Boat In a Storm)” calms the waters with an earnest, soulful outreached hand, Martinez’s taking a turn on organ in a little musical dance with co-founder Carlos Arévalo’s understated guitar licks. “Angel Child” is an open-hearted portrait, with shifting time signatures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3k9TVfnHH8Q'\n title='//www.youtube.com/embed/3k9TVfnHH8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The funky, bouncy title song, Martinez has explained, takes on the old “freedom isn’t free” catchphrase that’s been used in connection with various U.S. military actions. Here Martinez implores people to get outside of their routines and conventions and be free in their own ways. The song’s opening line, “Nobody likes you, nobody cares,” doesn’t seem liberating, maybe. But as someone else once sang, freedom’s just another word for … well, you know.\u003c/p>\n\u003ch2>Jay Som\u003c/h2>\n\u003cfigure id=\"attachment_11332383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11332383\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg\" alt=\"Jay Som, the musical project of Oakland's Melina Duterte, makes its full album debut.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-240x192.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-375x300.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24387_Jay_Som_Cara_Robbins_EW_Gen_1_HIGH_RES-qut-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Som, the musical project of Oakland’s Melina Duterte, makes its full album debut.\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a lot of first-person on \u003ca href=\"http://www.jaysommusic.com\">Jay Som\u003c/a>’s debut album, \u003cem>Everybody Works\u003c/em>. Every song, for that matter: I this, I that. The very first word of the first song, “Lipstick Stains,” is “I,” emerging from layers of what sound like harps and zithers in an almost Wagnerian revelry as if it’s the very dawn of creation.\u003c/p>\n\u003cp>The music, too, is first-person. Every note, aside from some background vocals by friends, was sung or played by the artist in her bedroom. It’s kind of ironic, coming from someone who performs under a pseudonym, her real name being Melina Duterte.\u003c/p>\n\u003cp>But it’s not self-absorption. It’s a point of view. And yes, there can be a very fine line between the two, but Duterte/Som finds a perfect, if sometimes teetering, balance between solitude and connection.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg\" alt=\"RS24388_prc329-qut(1)\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24388_prc329-qut1.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>That first first-person song, just six short lines — three of them starting with “I,” and the first two repeated in the second three-line stanza — languorously recounts the way a lover’s “lipstick stains the corner of my smile.” It’s at once an entry in a young woman’s diary and vivid, concise poetry. That song has the fewest words, but the album is marked by that economy and directness, at once crisp and wistful, in the moment and yearning for whatever comes next.\u003c/p>\n\u003cp>The music also teeters between the scruffy lo-fi charm you’d expect from bedroom recordings to some surprisingly sophisticated turns. On one end of the scale is “1 Billion Dogs” with its rushed confusion culminating in a squonky electric guitar solo. On the other end is the first single, “Baybee,” also about relational uncertainty but in a smooth-soul setting album reminiscent of Paul Weller’s sheeny Style Council side trips.\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/cRES6Af_Wyg'\n title='//www.youtube.com/embed/cRES6Af_Wyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Where “Lipstick Stains” starts the album with its sensual sense of beginnings, “For Light” closes it with a sense of renewal, Duterte taking a walk to “feel the sun against my skin” as she recharges for new challenges, the song ending in strums on an electric guitar, echoing that opening revelry as a new day, or new phase, dawns.\u003c/p>\n\u003ch2>Grandaddy\u003c/h2>\n\u003cp>In the first place, Modesto’s \u003ca href=\"http://www.grandaddymusic.com\">Grandaddy\u003c/a> seemed poised for big things with its tantalizing mix of glorious pop craft and idiosyncratic take on structures and sonics virtually upon the arrival of its 1997 debut album \u003cem>Under the Western Freeway\u003c/em>.\u003c/p>\n\u003cp>We’re talking \u003ca href=\"http://www.flaminglips.com/?frontpage=true\">Flaming Lips\u003c/a> big things, perhaps even \u003ca href=\"https://www.youtube.com/user/radiohead\">Radiohead \u003c/a>big things. Putting-Modesto-on-the-musical-map big things. Also in the second place, third place and fourth place with its three subsequent albums, each one winningly oddball but resonant.\u003c/p>\n\u003cfigure id=\"attachment_11332391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11332391 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg\" alt=\"Modesto band Grandaddy makes a strong return after an 11-year hiatus.\" width=\"800\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-800x665.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-1180x980.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-960x798.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-375x312.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24390_1blueprints300-4sky-300dpi-qut-520x432.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Modesto band Grandaddy makes a strong return after an 11-year hiatus.\u003c/figcaption>\u003c/figure>\n\u003cp>Obviously, it didn’t quite work out that way, and following 2006’s \u003cem>Just Like the Fambly Cat\u003c/em>, the group split, with members — particularly Jason Lytel and Jim Fairchild — moving on to various other project.\u003c/p>\n\u003cp>Well, after dipping its collective toes back in the waters with reunion shows in 2012, Grandaddy is back with a full new album, \u003cem>Last Place\u003c/em>.\u003c/p>\n\u003cp>If commercial expectations may not be as lofty as they once were, the music still is. “Last Place,” whether the title means being behind the pack or gives a sense of just-one-more-time finality, suffers neither from the resignation or desperation coursing through many belated reunions. Rather, it carries the aura of a band that just had to wait a little until the time was right to renew its collective creativity.\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/QX34Qhmto0Y'\n title='//www.youtube.com/embed/QX34Qhmto0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And it’s not just a reunion, but also a homecoming, as Lytle made a prodigal return to Modesto after living in Montana and then Portland in recent years. The song “I Don’t Want to Live Here Anymore” was written shortly after his move to Portland, where he also lived through the end of a long-term relationship, echoes of which reverberate throughout the album.\u003c/p>\n\u003cp>Flaming Lips and Radiohead remain apt reference points, the former in a general quizzical sense of the world’s turnings as in the ghostly, wandering wondering of “A Lost Machine,” the latter particularly prominent in the muted melancholy of “This Is the Part.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11332390\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg\" alt=\"RS24389_LastPlace_Art-qut\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/RS24389_LastPlace_Art-qut-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>On other fronts, the instrumental interlude “Oh She Deleter” reminiscent of Eno’s “Another Green World,” giving way to the “Ram”-era McCartney-ish pop of “The Boat Is In the Barn.”\u003c/p>\n\u003cp>Mostly, though, all of these attributes swirl together in a way that is distinct to Grandaddy, as fresh and assured as in the band’s prime, captured in full in the pulsating pop of “Evermore.” Now, we don’t know with Grandaddy if there will be an ever, or a more. But this and the rest of “Last Place” are welcome reminders of why we loved them in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Remembering the 'Sweet Soul' of Al Jarreau",
"title": "Remembering the 'Sweet Soul' of Al Jarreau",
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"content": "\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Success didn’t come early or easily for \u003ca href=\"http://aljarreau.com/\">Al Jarreau\u003c/a>, but when the vocalist finally broke through in the mid 1970s, he changed the musical landscape. \u003c/p>\n\u003cp>A brilliantly inventive scat singer, Jarreau excelled at just about every musical style he touched. The only singer to win Grammy Awards in the Jazz, R&B and Pop categories, he died on Sunday, Feb. 12 in Los Angeles at the age of 76 just days after his manager announced that the singer was retiring from decades of international touring.\u003c/p>\n\u003cp>In many ways Jarreau’s passing marks the end of an era, in that he might be the last of his kind: A jazz-steeped African-American male singer who broke through as a pop star. \u003ca href=\"http://bobbymcferrin.com/\">Bobby McFerrin\u003c/a> followed in his Bay Area footsteps, expanding on Jarreau’s instrumental palette as a scat singer, but after McFerrin scored a Top 40 hit he began turning his attention to the classical world. Jarreau thrived over decades of changing musical tastes, influencing countless singers and instrumentalists. His imprint is evident on pianist \u003ca href=\"http://www.robertglasper.com/\">Robert Glasper\u003c/a>, a gifted jazz musician who’s also found a broader audience via R&B.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/otVH5cv9z1A?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The son of a vicar turned welder, Jarreau didn’t start on a path likely to produce a musical pioneer. He grew up in a working-class family in Milwaukee where it was drilled into him that he was going to get a college education. After earning a master's degree in psychology, he moved to San Francisco in the late 1960s and began doing social work, but he also found time to indulge his love of music, hooking up with an ambitious young pianist named \u003ca href=\"http://georgeduke.com/\">George Duke\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I was doing rehabilitation counseling during the day and singing nights with George,” Jarreau told me in a 2006 interview. “We were swinging. This was the day of Janis Joplin and the Grateful Dead coming on the scene, and there George and I were, holding forth in this little jazz club, packing them in on weekends, and kind of swimming up-stream.\"\u003c/p>\n\u003cp>When he decided to pursue music full-time, Jarreau moved down to Los Angeles and spent the first half of the '70s on the road. But instead of using the standard piano, bass and drums rhythm section preferred by most jazz singers, Jarreau kept expenses low and musical options high by performing accompanied only by an electric guitarist. \u003c/p>\n\u003cp>The duo format gave him the space to develop his trademark scatting technique, as he laid down his own bass lines while imitating various horns. He was singing mostly the same American Songbook standards, jazz tunes and bossa nova hits as other vocalists, but his versions transformed the songs into extended scat excursions.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/hhq7fSrXn0c?start=137&feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I suddenly found all this space to go like this,” he said, launching into a walking bass line with a percussive beat. “Just after the George Duke period I found all of the stuff that’s my thumbprint these days.”\u003c/p>\n\u003cp>Jarreau was well into his 30s when he finally broke through in 1975 with \u003cem>We Got By,\u003c/em> an album that won widespread critical praise. In jazz terms, he set an unsurpassed benchmark with his 1977 live double album, \u003cem>Look to the Rainbow\u003c/em>, though he probably reached his commercial zenith with his hit theme song to the popular TV show “Moonlighting.” In the '90s, his music seemed tailored for the adult contemporary radio format, but he continued to expand his sound.\u003c/p>\n\u003cp>He earned his seventh Grammy Award (under the best traditional R&B vocal category) for his collaboration with guitarist George Benson and vocalist Jill Scott on Billie Holiday’s “God Bless the Child.\" His last album was 2014’s homage to his lifelong buddy, \u003cem>My Old Friend: Celebrating George Duke\u003c/em>, a project featuring guest artists like Lalah Hathaway, Marcus Miller, Dianne Reeves and Dr. John. Right up until the end, he never tried to limit himself.\u003c/p>\n\u003cp>“I heard that music from Haight Ashbury,” Jarreau said. “I was listening to Laura Nyro and Joni Mitchell and Bob Dylan. There are lots of different people inside me, including Sly Stone and James Brown. That’s why my music sounds like a lot of different things at different times.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was the smooth R&B crooner celebrating new love, the agile scat trickster navigating a steeplechase bebop line, and a vocal horn player evoking a muted trumpet. What united all of Al Jarreau’s different sounds was the sweet soul underneath.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Noted aviator and actor Harrison Ford flew his private plane over a jet airliner on the ground at a Southern California airport Monday. It's not the first time the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> star has had problems landing.\u003c/p>\n\u003cp>The 74-year-old Ford was instructed to land on a runway at Orange County's John Wayne Airport but mistakenly landed on a parallel taxiway, passing over a Boeing 737 carrying 110 passengers and six crew members.\u003c/p>\n\u003cp>On a recording, Ford asked air traffic controllers, \"Was that airliner meant to be underneath me?\" \u003ca href=\"http://www.nbcnews.com/nightly-news/harrison-ford-has-incident-passenger-plane-airport-n720826\">according to NBC News\u003c/a>, which first reported the incident.\u003c/p>\n\u003cp>Federal Aviation Administration spokesman Ian Gregor said the pilot heard and read back the correct landing instructions, according to the Associated Press. Gregor did not confirm it was Ford who was piloting the plane, a single-engine Aviat Husky. The AP reports that he didn't say how close Ford's plane came to hitting the jet on the ground.\u003c/p>\n\u003cp>No one was injured and the jet, American Airlines Flight 1456, took off for Dallas shortly after without incident.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The FAA is now investigating, which \"could result in a simple warning letter to a suspension of Ford's pilot's license,\" NBC reports.\u003c/p>\n\u003cp>Ford collects vintage planes and has been flying for decades. According to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/05/391074873/reports-actor-harrison-ford-crash-lands-small-vintage-plane\">NPR's Russell Lewis\u003c/a>, Ford is \"a highly skilled and highly rated pilot. He's qualified to fly single and twin-engine planes, sea planes, helicopters and he's also an instrument-rated pilot.\" In 2015, Ford said he owned \"eight or nine various types of airplanes,\" according to NTSB documents posted on \u003ca href=\"http://www.airsafe.com/events/reports/ford-recruit-2015-pilot-interview.pdf\">AirSafe.com\u003c/a>.\u003c/p>\n\u003cp>Ford reported on a medical certificate application that he had logged at least 5,200 flight hours, \u003ca href=\"https://app.ntsb.gov/pdfgenerator/ReportGeneratorFile.ashx?EventID=20150305X93207&AKey=1&RType=Final&IType=FA\">according to the NTSB\u003c/a>.\u003c/p>\n\u003cp>He was a 2008 honoree and received the \u003ca href=\"http://www.livinglegendsofaviation.org/pages/honorees\">Legends Aviation Legacy Award\u003c/a> from Kiddie Hawk Air Academy, and subsequently had an award named after him.\u003c/p>\n\u003cp>Ford was seriously injured in March 2015 when he crash-landed a restored World War II-era trainer plane on a golf course near the Santa Monica Airport shortly after takeoff. A National Transportation Safety Board report found the crash was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/06/430073622/ntsb-harrison-ford-plane-crash-caused-by-loose-engine-part\">caused by a loose engine part\u003c/a>.\u003c/p>\n\u003cp>In 2000, Ford's plane \"departed\" a runway in Lincoln, Nebraska, because of a gust of wind, according to AirSafe.com. He was flying a Beechcraft Bonanza that \"sustained minor damage,\" though Ford and his passenger were not injured.\u003c/p>\n\u003cp>And in 1999 he crash-landed a helicopter during a training flight in Ventura County, near Los Angeles, according to the AP. \"Although the helicopter rolled over on its left side, neither Ford or the instructor were injured,\" AirSafe.com notes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2017 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Noted aviator and actor Harrison Ford flew his private plane over a jet airliner on the ground at a Southern California airport Monday. It's not the first time the \u003cem>Star Wars\u003c/em> and \u003cem>Indiana Jones\u003c/em> star has had problems landing.\u003c/p>\n\u003cp>The 74-year-old Ford was instructed to land on a runway at Orange County's John Wayne Airport but mistakenly landed on a parallel taxiway, passing over a Boeing 737 carrying 110 passengers and six crew members.\u003c/p>\n\u003cp>On a recording, Ford asked air traffic controllers, \"Was that airliner meant to be underneath me?\" \u003ca href=\"http://www.nbcnews.com/nightly-news/harrison-ford-has-incident-passenger-plane-airport-n720826\">according to NBC News\u003c/a>, which first reported the incident.\u003c/p>\n\u003cp>Federal Aviation Administration spokesman Ian Gregor said the pilot heard and read back the correct landing instructions, according to the Associated Press. Gregor did not confirm it was Ford who was piloting the plane, a single-engine Aviat Husky. The AP reports that he didn't say how close Ford's plane came to hitting the jet on the ground.\u003c/p>\n\u003cp>No one was injured and the jet, American Airlines Flight 1456, took off for Dallas shortly after without incident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The FAA is now investigating, which \"could result in a simple warning letter to a suspension of Ford's pilot's license,\" NBC reports.\u003c/p>\n\u003cp>Ford collects vintage planes and has been flying for decades. According to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/05/391074873/reports-actor-harrison-ford-crash-lands-small-vintage-plane\">NPR's Russell Lewis\u003c/a>, Ford is \"a highly skilled and highly rated pilot. He's qualified to fly single and twin-engine planes, sea planes, helicopters and he's also an instrument-rated pilot.\" In 2015, Ford said he owned \"eight or nine various types of airplanes,\" according to NTSB documents posted on \u003ca href=\"http://www.airsafe.com/events/reports/ford-recruit-2015-pilot-interview.pdf\">AirSafe.com\u003c/a>.\u003c/p>\n\u003cp>Ford reported on a medical certificate application that he had logged at least 5,200 flight hours, \u003ca href=\"https://app.ntsb.gov/pdfgenerator/ReportGeneratorFile.ashx?EventID=20150305X93207&AKey=1&RType=Final&IType=FA\">according to the NTSB\u003c/a>.\u003c/p>\n\u003cp>He was a 2008 honoree and received the \u003ca href=\"http://www.livinglegendsofaviation.org/pages/honorees\">Legends Aviation Legacy Award\u003c/a> from Kiddie Hawk Air Academy, and subsequently had an award named after him.\u003c/p>\n\u003cp>Ford was seriously injured in March 2015 when he crash-landed a restored World War II-era trainer plane on a golf course near the Santa Monica Airport shortly after takeoff. A National Transportation Safety Board report found the crash was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/08/06/430073622/ntsb-harrison-ford-plane-crash-caused-by-loose-engine-part\">caused by a loose engine part\u003c/a>.\u003c/p>\n\u003cp>In 2000, Ford's plane \"departed\" a runway in Lincoln, Nebraska, because of a gust of wind, according to AirSafe.com. He was flying a Beechcraft Bonanza that \"sustained minor damage,\" though Ford and his passenger were not injured.\u003c/p>\n\u003cp>And in 1999 he crash-landed a helicopter during a training flight in Ventura County, near Los Angeles, according to the AP. \"Although the helicopter rolled over on its left side, neither Ford or the instructor were injured,\" AirSafe.com notes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2017 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art",
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"content": "\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>[contextly_sidebar id=”jOg5mwMtH6yKPGD1zKCwfWFtS8IZOE3i”]\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n",
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"headline": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not unusual to hear about the revival of a musical, but these days it feels like there’s a revival of the entire musical genre. From \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/thousands-line-up-online-and-in-person-for-hamilton-tickets/\" target=\"_blank\" rel=\"noopener\">Hamilton\u003c/a>\u003c/em> on Broadway to \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/09/la-la-land-dominates-golden-globe-awards/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> on the big screen, musical theater is a pop culture phenomenon.\u003c/p>\n\u003cp>And it is a phenomenon that appeals to all ages — including 53 kids all part of the \u003ca href=\"http://bactheatre.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Children’s Theater\u003c/a> (BACT) who danced and sang their way around an Oakland auditorium this week.\u003c/p>\n\u003cp>The kids — ranging in age from 9 to 17 years old — were rehearsing a calypso number from a new musical based on the “Magic Tree House” book series that they’ll debut this weekend at the Junior Theater Festival West in Sacramento.\u003c/p>\n\u003cp>So here they all were on a Saturday afternoon, eagerly practicing their songs and dances for hours on end.\u003c/p>\n\u003cp>Some waved ribbons high in the air, mimicking a foamy sea. Others twirled orange umbrellas in the shape of a giant sun while belting out their harmonies. Then there was Sophia Gilbert, playing Annie, one of the “Magic Tree House” explorers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/02/2017-02-10b-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Sophia800.jpg\" Title=\"Bay Area Kids Find Joy, Community in Junior Musicals\" program=\"The California Report\"]\u003c/p>\n\u003cp>“When you’re 11 and you’re doing musical theater,” Gilbert told me after rehearsal, “grownups maybe sometimes think that when you’re younger you don’t care as much but I think that no matter what age you are you can still put your heart into it.”\u003c/p>\n\u003cp>There is a lot of heart to go around here, and hard work. It’s a rare chance for the students to rehearse with the founder of the \u003ca href=\"http://itheatrics.com/jtf/\" target=\"_blank\" rel=\"noopener\">Junior Theater Festival\u003c/a>, Tim McDonald.\u003c/p>\n\u003cp>McDonald alternately watched quietly and handed out instructions.\u003c/p>\n\u003cp>But he also listened to input from the performers and encouraged their ideas about staging. One lead asks if she can cross the stage at various points in her song to different characters.\u003c/p>\n\u003cp>“Is that what your body is telling you to do?” asked McDonald. “Then let’s try it.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Three times as many people who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations.’\u003ccite>Tim McDonald\u003c/cite>\u003c/aside>\n\u003cp>It’s no surprise that McDonald has spent most of his career trying to get students more involved in musicals.\u003c/p>\n\u003cp>“Twenty years ago the audiences for musical theater were literally dying out, they were aging out,” says McDonald, “and young people weren’t picking up that torch.”\u003c/p>\n\u003cp>Then, McDonald says, the composer Steven Sondheim and playwright/screenwriter Arthur Laurents — known together for their collaboration on \u003cem>West Side Story\u003c/em> — came along. They reasoned that because of their complexity, most students only got first-hand experience with musical theater productions starting in high school.\u003c/p>\n\u003cp>Sondheim’s idea? To create one-hour versions of shows tailored to elementary and middle school kids. They would keep only essential plot lines and move the music into keys that are accessible for young voices.\u003c/p>\n\u003cp>Sondheim and Laurents found an eager partner in Fred Gershon, CEO of Musical Theater International, which licenses musicals.\u003c/p>\n\u003cp>Tim McDonald was charged with carrying out the initial idea. Now McDonald estimates his company iTheatrics has an audience of about 36 million people a year — compared to 12 million who go to a traditional show in New York.\u003c/p>\n\u003cp>“So three times as many people… who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations,” says McDonald.\u003c/p>\n\u003cfigure id=\"attachment_11311182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg\" alt=\"The Bay Area Children's Theater ensemble in a dress rehearsal of the calypso number for the new \" magic tree house junior play. width=\"800\" height=\"504\" class=\"size-medium wp-image-11311182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1180x743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area Children’s Theater ensemble in a dress rehearsal of the calypso number for the new “Magic Tree House” junior play. \u003ccite>(Rachel Dornhelm/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But McDonald and most of the people in this Oakland auditorium today would likely highlight even more the benefit to the young people.\u003c/p>\n\u003cp>One after another the performers detailed the joy, and their growth from musical theater.\u003c/p>\n\u003cp>Like Jack Stickler. He’s 14 years old and got to play the lead in the show \u003cem>Honk Jr.\u003c/em> last year. He said he couldn’t stop singing the songs during the run, they resonated so much.\u003c/p>\n\u003cp>“When I went on stage and performed as the Ugly Duckling I had that feeling that I wasn’t Jack Stickler anymore I was this character and it was the best feeling ever,” said Stickler. “It changed my world because everyone was just so supportive and it was that environment where I felt this big feeling of belonging.”\u003c/p>\n\u003cp>14 year old Lauren Staelin has been doing musical theater for 7 years. She said people are often surprised when they see her on stage. She said she is generally reserved but in shows, she often plays hammy, gregarious characters.\u003c/p>\n\u003cp>“The best thing about musical theater is you get to escape,” said Staelin. “I love doing theater because I really get to express myself and I also get to experiment with what I’m comfortable with.”\u003c/p>\n\u003cp>Her castmate Sumuk Cadpakar agreed that he likes exploring different characters.\u003c/p>\n\u003cp>But Cadpakar said drama has also helped as he dealt with being bullied at school.\u003c/p>\n\u003cp>“One time I played a bully in a school show,” said Cadpakar. “In that musical I loved the way the character I was playing bullied another character but that character stood up for himself and that really taught me how someone else would feel.”\u003c/p>\n\u003cp>Last year Cadpakar was part of the group from the Bay Area Children’s Theater that went to the national Junior Theater Festival on the East Coast. He said s he wouldn’t easily forget the euphoric feeling of going up on stage there to accept an award with his cast.\u003c/p>\n\u003cp>“It was just like 5,000 people screaming at you and showing support, how much they care,” said Cadpakar.\u003c/p>\n\u003cp>For the kids, the awards may be a memorable part of the Junior Theater Festivals. But organizer Tim McDonald said the friendly competition and festival has a larger point as well.\u003c/p>\n\u003cp>He remembers growing up outside of Redding, and his high school’s women’s basketball team winning a state title. It was clear from the moment they returned to town, he recalled, that because of that glory, the program was never going to get cut.\u003c/p>\n\u003cp>McDonald reasoned there should be the same opportunity for theater programs to bring attention to their schools and communities.\u003c/p>\n\u003cp>“If we can identify and recognize excellent musical theater programs in schools and afterschool programs, we hope, in fact we know we are giving those programs a chance to be recession proof and cut proof,” said McDonald.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fifteen hundred people are expected to participate and compete for that attention at the Junior Theater Festival West this weekend in Sacramento.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you’re 11 and you’re doing musical theater,” Gilbert told me after rehearsal, “grownups maybe sometimes think that when you’re younger you don’t care as much but I think that no matter what age you are you can still put your heart into it.”\u003c/p>\n\u003cp>There is a lot of heart to go around here, and hard work. It’s a rare chance for the students to rehearse with the founder of the \u003ca href=\"http://itheatrics.com/jtf/\" target=\"_blank\" rel=\"noopener\">Junior Theater Festival\u003c/a>, Tim McDonald.\u003c/p>\n\u003cp>McDonald alternately watched quietly and handed out instructions.\u003c/p>\n\u003cp>But he also listened to input from the performers and encouraged their ideas about staging. One lead asks if she can cross the stage at various points in her song to different characters.\u003c/p>\n\u003cp>“Is that what your body is telling you to do?” asked McDonald. “Then let’s try it.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Three times as many people who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations.’\u003ccite>Tim McDonald\u003c/cite>\u003c/aside>\n\u003cp>It’s no surprise that McDonald has spent most of his career trying to get students more involved in musicals.\u003c/p>\n\u003cp>“Twenty years ago the audiences for musical theater were literally dying out, they were aging out,” says McDonald, “and young people weren’t picking up that torch.”\u003c/p>\n\u003cp>Then, McDonald says, the composer Steven Sondheim and playwright/screenwriter Arthur Laurents — known together for their collaboration on \u003cem>West Side Story\u003c/em> — came along. They reasoned that because of their complexity, most students only got first-hand experience with musical theater productions starting in high school.\u003c/p>\n\u003cp>Sondheim’s idea? To create one-hour versions of shows tailored to elementary and middle school kids. They would keep only essential plot lines and move the music into keys that are accessible for young voices.\u003c/p>\n\u003cp>Sondheim and Laurents found an eager partner in Fred Gershon, CEO of Musical Theater International, which licenses musicals.\u003c/p>\n\u003cp>Tim McDonald was charged with carrying out the initial idea. Now McDonald estimates his company iTheatrics has an audience of about 36 million people a year — compared to 12 million who go to a traditional show in New York.\u003c/p>\n\u003cp>“So three times as many people… who see a Broadway show get their musical theater fix by watching their kids perform one of these adaptations,” says McDonald.\u003c/p>\n\u003cfigure id=\"attachment_11311182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg\" alt=\"The Bay Area Children's Theater ensemble in a dress rehearsal of the calypso number for the new \" magic tree house junior play. width=\"800\" height=\"504\" class=\"size-medium wp-image-11311182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1020x642.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-1180x743.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/02/BACTEnsemble-520x327.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Bay Area Children’s Theater ensemble in a dress rehearsal of the calypso number for the new “Magic Tree House” junior play. \u003ccite>(Rachel Dornhelm/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But McDonald and most of the people in this Oakland auditorium today would likely highlight even more the benefit to the young people.\u003c/p>\n\u003cp>One after another the performers detailed the joy, and their growth from musical theater.\u003c/p>\n\u003cp>Like Jack Stickler. He’s 14 years old and got to play the lead in the show \u003cem>Honk Jr.\u003c/em> last year. He said he couldn’t stop singing the songs during the run, they resonated so much.\u003c/p>\n\u003cp>“When I went on stage and performed as the Ugly Duckling I had that feeling that I wasn’t Jack Stickler anymore I was this character and it was the best feeling ever,” said Stickler. “It changed my world because everyone was just so supportive and it was that environment where I felt this big feeling of belonging.”\u003c/p>\n\u003cp>14 year old Lauren Staelin has been doing musical theater for 7 years. She said people are often surprised when they see her on stage. She said she is generally reserved but in shows, she often plays hammy, gregarious characters.\u003c/p>\n\u003cp>“The best thing about musical theater is you get to escape,” said Staelin. “I love doing theater because I really get to express myself and I also get to experiment with what I’m comfortable with.”\u003c/p>\n\u003cp>Her castmate Sumuk Cadpakar agreed that he likes exploring different characters.\u003c/p>\n\u003cp>But Cadpakar said drama has also helped as he dealt with being bullied at school.\u003c/p>\n\u003cp>“One time I played a bully in a school show,” said Cadpakar. “In that musical I loved the way the character I was playing bullied another character but that character stood up for himself and that really taught me how someone else would feel.”\u003c/p>\n\u003cp>Last year Cadpakar was part of the group from the Bay Area Children’s Theater that went to the national Junior Theater Festival on the East Coast. He said s he wouldn’t easily forget the euphoric feeling of going up on stage there to accept an award with his cast.\u003c/p>\n\u003cp>“It was just like 5,000 people screaming at you and showing support, how much they care,” said Cadpakar.\u003c/p>\n\u003cp>For the kids, the awards may be a memorable part of the Junior Theater Festivals. But organizer Tim McDonald said the friendly competition and festival has a larger point as well.\u003c/p>\n\u003cp>He remembers growing up outside of Redding, and his high school’s women’s basketball team winning a state title. It was clear from the moment they returned to town, he recalled, that because of that glory, the program was never going to get cut.\u003c/p>\n\u003cp>McDonald reasoned there should be the same opportunity for theater programs to bring attention to their schools and communities.\u003c/p>\n\u003cp>“If we can identify and recognize excellent musical theater programs in schools and afterschool programs, we hope, in fact we know we are giving those programs a chance to be recession proof and cut proof,” said McDonald.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fifteen hundred people are expected to participate and compete for that attention at the Junior Theater Festival West this weekend in Sacramento.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "75 Years Later, Japanese-Americans Recall Incarceration, Forced Farm Labor",
"title": "75 Years Later, Japanese-Americans Recall Incarceration, Forced Farm Labor",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>When President Trump signed an executive order last month banning people from seven predominantly Muslim countries from entering the U.S. and advocated for a Muslim registry, some of the loudest opponents were Japanese-Americans.\u003c/p>\n\u003cp>They have long memories of another executive order, No. 9066, that forced all Japanese-Americans on the West Coast from their homes and businesses during World War II. In 1942, almost 120,000 people of Japanese ancestry, most of them American citizens and farmers, were incarcerated in what were euphemistically called “relocation” or “\u003ca href=\"http://digitalcommons.law.seattleu.edu/sjsj/vol14/iss3/12/\">internment\u003c/a>” camps.\u003c/p>\n\u003caside class=\"pullquote alignright\">'You were more number than name.'\u003ccite>Riichi Fuwa\u003c/cite>\u003c/aside>\n\u003cp>Last summer, I got on a bus in San Francisco’s Japantown, joining a four-day \u003ca href=\"http://www.tulelake.org/\">pilgrimage \u003c/a>to one of these camps -- the former \u003ca href=\"https://www.nps.gov/tule/index.htm\">Tule Lake Segregation Center\u003c/a>, just south of the Oregon border in Modoc County.\u003c/p>\n\u003cp>Out the bus window, I saw the sparsely populated Tule Lake Basin, alternating between well-irrigated farm fields, dusty land and the occasional dramatic rock outcropping. On the bus, survivors of camps like Tule Lake and their children and grandchildren passed a microphone around. They introduced themselves and shared why they were making the trip: trying to make sense of an experience their families rarely talk about, making connections with others with a common history, visiting the place of their birth.\u003c/p>\n\u003cfigure id=\"attachment_11310862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310862\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/TuleBasin-800x533.jpg\" alt=\"The Segregation Center was located in the Tule Lake Basin, where irrigated fields still butt up against dusty land, interrupted by scrub brush and dramatic outcroppings.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Segregation Center was located in the Tule Lake Basin, where irrigated fields still butt up against dusty land, interrupted by scrub brush and dramatic outcroppings. \u003ccite>(Courtesy Gen Fujitani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These kinds of introductions were taking place on other buses, too, traveling from San Jose, Union City, Seattle and Portland. Over 450 people converged for this pilgrimage that takes place every other year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When we arrived at the nearby Oregon Institute of Technology that would be our base for the visit, one of the first people I met was Sacramento resident Riichi Fuwa.\u003c/p>\n\u003cp>\"I wanted to see the place for the last time,\" he told me. Fuwa, 98, doesn’t think he'll make this trip again, but his memories of being imprisoned at Tule Lake are crystal clear. At his age he doesn’t remember his Social Security number, but he remembers this: “19949. That was my number the government gave me,” he said. “19949. You were more number than name.”\u003c/p>\n\u003cp>Camp administrators assigned Fuwa that number when he was 24, soon after he was forced off his family’s farm in Bellingham, Washington. Before the war, nearly \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">two-thirds\u003c/a> of West Coast Japanese-Americans worked in agriculture, people like 93-year-old Jim Tanimoto, from the Sacramento Valley town of Gridley. His father grew rice, then cultivated peaches.\u003c/p>\n\u003cfigure id=\"attachment_11310866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11310866 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Fuwa-800x579.jpg\" alt=\"Riichi Fuwa, 98, drove a tractor on the farm at the Tule Lake Segregation Center. Of his time there, he recalls 'You were more number than name.'\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-960x695.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-375x271.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-520x376.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Riichi Fuwa, 98, drove a tractor on the farm at the Tule Lake Segregation Center. Of his time there, he recalls, \"You were more number than name.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tanimoto and Fuwa’s immigrant parents faced \u003ca href=\"http://scholarship.law.berkeley.edu/cgi/viewcontent.cgi?article=3652&context=californialawreview\">laws\u003c/a> barring them from owning or holding long-term leases on land. Despite that, by 1940 they and their American-born children grew almost 40 percent of the produce in California.\u003c/p>\n\u003cp>Then, on Dec. 7, 1941, the Japanese military bombed Pearl Harbor. Resentment and hysteria grew about anyone of Japanese origin, even those born in the United States. Tanimoto remembered, “Then Executive Order 9066 was signed. Things changed.”\u003c/p>\n\u003cp>On February 19, 1942, when President Franklin Roosevelt signed the executive order authorizing the removal of anyone of Japanese ancestry from military areas, Japanese-Americans could read between the lines. Soon, the commanding general determined that all people of Japanese origin -- whether immigrant or U.S.-born citizen -- in coastal areas had to move inland onto so-called relocation camps. Many had to abandon their orchards and fields, with crops ready to harvest.\u003c/p>\n\u003cp>“When I stepped out of the train, the terrain was not a big shock,” Tanimoto said. “I knew what the terrain looked like.”\u003c/p>\n\u003cp>That’s because, when he was younger, Tanimoto had hunted deer up in the Tule Lake Basin, where all he could see was dusty land and scrub brush. In 1942, when Tanimoto and the 15,000 other forcibly evacuated Japanese-Americans arrived at Tule Lake, they saw a landscape dominated by barracks covered in black tar paper.\u003c/p>\n\u003cp>“Rows and rows and rows of these buildings,” said Tanimoto. “We were inside the barbed wire fence, the armed guard towers. We couldn’t walk out of the enclosure. I might get shot.” He remembered thinking, “Hey, I’m an American citizen! Now I’m the one being hunted.”\u003c/p>\n\u003cp>Tanimoto and many other once-successful farm owners were about to become field workers for the U.S. government.\u003c/p>\n\u003ch2>Government Farmworkers\u003c/h2>\n\u003cp>The guard towers and rows of barracks have long since been torn down or moved. Our guide on the pilgrimage points out the few remaining buildings, and the huge swaths of farmland once worked by Tule Lake prisoners. Over 1,000 Japanese-Americans worked in the fields, most earning just $12 a month, a quarter of what farmworkers made at the time.\u003c/p>\n\u003cfigure id=\"attachment_11310868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310868\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/WomenFarmworkers-800x667.jpg\" alt=\"Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for just $12 a month.\" width=\"800\" height=\"667\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-800x667.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-160x133.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-1020x851.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-1180x984.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-960x801.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-240x200.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-375x313.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-520x434.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for just $12 a month. \u003ccite>(Densho: The Japanese American Legacy Project via National Archives and Records Administration Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agriculture wasn’t incidental at any of the incarceration camps. Many of the new War Relocation Authority administrators came right from the Department of Agriculture. Camp locations, though usually in deserts and other inhospitable places, were often chosen for their existing government irrigation projects or agricultural potential. The government’s intention was to improve the land for after the war.\u003c/p>\n\u003cp>Each of the 10 incarceration camps nationwide had working farms, but Tule Lake was different. The land was on a former lakebed, so despite a dusty, snowy and windy climate and a short growing season, it produced enough food for its own mess halls and those at other camps. That production was so essential that when the Tule Lake camp opened, eligible men who refused to work were fined $20 a month.\u003c/p>\n\u003cp>Farmworkers at Tule Lake harvested almost 30 crops, including potatoes, rutabagas and daikon radishes. They also grew grain and hay for animal feed, and kept hogs and chickens.\u003c/p>\n\u003cfigure id=\"attachment_11310871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11310871 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/IncarcPotatos-800x731.jpg\" alt=\"Japanese-Americans cut seed potatoes at the Tule Lake farm. The original War Relocation Authority caption for this May, 1943 image read, '7,500 sacks of potatoes will be cut by 48 workers in 2-1/2 weeks. This will be enough seeds to plant the 600 acres.'\" width=\"800\" height=\"731\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-800x731.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-1020x932.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-1180x1079.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-960x878.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-240x219.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-375x343.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-520x475.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese-Americans cut seed potatoes at the Tule Lake farm. The original War Relocation Authority caption for this May, 1943, image read, \"7,500 sacks of potatoes will be cut by 48 workers in 2-1/2 weeks. This will be enough seeds to plant the 600 acres.\" \u003ccite>(Densho: The Japanese American Legacy Project via National Archives and Records Administration Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the war, Lucille Hitomi’s father ran a commercial flower business in Mountain View. At Tule Lake, he worked the fields, under white supervisors.\u003c/p>\n\u003cp>“I remember my dad saying, ‘I don’t know if they were good farmers,’ ” she said, but those bosses relied on the expertise of the Japanese-American laborers to develop a productive farm. To keep some semblance of normalcy, families like Hitomi’s tried to create special meals. It helped that her brother worked at the camp slaughterhouse.\u003c/p>\n\u003cp>“I don’t know if this was legal,” Hitomi remembered, “but sometimes he would bring bits of meat home. My mother brought to camp a hot plate and a frying pan, and she’d cook the meat in the barrack,” instead of joining hundreds of others in the mess hall. “I guess it was more like home,” Hitomi said.\u003c/p>\n\u003cp>The stated purpose of these farms was to feed incarcerees, but camp administrators took produce, grain and hay grown by these imprisoned Japanese-American workers and sold it on the\u003ca href=\"http://archive.densho.org/Resource/popupenlarged.aspx?i=denshopd-i65-00334\"> open market\u003c/a> -- over 2 million pounds of it from Tule Lake alone.\u003c/p>\n\u003ch2>Loyalty Questioned\u003c/h2>\n\u003cp>One year after ordering Japanese-Americans out of their homes, the government made every adult in every camp fill out a questionnaire.\u003c/p>\n\u003cp>“This outrageous questionnaire was used to separate the so-called loyal people from the disloyal,” said writer and historian Barbara Takei, who also attended the pilgrimage.\u003c/p>\n\u003cp>Jim Tanimoto remembers that two questions caused the most confusion and anger: number 27 asked a person’s willingness to join the armed forces -- this, after being incarcerated.\u003c/p>\n\u003cp>\"And number 28 was sort of like a trick question, 'Would you cut your ties with Japan and the emperor?' \" he said.\u003c/p>\n\u003cp>\"Well, I’m an American citizen and a Gridley farmboy. I have no ties with Japan or the emperor, so how was I supposed to answer this question?” If he had no ties to begin with, he couldn’t answer “yes” and cut them, but if he answered “no,” the U.S. government would assume he was disloyal.\u003c/p>\n\u003cfigure id=\"attachment_11310858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310858\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Tanimoto-800x488.jpg\" alt=\"Jim Tanimoto worked on the freight crew, packing and shipping out produce from the Tule Lake farm. Along with many others, he refused to sign the infamous “loyalty questionnaire.” He was jailed in a nearby town, and at this former Civilian Conservation Corps camp. He says, “I stood on my constitutional rights. You can’t do this to American citizens.”\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-1020x622.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-960x586.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-520x317.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Tanimoto worked on the freight crew, packing and shipping out produce from the Tule Lake farm. Along with many others, he refused to sign the infamous “loyalty questionnaire.” He was jailed in a nearby town, and at this former Civilian Conservation Corps camp. He says, “I stood on my constitutional rights. You can’t do this to American citizens.” \u003ccite>(Courtesy Gen Fujitani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tanimoto and all of the other young men in Block 42, his area of the Tule Lake camp, refused to answer. They were arrested and jailed in nearby towns, then at a former Civilian Conservation Corps camp nearby.\u003c/p>\n\u003cp>“I stood on my constitutional rights” Tanimoto said. “You can’t do this to American citizens.”\u003c/p>\n\u003cp>More people at Tule Lake refused to answer these questions, or answered \"no\" to one or both, than at any other camp. Additional fences and guard towers went up, and anyone in the whole camp system who didn’t answer \"yes\" to both questions was labeled “disloyal” and was sent to the renamed Tule Lake Segregation Center. This was in the 1940s, two decades before the civil rights movement.\u003c/p>\n\u003cp>“Now, post-civil rights movement, we realize that the right to protest is a precious American right,” Takei said. “It was something that the people who were imprisoned in Tule Lake exercised, and because of that they were punished.”\u003c/p>\n\u003ch2>Largest ‘City’ in Region\u003c/h2>\n\u003cp>By fall 1943, the Tule Lake Segregation Center became the largest “city” in California north of Sacramento, ballooning to nearly 19,000 people, most of them labeled \"troublemakers.\" Camp got tense. With a larger workforce, the administrators expanded the farm and expected a huge harvest -- but laborers complained of poor food rations and major safety concerns.\u003c/p>\n\u003cp>Then, a truck carrying Japanese-American laborers from the farm had an accident. Nearly 30 workers were injured. One died. Farmworkers refused to go back to work.\u003c/p>\n\u003cp>“They recognized that they had leverage by having the strike right when the crops are ready to pick,” Takei explained. The camp director turned around and brought in Japanese-Americans from other incarceration camps to break the strike.\u003c/p>\n\u003cp>“These strikebreakers were also paid $1 an hour, so in two days they could make more than a farmworker at Tule Lake would make in a month,” Takei said.\u003c/p>\n\u003cfigure id=\"attachment_11310951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310951\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/FieldworkTule-800x549.jpg\" alt=\"Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for $12 a month. Here, incarcerees work in a carrot field.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-1020x700.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-960x659.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for $12 a month. Here, incarcerees work in a carrot field. \u003ccite>(National Archives and Records Administration Collection/Densho: The Japanese American Legacy Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camp administrators would simply not let the fields go unharvested. A few days later, Takei explained, the Tule Lake laborers became even angrier.\u003c/p>\n\u003cp>“Workers saw a truck leaving the warehouse area filled with food,” ostensibly to feed the strikebreakers. About 200 people surrounded the truck.\u003c/p>\n\u003cp>“And that's what caused the camp director to call in a battalion, with the tanks rolling in, and the camp was shut down,” said Takei.\u003c/p>\n\u003cp>Japanese-American leaders were thrown in a stockade, with no legal recourse. Within days, martial law was declared.\u003c/p>\n\u003cp>This marked the end of large-scale farming, and the beginning of two tumultuous years at Tule Lake. The military raided barracks, and hundreds of people ended up in the stockade, then a jail, for months. There were more protests. A radical faction grew in camp, and eventually thousands of angry, scared or confused Japanese-Americans imprisoned at Tule Lake renounced their U.S. citizenship -- actions many felt were made under duress, and which took 20 years to reverse.\u003c/p>\n\u003cp>[contextly_sidebar id=\"yNayDmmS2vP0klPq3nGpyhkInMNtuYii\"]\u003c/p>\n\u003cp>The Tule Lake Segregation Center closed in the spring of 1946, six months after the war ended. What remained were empty barracks that once housed families, and thousands of acres of rich farmland. Ninety-eight-year-old Riichi Fuwa remembered that the land he and other Japanese-Americans improved got parceled off to veterans returning from war.\u003c/p>\n\u003cp>“When the soldiers came back and they wanted to farm, they could homestead that place,” he said.\u003c/p>\n\u003cp>I asked him, jokingly, if he was offered that land. Fuwa just laughed.\u003c/p>\n\u003cp>Some former incarcerees returned home and eventually rebuilt successful farm businesses. Not Fuwa. His farm was overgrown, all the equipment stolen.\u003c/p>\n\u003cp>“There’s no way to express that feeling when you see the place like that,” he said.\u003c/p>\n\u003cp>He soon left farming forever. By 1960, the number of Japanese-American farmers dropped to a quarter of their prewar presence. With lost farms, homes and businesses, it’s estimated that wartime incarceration cost Japanese-Americans up to $4 billion in today’s values. Some of those losses were compensated in 1988, when President Ronald Reagan signed redress legislation offering a formal apology and giving $20,000 to each survivor.\u003c/p>\n\u003cp>The non-economic losses -- to Japanese-Americans, to California, to the whole country -- are impossible to measure.\u003c/p>\n\u003cp>Especially now, Takei said, we must remember “how easily people -- because of fear and anger -- lose sight of our important national values of justice and rule of law.\" She drew parallels with Muslim Americans, refugees and immigrants, \"as though demonizing other people is going to solve our problems.\"\u003c/p>\n\u003cp>All we have to do, she said, is look at the World War II incarceration of Japanese-Americans to see that’s not true.\u003c/p>\n\u003cp>\u003cem>Editor's Note: This story has been updated to reflect the accurate amount of produce grown at Tule Lake that was sold on the open market. It was over 2 million pounds, not 2 million tons as previously stated.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>This story was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization. Meradith Hoddinott helped with research.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more on the Tule Lake story, please visit \u003ca href=\"http://www.tulelake.org/\">Tule Lake Committee\u003c/a>, \u003ca href=\"http://www.lifeorliberty.org/tule-lake-documentary\">Resistance at Tule Lake\u003c/a>,\u003ca href=\"http://janmstore.com/products/tule-lake-revisited\"> Tule Lake Revisited\u003c/a>, \u003ca href=\"http://www.densho.org/\">Densho: The Japanese American Legacy Project\u003c/a>, and the work of \u003ca href=\"https://www.cwu.edu/geography/geography-japanese-american-relocation-centers\">Dr. Karl Lillquist\u003c/a> and \u003ca href=\"http://pdxscholar.library.pdx.edu/open_access_etds/2934/\">Michael David Schmidli\u003c/a>. For more stories in the series, visit \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When President Trump signed an executive order last month banning people from seven predominantly Muslim countries from entering the U.S. and advocated for a Muslim registry, some of the loudest opponents were Japanese-Americans.\u003c/p>\n\u003cp>They have long memories of another executive order, No. 9066, that forced all Japanese-Americans on the West Coast from their homes and businesses during World War II. In 1942, almost 120,000 people of Japanese ancestry, most of them American citizens and farmers, were incarcerated in what were euphemistically called “relocation” or “\u003ca href=\"http://digitalcommons.law.seattleu.edu/sjsj/vol14/iss3/12/\">internment\u003c/a>” camps.\u003c/p>\n\u003caside class=\"pullquote alignright\">'You were more number than name.'\u003ccite>Riichi Fuwa\u003c/cite>\u003c/aside>\n\u003cp>Last summer, I got on a bus in San Francisco’s Japantown, joining a four-day \u003ca href=\"http://www.tulelake.org/\">pilgrimage \u003c/a>to one of these camps -- the former \u003ca href=\"https://www.nps.gov/tule/index.htm\">Tule Lake Segregation Center\u003c/a>, just south of the Oregon border in Modoc County.\u003c/p>\n\u003cp>Out the bus window, I saw the sparsely populated Tule Lake Basin, alternating between well-irrigated farm fields, dusty land and the occasional dramatic rock outcropping. On the bus, survivors of camps like Tule Lake and their children and grandchildren passed a microphone around. They introduced themselves and shared why they were making the trip: trying to make sense of an experience their families rarely talk about, making connections with others with a common history, visiting the place of their birth.\u003c/p>\n\u003cfigure id=\"attachment_11310862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310862\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/TuleBasin-800x533.jpg\" alt=\"The Segregation Center was located in the Tule Lake Basin, where irrigated fields still butt up against dusty land, interrupted by scrub brush and dramatic outcroppings.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/TuleBasin-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Segregation Center was located in the Tule Lake Basin, where irrigated fields still butt up against dusty land, interrupted by scrub brush and dramatic outcroppings. \u003ccite>(Courtesy Gen Fujitani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These kinds of introductions were taking place on other buses, too, traveling from San Jose, Union City, Seattle and Portland. Over 450 people converged for this pilgrimage that takes place every other year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When we arrived at the nearby Oregon Institute of Technology that would be our base for the visit, one of the first people I met was Sacramento resident Riichi Fuwa.\u003c/p>\n\u003cp>\"I wanted to see the place for the last time,\" he told me. Fuwa, 98, doesn’t think he'll make this trip again, but his memories of being imprisoned at Tule Lake are crystal clear. At his age he doesn’t remember his Social Security number, but he remembers this: “19949. That was my number the government gave me,” he said. “19949. You were more number than name.”\u003c/p>\n\u003cp>Camp administrators assigned Fuwa that number when he was 24, soon after he was forced off his family’s farm in Bellingham, Washington. Before the war, nearly \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">two-thirds\u003c/a> of West Coast Japanese-Americans worked in agriculture, people like 93-year-old Jim Tanimoto, from the Sacramento Valley town of Gridley. His father grew rice, then cultivated peaches.\u003c/p>\n\u003cfigure id=\"attachment_11310866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11310866 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Fuwa-800x579.jpg\" alt=\"Riichi Fuwa, 98, drove a tractor on the farm at the Tule Lake Segregation Center. Of his time there, he recalls 'You were more number than name.'\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-1020x738.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-960x695.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-375x271.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Fuwa-520x376.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Riichi Fuwa, 98, drove a tractor on the farm at the Tule Lake Segregation Center. Of his time there, he recalls, \"You were more number than name.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tanimoto and Fuwa’s immigrant parents faced \u003ca href=\"http://scholarship.law.berkeley.edu/cgi/viewcontent.cgi?article=3652&context=californialawreview\">laws\u003c/a> barring them from owning or holding long-term leases on land. Despite that, by 1940 they and their American-born children grew almost 40 percent of the produce in California.\u003c/p>\n\u003cp>Then, on Dec. 7, 1941, the Japanese military bombed Pearl Harbor. Resentment and hysteria grew about anyone of Japanese origin, even those born in the United States. Tanimoto remembered, “Then Executive Order 9066 was signed. Things changed.”\u003c/p>\n\u003cp>On February 19, 1942, when President Franklin Roosevelt signed the executive order authorizing the removal of anyone of Japanese ancestry from military areas, Japanese-Americans could read between the lines. Soon, the commanding general determined that all people of Japanese origin -- whether immigrant or U.S.-born citizen -- in coastal areas had to move inland onto so-called relocation camps. Many had to abandon their orchards and fields, with crops ready to harvest.\u003c/p>\n\u003cp>“When I stepped out of the train, the terrain was not a big shock,” Tanimoto said. “I knew what the terrain looked like.”\u003c/p>\n\u003cp>That’s because, when he was younger, Tanimoto had hunted deer up in the Tule Lake Basin, where all he could see was dusty land and scrub brush. In 1942, when Tanimoto and the 15,000 other forcibly evacuated Japanese-Americans arrived at Tule Lake, they saw a landscape dominated by barracks covered in black tar paper.\u003c/p>\n\u003cp>“Rows and rows and rows of these buildings,” said Tanimoto. “We were inside the barbed wire fence, the armed guard towers. We couldn’t walk out of the enclosure. I might get shot.” He remembered thinking, “Hey, I’m an American citizen! Now I’m the one being hunted.”\u003c/p>\n\u003cp>Tanimoto and many other once-successful farm owners were about to become field workers for the U.S. government.\u003c/p>\n\u003ch2>Government Farmworkers\u003c/h2>\n\u003cp>The guard towers and rows of barracks have long since been torn down or moved. Our guide on the pilgrimage points out the few remaining buildings, and the huge swaths of farmland once worked by Tule Lake prisoners. Over 1,000 Japanese-Americans worked in the fields, most earning just $12 a month, a quarter of what farmworkers made at the time.\u003c/p>\n\u003cfigure id=\"attachment_11310868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310868\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/WomenFarmworkers-800x667.jpg\" alt=\"Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for just $12 a month.\" width=\"800\" height=\"667\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-800x667.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-160x133.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-1020x851.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-1180x984.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-960x801.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-240x200.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-375x313.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/WomenFarmworkers-520x434.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for just $12 a month. \u003ccite>(Densho: The Japanese American Legacy Project via National Archives and Records Administration Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agriculture wasn’t incidental at any of the incarceration camps. Many of the new War Relocation Authority administrators came right from the Department of Agriculture. Camp locations, though usually in deserts and other inhospitable places, were often chosen for their existing government irrigation projects or agricultural potential. The government’s intention was to improve the land for after the war.\u003c/p>\n\u003cp>Each of the 10 incarceration camps nationwide had working farms, but Tule Lake was different. The land was on a former lakebed, so despite a dusty, snowy and windy climate and a short growing season, it produced enough food for its own mess halls and those at other camps. That production was so essential that when the Tule Lake camp opened, eligible men who refused to work were fined $20 a month.\u003c/p>\n\u003cp>Farmworkers at Tule Lake harvested almost 30 crops, including potatoes, rutabagas and daikon radishes. They also grew grain and hay for animal feed, and kept hogs and chickens.\u003c/p>\n\u003cfigure id=\"attachment_11310871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11310871 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/IncarcPotatos-800x731.jpg\" alt=\"Japanese-Americans cut seed potatoes at the Tule Lake farm. The original War Relocation Authority caption for this May, 1943 image read, '7,500 sacks of potatoes will be cut by 48 workers in 2-1/2 weeks. This will be enough seeds to plant the 600 acres.'\" width=\"800\" height=\"731\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-800x731.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-1020x932.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-1180x1079.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-960x878.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-240x219.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-375x343.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/IncarcPotatos-520x475.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese-Americans cut seed potatoes at the Tule Lake farm. The original War Relocation Authority caption for this May, 1943, image read, \"7,500 sacks of potatoes will be cut by 48 workers in 2-1/2 weeks. This will be enough seeds to plant the 600 acres.\" \u003ccite>(Densho: The Japanese American Legacy Project via National Archives and Records Administration Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before the war, Lucille Hitomi’s father ran a commercial flower business in Mountain View. At Tule Lake, he worked the fields, under white supervisors.\u003c/p>\n\u003cp>“I remember my dad saying, ‘I don’t know if they were good farmers,’ ” she said, but those bosses relied on the expertise of the Japanese-American laborers to develop a productive farm. To keep some semblance of normalcy, families like Hitomi’s tried to create special meals. It helped that her brother worked at the camp slaughterhouse.\u003c/p>\n\u003cp>“I don’t know if this was legal,” Hitomi remembered, “but sometimes he would bring bits of meat home. My mother brought to camp a hot plate and a frying pan, and she’d cook the meat in the barrack,” instead of joining hundreds of others in the mess hall. “I guess it was more like home,” Hitomi said.\u003c/p>\n\u003cp>The stated purpose of these farms was to feed incarcerees, but camp administrators took produce, grain and hay grown by these imprisoned Japanese-American workers and sold it on the\u003ca href=\"http://archive.densho.org/Resource/popupenlarged.aspx?i=denshopd-i65-00334\"> open market\u003c/a> -- over 2 million pounds of it from Tule Lake alone.\u003c/p>\n\u003ch2>Loyalty Questioned\u003c/h2>\n\u003cp>One year after ordering Japanese-Americans out of their homes, the government made every adult in every camp fill out a questionnaire.\u003c/p>\n\u003cp>“This outrageous questionnaire was used to separate the so-called loyal people from the disloyal,” said writer and historian Barbara Takei, who also attended the pilgrimage.\u003c/p>\n\u003cp>Jim Tanimoto remembers that two questions caused the most confusion and anger: number 27 asked a person’s willingness to join the armed forces -- this, after being incarcerated.\u003c/p>\n\u003cp>\"And number 28 was sort of like a trick question, 'Would you cut your ties with Japan and the emperor?' \" he said.\u003c/p>\n\u003cp>\"Well, I’m an American citizen and a Gridley farmboy. I have no ties with Japan or the emperor, so how was I supposed to answer this question?” If he had no ties to begin with, he couldn’t answer “yes” and cut them, but if he answered “no,” the U.S. government would assume he was disloyal.\u003c/p>\n\u003cfigure id=\"attachment_11310858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310858\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Tanimoto-800x488.jpg\" alt=\"Jim Tanimoto worked on the freight crew, packing and shipping out produce from the Tule Lake farm. Along with many others, he refused to sign the infamous “loyalty questionnaire.” He was jailed in a nearby town, and at this former Civilian Conservation Corps camp. He says, “I stood on my constitutional rights. You can’t do this to American citizens.”\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-1020x622.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-960x586.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-240x146.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Tanimoto-520x317.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim Tanimoto worked on the freight crew, packing and shipping out produce from the Tule Lake farm. Along with many others, he refused to sign the infamous “loyalty questionnaire.” He was jailed in a nearby town, and at this former Civilian Conservation Corps camp. He says, “I stood on my constitutional rights. You can’t do this to American citizens.” \u003ccite>(Courtesy Gen Fujitani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tanimoto and all of the other young men in Block 42, his area of the Tule Lake camp, refused to answer. They were arrested and jailed in nearby towns, then at a former Civilian Conservation Corps camp nearby.\u003c/p>\n\u003cp>“I stood on my constitutional rights” Tanimoto said. “You can’t do this to American citizens.”\u003c/p>\n\u003cp>More people at Tule Lake refused to answer these questions, or answered \"no\" to one or both, than at any other camp. Additional fences and guard towers went up, and anyone in the whole camp system who didn’t answer \"yes\" to both questions was labeled “disloyal” and was sent to the renamed Tule Lake Segregation Center. This was in the 1940s, two decades before the civil rights movement.\u003c/p>\n\u003cp>“Now, post-civil rights movement, we realize that the right to protest is a precious American right,” Takei said. “It was something that the people who were imprisoned in Tule Lake exercised, and because of that they were punished.”\u003c/p>\n\u003ch2>Largest ‘City’ in Region\u003c/h2>\n\u003cp>By fall 1943, the Tule Lake Segregation Center became the largest “city” in California north of Sacramento, ballooning to nearly 19,000 people, most of them labeled \"troublemakers.\" Camp got tense. With a larger workforce, the administrators expanded the farm and expected a huge harvest -- but laborers complained of poor food rations and major safety concerns.\u003c/p>\n\u003cp>Then, a truck carrying Japanese-American laborers from the farm had an accident. Nearly 30 workers were injured. One died. Farmworkers refused to go back to work.\u003c/p>\n\u003cp>“They recognized that they had leverage by having the strike right when the crops are ready to pick,” Takei explained. The camp director turned around and brought in Japanese-Americans from other incarceration camps to break the strike.\u003c/p>\n\u003cp>“These strikebreakers were also paid $1 an hour, so in two days they could make more than a farmworker at Tule Lake would make in a month,” Takei said.\u003c/p>\n\u003cfigure id=\"attachment_11310951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11310951\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/FieldworkTule-800x549.jpg\" alt=\"Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for $12 a month. Here, incarcerees work in a carrot field.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-1020x700.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-960x659.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/FieldworkTule-520x357.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Many of the Japanese-Americans incarcerated at Tule Lake had been farmers before the war. At camp, they were employed as field workers, often for $12 a month. Here, incarcerees work in a carrot field. \u003ccite>(National Archives and Records Administration Collection/Densho: The Japanese American Legacy Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Camp administrators would simply not let the fields go unharvested. A few days later, Takei explained, the Tule Lake laborers became even angrier.\u003c/p>\n\u003cp>“Workers saw a truck leaving the warehouse area filled with food,” ostensibly to feed the strikebreakers. About 200 people surrounded the truck.\u003c/p>\n\u003cp>“And that's what caused the camp director to call in a battalion, with the tanks rolling in, and the camp was shut down,” said Takei.\u003c/p>\n\u003cp>Japanese-American leaders were thrown in a stockade, with no legal recourse. Within days, martial law was declared.\u003c/p>\n\u003cp>This marked the end of large-scale farming, and the beginning of two tumultuous years at Tule Lake. The military raided barracks, and hundreds of people ended up in the stockade, then a jail, for months. There were more protests. A radical faction grew in camp, and eventually thousands of angry, scared or confused Japanese-Americans imprisoned at Tule Lake renounced their U.S. citizenship -- actions many felt were made under duress, and which took 20 years to reverse.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Tule Lake Segregation Center closed in the spring of 1946, six months after the war ended. What remained were empty barracks that once housed families, and thousands of acres of rich farmland. Ninety-eight-year-old Riichi Fuwa remembered that the land he and other Japanese-Americans improved got parceled off to veterans returning from war.\u003c/p>\n\u003cp>“When the soldiers came back and they wanted to farm, they could homestead that place,” he said.\u003c/p>\n\u003cp>I asked him, jokingly, if he was offered that land. Fuwa just laughed.\u003c/p>\n\u003cp>Some former incarcerees returned home and eventually rebuilt successful farm businesses. Not Fuwa. His farm was overgrown, all the equipment stolen.\u003c/p>\n\u003cp>“There’s no way to express that feeling when you see the place like that,” he said.\u003c/p>\n\u003cp>He soon left farming forever. By 1960, the number of Japanese-American farmers dropped to a quarter of their prewar presence. With lost farms, homes and businesses, it’s estimated that wartime incarceration cost Japanese-Americans up to $4 billion in today’s values. Some of those losses were compensated in 1988, when President Ronald Reagan signed redress legislation offering a formal apology and giving $20,000 to each survivor.\u003c/p>\n\u003cp>The non-economic losses -- to Japanese-Americans, to California, to the whole country -- are impossible to measure.\u003c/p>\n\u003cp>Especially now, Takei said, we must remember “how easily people -- because of fear and anger -- lose sight of our important national values of justice and rule of law.\" She drew parallels with Muslim Americans, refugees and immigrants, \"as though demonizing other people is going to solve our problems.\"\u003c/p>\n\u003cp>All we have to do, she said, is look at the World War II incarceration of Japanese-Americans to see that’s not true.\u003c/p>\n\u003cp>\u003cem>Editor's Note: This story has been updated to reflect the accurate amount of produce grown at Tule Lake that was sold on the open market. It was over 2 million pounds, not 2 million tons as previously stated.\u003cbr>\n\u003c/em>\u003cbr>\n\u003cem>This story was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization. Meradith Hoddinott helped with research.\u003cbr>\n\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>For more on the Tule Lake story, please visit \u003ca href=\"http://www.tulelake.org/\">Tule Lake Committee\u003c/a>, \u003ca href=\"http://www.lifeorliberty.org/tule-lake-documentary\">Resistance at Tule Lake\u003c/a>,\u003ca href=\"http://janmstore.com/products/tule-lake-revisited\"> Tule Lake Revisited\u003c/a>, \u003ca href=\"http://www.densho.org/\">Densho: The Japanese American Legacy Project\u003c/a>, and the work of \u003ca href=\"https://www.cwu.edu/geography/geography-japanese-american-relocation-centers\">Dr. Karl Lillquist\u003c/a> and \u003ca href=\"http://pdxscholar.library.pdx.edu/open_access_etds/2934/\">Michael David Schmidli\u003c/a>. For more stories in the series, visit \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Records Give New Glimpses Into History Preceding Ghost Ship Fire",
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"content": "\u003cp>Firefighters from Engine Company 13, on the next block from the Ghost Ship warehouse, were alerted the building was on fire at 11:24 the night of Friday, Dec. 2, 2016. The warehouse, which \u003ca href=\"http://www2.oaklandnet.com/oaklandfire2016/index.htm\" target=\"_blank\">city documents released Wednesday\u003c/a> confirm had been the target of a long series of complaints to police and code enforcement officials, was about to become synonymous with an unspeakable tragedy.\u003c/p>\n\u003cp>Company 13 -- Capt. Heather Mozdean and three firefighters -- responded to the alarm within seconds. As the crew opened the station's truck bay to drive to the scene just 100 yards away, they could see smoke pouring from the Ghost Ship building.\u003c/p>\n\u003cp>The engine \"arrived on scene approximately 60 seconds after the initial call to find 2 story warehouse with heavy black smoke pushing from the doors and windows,\" Mozdean wrote in one of the documents the city made public.\u003c/p>\n\u003cp>In her brief account, Mozdean describes her crew's attempt -- along with a force of firefighters who had rushed to the scene from other Oakland stations -- to get into the building and fight the fire. But she notes that her engine's personnel were never able to penetrate more than 40 feet into the jumble of piano and other paraphernalia inside the warehouse.\u003c/p>\n\u003cp>After about 30 minutes, Mozdean noted, she and her crew \"exited the building to swap [oxygen] bottles at which time I did a face-to-face with IC [incident commander] stating that the interior lines were not capable of extinguishing in a safe manner due to advanced fire, smoke conditions and tremendous fire load.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Firefighters were withdrawn from the building, where 36 partygoers had died, and went into \"defensive mode' -- an attempt to contain the damage from the blaze and prevent it from spreading further.\u003c/p>\n\u003cp>However, the damage done to the city of Oakland's reputation -- for its apparent failure to respond to a long history of complaints about trash, the conversion of the Ghost Ship into an illegal residence, the use of the site for night-time music events, and other issues -- was just beginning.\u003c/p>\n\u003cp>The documents the city released Wednesday came in response to repeated media requests from KQED, the Bay Area News Group, the East Bay Express, Los Angeles Times and others. The trove of records, many of which confirm earlier reports, show:\u003c/p>\n\u003cul>\n\u003cli>The documents also show that the Oakland Fire Department had not conducted safety inspections in the Ng properties on 31st Avenue -- which also include an auto body shop next to the Ghost Ship -- since 2010. It has been previously reported that the city has no records of either fire safety or building code inspections for at least the last 30 years.\u003c/li>\n\u003cli>Nineteen separate Oakland Police Department calls for service at two addresses associated with the warehouse, 1305 and 1315 31st Ave., in the city's Fruitvale district. Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation, notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances but decided not to issue a citation.\u003c/li>\n\u003cli>The documents also fleshed out earlier reports that the warehouse and an adjacent property owned by Oakland landlord Chor Ng had an extensive history of code violations, including blight and possible illegal building conversions. All told, the city records show as many as 15 code complaints and 45 code inspections at the property. The exact number of complaints and inspections and how many of them concerned with the warehouse is hard to determine because the records are sometimes unclear about the actual address of alleged violations. \u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Firefighters from Engine Company 13, on the next block from the Ghost Ship warehouse, were alerted the building was on fire at 11:24 the night of Friday, Dec. 2, 2016. The warehouse, which \u003ca href=\"http://www2.oaklandnet.com/oaklandfire2016/index.htm\" target=\"_blank\">city documents released Wednesday\u003c/a> confirm had been the target of a long series of complaints to police and code enforcement officials, was about to become synonymous with an unspeakable tragedy.\u003c/p>\n\u003cp>Company 13 -- Capt. Heather Mozdean and three firefighters -- responded to the alarm within seconds. As the crew opened the station's truck bay to drive to the scene just 100 yards away, they could see smoke pouring from the Ghost Ship building.\u003c/p>\n\u003cp>The engine \"arrived on scene approximately 60 seconds after the initial call to find 2 story warehouse with heavy black smoke pushing from the doors and windows,\" Mozdean wrote in one of the documents the city made public.\u003c/p>\n\u003cp>In her brief account, Mozdean describes her crew's attempt -- along with a force of firefighters who had rushed to the scene from other Oakland stations -- to get into the building and fight the fire. But she notes that her engine's personnel were never able to penetrate more than 40 feet into the jumble of piano and other paraphernalia inside the warehouse.\u003c/p>\n\u003cp>After about 30 minutes, Mozdean noted, she and her crew \"exited the building to swap [oxygen] bottles at which time I did a face-to-face with IC [incident commander] stating that the interior lines were not capable of extinguishing in a safe manner due to advanced fire, smoke conditions and tremendous fire load.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Firefighters were withdrawn from the building, where 36 partygoers had died, and went into \"defensive mode' -- an attempt to contain the damage from the blaze and prevent it from spreading further.\u003c/p>\n\u003cp>However, the damage done to the city of Oakland's reputation -- for its apparent failure to respond to a long history of complaints about trash, the conversion of the Ghost Ship into an illegal residence, the use of the site for night-time music events, and other issues -- was just beginning.\u003c/p>\n\u003cp>The documents the city released Wednesday came in response to repeated media requests from KQED, the Bay Area News Group, the East Bay Express, Los Angeles Times and others. The trove of records, many of which confirm earlier reports, show:\u003c/p>\n\u003cul>\n\u003cli>The documents also show that the Oakland Fire Department had not conducted safety inspections in the Ng properties on 31st Avenue -- which also include an auto body shop next to the Ghost Ship -- since 2010. It has been previously reported that the city has no records of either fire safety or building code inspections for at least the last 30 years.\u003c/li>\n\u003cli>Nineteen separate Oakland Police Department calls for service at two addresses associated with the warehouse, 1305 and 1315 31st Ave., in the city's Fruitvale district. Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation, notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances but decided not to issue a citation.\u003c/li>\n\u003cli>The documents also fleshed out earlier reports that the warehouse and an adjacent property owned by Oakland landlord Chor Ng had an extensive history of code violations, including blight and possible illegal building conversions. All told, the city records show as many as 15 code complaints and 45 code inspections at the property. The exact number of complaints and inspections and how many of them concerned with the warehouse is hard to determine because the records are sometimes unclear about the actual address of alleged violations. \u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Viet Thanh Nguyen on His Timely Collection, ’The Refugees'",
"title": "Viet Thanh Nguyen on His Timely Collection, ’The Refugees'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>Viet Thanh Nguyen is an award-winning writer who grew up in San Jose after immigrating to the United States with his family in 1975 as a refugee fleeing the Communist-controlled country. He is a professor at the University of Southern California and the author of the 2016 Pulitzer Prize-winning novel, \u003c/em>\u003ca href=\"https://ww2.kqed.org/forum/2016/05/04/san-jose-native-viet-thanh-nguyen-wins-pulitzer-prize-for-the-sympathizer/\">\"The Sympathizer\"\u003c/a>. \u003cem>His newest book is a collection of short stories called \u003c/em>\u003ca href=\"http://vietnguyen.info/2016/refugee-pain-review-refugees\">\"The Refugees.\"\u003c/a>\u003c/p>\n\u003cp>\u003cem>We spoke with Nguyen about his decades thinking about, writing about and living the life of a refugee.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/306030181\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Can you start by sharing your memories of coming to the U.S. as a refugee?\u003c/strong>\u003c/p>\n\u003cp>I came to the United States in 1975 when I was four years old, and I came as a refugee.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The small town we were living in was the first town overrun by the final communist invasion. My father was actually in Saigon on business, and my mother had to make a life and death decision about what to do. So she decided to flee.\u003c/p>\n\u003cp>My brother and I and my mother walked to the nearest port town 184 kilometers away. We were able to get on board a boat or barge and make it to Saigon, find my dad, and then a month later, the communists took Saigon as well.\u003c/p>\n\u003cp>So we had to repeat the experience, trying to get out by the airport, trying to get out by whatever means necessary. Finally, we got out on another barge or boat picked up by the U.S. Navy and were taken to Guam and then we flew from there to \u003ca href=\"http://ftig.png.pa.gov/Pages/default.aspx\" target=\"_blank\">Fort Indiantown Gap\u003c/a>, in Pennsylvania, which is where my memory really begins.\u003c/p>\n\u003cp>\u003cstrong>So how much of that journey is etched in your memory and how much of it comes from what other people have told you?\u003c/strong>\u003c/p>\n\u003cp>I remember being taken away from my parents at 4 years old and sent to live with a white sponsor family while (the rest of my family) were sent to live with another family. That is a part of the refugee experience -- to be displaced and to have your lives suddenly at the mercy of other people's decisions.\u003c/p>\n\u003cp>\u003cstrong>You've said that your family didn't talk much about their refugee experience, or if they did it was through silences. Do you think that that's part of the reason why those stories don't end up getting told? Because it's painful for people to relive those experiences?\u003c/strong>\u003c/p>\n\u003cp>That's partially true. I mean I met many second generation Vietnamese-Americans who are not aware of what their parents have gone through. My own students for example, say \"Well I think my parents came on a boat.\" And they don't know and because their parents don't want to talk about it and I understand why. Because someone asks you what was it like and they expect an answer in a couple of minutes and you're supposed to try to convey a lifetime in that couple of minutes to even make sense out of what happened to you. So there's a reluctance to talk. But I think even when people do talk -- and there are people who do talk in Vietnamese about their stories -- the people who cannot speak Vietnamese can't hear it or don't want to hear it.\u003c/p>\n\u003cp>\u003cstrong>You've talked about people sharing their experiences within the community in Vietnamese, and you've also said that you know you're not writing for a white audience necessarily with your work. How do share those experiences in a way that creates empathy in a climate where some people have the notion that refugees are dangerous?\u003c/strong>\u003c/p>\n\u003cp>Well I think all novelists, all writers and artists work to create empathy and that's the basic material for what it is that we do. I don't think my work is any different. I mean the problem is not in getting people to read the books or watch the movies. The problem is the distribution of information. And the problem is that either some people live in places where they don't get this information or they don't want to get this information. If somebody picks up my book I've already won half the battle. But I think the real challenge is to get people to pick up the book.\u003c/p>\n\u003cp>\u003cstrong>Your new book \"The Refugees\" is a collection of stories that you wrote over two decades. You have a young woman who sees the ghost of her brother. You have this dynamic between two women of the same age within the Vietnamese community in San Jose. They're all stories of Vietnamese refugees, but told from different perspectives.\u003c/strong>\u003c/p>\n\u003cp>I think there is a great degree of emotional similarity across these different kinds of experiences. And certainly that was what I wanted to try to do with the book, to talk about people whose stories I knew very intimately and whose stories I also knew that most Americans knew nothing about. \u003c/p>\n\u003caside class=\"pullquote alignright\">'We don’t see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they’re not pitiful — that they’re only pitiful because of their circumstances.'\u003c/aside>\n\u003cp>So the primary challenge of the of the collection was simply to convey the humanity of these people and their complexities and the nuances. So these stories range the spectrum from older people to younger people, gay and straight men and women and military and so on, to try to convey the fact that we cannot stereotype or flatten out or homogenize even a national or an ethnic population and the diversity of these people is exactly the diversity of other communities.\u003c/p>\n\u003cp>\u003cstrong>What can you tell us about American public opinion at the time that Vietnamese refugees were coming to the U.S. in the '70s and '80s?\u003c/strong>\u003c/p>\n\u003cp>Well, the U.S. just ended a very terrible war with the communists in Vietnam. But I think many Americans saw all Vietnamese as being rather foreign whether they were on the American side or not on the American side. So in 1975 when Congress was admitting Vietnamese refugees into the country, opinion polls show that the majority of Americans didn't want to accept Vietnamese or other Southeast Asian refugees.\u003c/p>\n\u003cp>\u003cstrong>I notice in your work that you make this distinction between immigrants and refugees. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I think it's really important to assert that I am a refugee rather than an immigrant because when my book came out, when \u003ca href=\"https://www.nytimes.com/2015/04/05/books/review/the-sympathizer-by-viet-thanh-nguyen.html?_r=0\" target=\"_blank\">\"The Sympathizer\" \u003c/a>came out so many of the reviews were saying this is an immigrant novel. I understood why they were saying that because the idea of the immigrant experience is absolutely central to the American story or the American mythology. Even though at periodic points in American history the United States has been actually rather anti-immigrant. Nevertheless the idea of the American dream is that we welcome immigrants to these shores. And so the easiest way to make sense out of somebody like me who was born elsewhere is to call me an immigrant which implicitly turns me into a success story.\u003c/p>\n\u003cp>Refugees are much more threatening than immigrants. Immigrants voluntarily come to our country. They've chosen our country. Refugees have been forced out by circumstances and they are the unwanted in the countries that they come from. And that is one of the reasons why I think Americans and other people from other countries have a hard time dealing with refugees because of the stigma that they carry of being unwanted.\u003c/p>\n\u003cp>\u003cstrong>On the other hand you have some Americans who feel great compassion for refugees because they're 'legitimate' migrants fleeing war, versus migrants fleeing economic or environmental devastation.\u003c/strong>\u003c/p>\n\u003cp>So there's always been that tension within the United States and in other countries obviously. But so far as the question of whether refugees are more desirable than immigrants for some people I think that's absolutely true.\u003c/p>\n\u003cp>\u003cstrong>You said this is the stuff of fiction what's happening right now with refugee policy. Is there anything that you feel when you look at these experiences of Syrians and people from the Middle East that resonates with the experience of the Vietnamese community back when you came?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I did in doing research for my nonfiction work was to visit a refugee camp in Indonesia. So the Vietnamese refugees who were fleeing -- the so-called \"boat people\" -- were trying to make it to neighboring South-East Asian countries like Indonesia. And it was a very horrible experience you know. And some estimates are that half of the people who went out to sea didn't survive. They just disappeared somewhere. And at this refugee camp there there was a cemetery and there are gravestones marking people who had died when they were 80 and marking people who had died when they were zero or three months. And I think then that we do share something in common with the Syrians for example who were trying to flee their country by boat. The terror, the fear. The odds being stacked completely stacked against you. There's a line in one of my stories I think where I say, you know to be a refugee is to be enormously courageous because you go out on that boat to the open sea knowing that the likelihood is that you're going to die.\u003c/p>\n\u003cp>But we don't see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they're not pitiful -- that they're only pitiful because of their circumstances. But it takes enormous initiative as well as fear to take your life into your own hands and to risk it in that fashion and that is something that the Vietnamese and the Syrians shared.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experience growing up as a refugee in California may have been different from the experience of refugees who grew up in other parts of the country?\u003c/strong>\u003c/p>\n\u003cp>I think that the refugees who ended up in California either because they were put there by government policy or because they voluntarily migrated thought of themselves as lucky because of the weather, because of the diversity, because of the economic and social welfare opportunities.\u003c/p>\n\u003cp>We also had the advantage of living in strong Vietnamese-American centers of population. Whereas if you were in some city in Kansas there might've been 100 or 200 Vietnamese people. That made a big difference. You know you didn't grow up feeling alone. You had all of the typical problems of being a refugee but at least you had the community with its churches, its stores its social services, its language. And that helped people to create a sense of home a displaced home not in the old country, but still, a Little Saigon or something like it.\u003c/p>\n\u003cp>\u003cstrong>So many of your stories touch on dislocation, a sense of not belonging. Do you still feel like a refugee?\u003c/strong>\u003c/p>\n\u003cp>I still feel like I am a refugee although I'm not certain whether I'm romanticizing myself. Obviously I am not a refugee in any material sense. I have made the transition as one colleague jokingly says from 'being refugee to bourgeoisie.' And no one would ever mistake me for a refugee unless I said it. But I feel like I've been shaped by my refugee experience and psychologically part of me is a refugee. I don't feel completely at home. I feel like I'm still somewhat of an outsider. And again maybe I cultivate that because being an outsider helps me to be a writer.\u003c/p>\n\u003cp>\u003cstrong>You've just come off of the great success of \"The Sympathizer\" and now you're moving into this collection of short stories. What's that transition been like? \u003c/strong>\u003c/p>\n\u003cp>Well, it's an unreal experience because it took 20 years from the first words of this book to seeing it published. And I think in the last few years I'd resigned myself to the possibility that the book was never going to be published and I had actually gotten to the psychological mindset of thinking. \"Well I didn't waste 20 years of my life. I used those 20 years to learn how to be a writer.\" It's a feeling of relief more than anything else, seeing it out there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An excerpt from \"The Refugees\":\u003c/p>\n\u003cblockquote>\u003cp>I liked school even summer school. It was like being on vacation from home. And at 3 o'clock I was always a little disappointed to walk the four blocks to the grocery store. My parents owned the new Saigon market where English was hardly ever spoken and Vietnamese was loud. My mother and father rarely left their posts. The cash registers flanking the entrance of a new Saigon. Customers always crowded the market. One of the few places in San Jose were the Vietnamese could buy the staples and spices of home. People haggled endlessly with my mother over everything beginning with a rock sugar which I pretended was yellow kryptonite and ending with the varieties of meat in the freezer from pork chops and catfish with a glint of light in their eyes to shoestring s of chewy tripe and packets of chicken hearts small and tender as button mushrooms. Can we just sell TV dinners, I asked once.\u003c/p>\u003c/blockquote>\n\n",
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"excerpt": "Pulitzer winner Viet Thanh Nguyen reflects on his new collection of short stories, and on why some Americans fear refugees because 'they are living reminders for the fact that the lives we take for granted can be wiped away by one catastrophe.’",
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"description": "Pulitzer winner Viet Thanh Nguyen reflects on his new collection of short stories, and on why some Americans fear refugees because 'they are living reminders for the fact that the lives we take for granted can be wiped away by one catastrophe.’",
"title": "Viet Thanh Nguyen on His Timely Collection, ’The Refugees' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Viet Thanh Nguyen is an award-winning writer who grew up in San Jose after immigrating to the United States with his family in 1975 as a refugee fleeing the Communist-controlled country. He is a professor at the University of Southern California and the author of the 2016 Pulitzer Prize-winning novel, \u003c/em>\u003ca href=\"https://ww2.kqed.org/forum/2016/05/04/san-jose-native-viet-thanh-nguyen-wins-pulitzer-prize-for-the-sympathizer/\">\"The Sympathizer\"\u003c/a>. \u003cem>His newest book is a collection of short stories called \u003c/em>\u003ca href=\"http://vietnguyen.info/2016/refugee-pain-review-refugees\">\"The Refugees.\"\u003c/a>\u003c/p>\n\u003cp>\u003cem>We spoke with Nguyen about his decades thinking about, writing about and living the life of a refugee.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/306030181&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/306030181'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Can you start by sharing your memories of coming to the U.S. as a refugee?\u003c/strong>\u003c/p>\n\u003cp>I came to the United States in 1975 when I was four years old, and I came as a refugee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The small town we were living in was the first town overrun by the final communist invasion. My father was actually in Saigon on business, and my mother had to make a life and death decision about what to do. So she decided to flee.\u003c/p>\n\u003cp>My brother and I and my mother walked to the nearest port town 184 kilometers away. We were able to get on board a boat or barge and make it to Saigon, find my dad, and then a month later, the communists took Saigon as well.\u003c/p>\n\u003cp>So we had to repeat the experience, trying to get out by the airport, trying to get out by whatever means necessary. Finally, we got out on another barge or boat picked up by the U.S. Navy and were taken to Guam and then we flew from there to \u003ca href=\"http://ftig.png.pa.gov/Pages/default.aspx\" target=\"_blank\">Fort Indiantown Gap\u003c/a>, in Pennsylvania, which is where my memory really begins.\u003c/p>\n\u003cp>\u003cstrong>So how much of that journey is etched in your memory and how much of it comes from what other people have told you?\u003c/strong>\u003c/p>\n\u003cp>I remember being taken away from my parents at 4 years old and sent to live with a white sponsor family while (the rest of my family) were sent to live with another family. That is a part of the refugee experience -- to be displaced and to have your lives suddenly at the mercy of other people's decisions.\u003c/p>\n\u003cp>\u003cstrong>You've said that your family didn't talk much about their refugee experience, or if they did it was through silences. Do you think that that's part of the reason why those stories don't end up getting told? Because it's painful for people to relive those experiences?\u003c/strong>\u003c/p>\n\u003cp>That's partially true. I mean I met many second generation Vietnamese-Americans who are not aware of what their parents have gone through. My own students for example, say \"Well I think my parents came on a boat.\" And they don't know and because their parents don't want to talk about it and I understand why. Because someone asks you what was it like and they expect an answer in a couple of minutes and you're supposed to try to convey a lifetime in that couple of minutes to even make sense out of what happened to you. So there's a reluctance to talk. But I think even when people do talk -- and there are people who do talk in Vietnamese about their stories -- the people who cannot speak Vietnamese can't hear it or don't want to hear it.\u003c/p>\n\u003cp>\u003cstrong>You've talked about people sharing their experiences within the community in Vietnamese, and you've also said that you know you're not writing for a white audience necessarily with your work. How do share those experiences in a way that creates empathy in a climate where some people have the notion that refugees are dangerous?\u003c/strong>\u003c/p>\n\u003cp>Well I think all novelists, all writers and artists work to create empathy and that's the basic material for what it is that we do. I don't think my work is any different. I mean the problem is not in getting people to read the books or watch the movies. The problem is the distribution of information. And the problem is that either some people live in places where they don't get this information or they don't want to get this information. If somebody picks up my book I've already won half the battle. But I think the real challenge is to get people to pick up the book.\u003c/p>\n\u003cp>\u003cstrong>Your new book \"The Refugees\" is a collection of stories that you wrote over two decades. You have a young woman who sees the ghost of her brother. You have this dynamic between two women of the same age within the Vietnamese community in San Jose. They're all stories of Vietnamese refugees, but told from different perspectives.\u003c/strong>\u003c/p>\n\u003cp>I think there is a great degree of emotional similarity across these different kinds of experiences. And certainly that was what I wanted to try to do with the book, to talk about people whose stories I knew very intimately and whose stories I also knew that most Americans knew nothing about. \u003c/p>\n\u003caside class=\"pullquote alignright\">'We don’t see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they’re not pitiful — that they’re only pitiful because of their circumstances.'\u003c/aside>\n\u003cp>So the primary challenge of the of the collection was simply to convey the humanity of these people and their complexities and the nuances. So these stories range the spectrum from older people to younger people, gay and straight men and women and military and so on, to try to convey the fact that we cannot stereotype or flatten out or homogenize even a national or an ethnic population and the diversity of these people is exactly the diversity of other communities.\u003c/p>\n\u003cp>\u003cstrong>What can you tell us about American public opinion at the time that Vietnamese refugees were coming to the U.S. in the '70s and '80s?\u003c/strong>\u003c/p>\n\u003cp>Well, the U.S. just ended a very terrible war with the communists in Vietnam. But I think many Americans saw all Vietnamese as being rather foreign whether they were on the American side or not on the American side. So in 1975 when Congress was admitting Vietnamese refugees into the country, opinion polls show that the majority of Americans didn't want to accept Vietnamese or other Southeast Asian refugees.\u003c/p>\n\u003cp>\u003cstrong>I notice in your work that you make this distinction between immigrants and refugees. Why is that?\u003c/strong>\u003c/p>\n\u003cp>I think it's really important to assert that I am a refugee rather than an immigrant because when my book came out, when \u003ca href=\"https://www.nytimes.com/2015/04/05/books/review/the-sympathizer-by-viet-thanh-nguyen.html?_r=0\" target=\"_blank\">\"The Sympathizer\" \u003c/a>came out so many of the reviews were saying this is an immigrant novel. I understood why they were saying that because the idea of the immigrant experience is absolutely central to the American story or the American mythology. Even though at periodic points in American history the United States has been actually rather anti-immigrant. Nevertheless the idea of the American dream is that we welcome immigrants to these shores. And so the easiest way to make sense out of somebody like me who was born elsewhere is to call me an immigrant which implicitly turns me into a success story.\u003c/p>\n\u003cp>Refugees are much more threatening than immigrants. Immigrants voluntarily come to our country. They've chosen our country. Refugees have been forced out by circumstances and they are the unwanted in the countries that they come from. And that is one of the reasons why I think Americans and other people from other countries have a hard time dealing with refugees because of the stigma that they carry of being unwanted.\u003c/p>\n\u003cp>\u003cstrong>On the other hand you have some Americans who feel great compassion for refugees because they're 'legitimate' migrants fleeing war, versus migrants fleeing economic or environmental devastation.\u003c/strong>\u003c/p>\n\u003cp>So there's always been that tension within the United States and in other countries obviously. But so far as the question of whether refugees are more desirable than immigrants for some people I think that's absolutely true.\u003c/p>\n\u003cp>\u003cstrong>You said this is the stuff of fiction what's happening right now with refugee policy. Is there anything that you feel when you look at these experiences of Syrians and people from the Middle East that resonates with the experience of the Vietnamese community back when you came?\u003c/strong>\u003c/p>\n\u003cp>One of the things that I did in doing research for my nonfiction work was to visit a refugee camp in Indonesia. So the Vietnamese refugees who were fleeing -- the so-called \"boat people\" -- were trying to make it to neighboring South-East Asian countries like Indonesia. And it was a very horrible experience you know. And some estimates are that half of the people who went out to sea didn't survive. They just disappeared somewhere. And at this refugee camp there there was a cemetery and there are gravestones marking people who had died when they were 80 and marking people who had died when they were zero or three months. And I think then that we do share something in common with the Syrians for example who were trying to flee their country by boat. The terror, the fear. The odds being stacked completely stacked against you. There's a line in one of my stories I think where I say, you know to be a refugee is to be enormously courageous because you go out on that boat to the open sea knowing that the likelihood is that you're going to die.\u003c/p>\n\u003cp>But we don't see refugees as courageous. We see refugees as as pitiful. And I think I hope that my own book and the stories of other refugees work to make it clear that they're not pitiful -- that they're only pitiful because of their circumstances. But it takes enormous initiative as well as fear to take your life into your own hands and to risk it in that fashion and that is something that the Vietnamese and the Syrians shared.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experience growing up as a refugee in California may have been different from the experience of refugees who grew up in other parts of the country?\u003c/strong>\u003c/p>\n\u003cp>I think that the refugees who ended up in California either because they were put there by government policy or because they voluntarily migrated thought of themselves as lucky because of the weather, because of the diversity, because of the economic and social welfare opportunities.\u003c/p>\n\u003cp>We also had the advantage of living in strong Vietnamese-American centers of population. Whereas if you were in some city in Kansas there might've been 100 or 200 Vietnamese people. That made a big difference. You know you didn't grow up feeling alone. You had all of the typical problems of being a refugee but at least you had the community with its churches, its stores its social services, its language. And that helped people to create a sense of home a displaced home not in the old country, but still, a Little Saigon or something like it.\u003c/p>\n\u003cp>\u003cstrong>So many of your stories touch on dislocation, a sense of not belonging. Do you still feel like a refugee?\u003c/strong>\u003c/p>\n\u003cp>I still feel like I am a refugee although I'm not certain whether I'm romanticizing myself. Obviously I am not a refugee in any material sense. I have made the transition as one colleague jokingly says from 'being refugee to bourgeoisie.' And no one would ever mistake me for a refugee unless I said it. But I feel like I've been shaped by my refugee experience and psychologically part of me is a refugee. I don't feel completely at home. I feel like I'm still somewhat of an outsider. And again maybe I cultivate that because being an outsider helps me to be a writer.\u003c/p>\n\u003cp>\u003cstrong>You've just come off of the great success of \"The Sympathizer\" and now you're moving into this collection of short stories. What's that transition been like? \u003c/strong>\u003c/p>\n\u003cp>Well, it's an unreal experience because it took 20 years from the first words of this book to seeing it published. And I think in the last few years I'd resigned myself to the possibility that the book was never going to be published and I had actually gotten to the psychological mindset of thinking. \"Well I didn't waste 20 years of my life. I used those 20 years to learn how to be a writer.\" It's a feeling of relief more than anything else, seeing it out there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An excerpt from \"The Refugees\":\u003c/p>\n\u003cblockquote>\u003cp>I liked school even summer school. It was like being on vacation from home. And at 3 o'clock I was always a little disappointed to walk the four blocks to the grocery store. My parents owned the new Saigon market where English was hardly ever spoken and Vietnamese was loud. My mother and father rarely left their posts. The cash registers flanking the entrance of a new Saigon. Customers always crowded the market. One of the few places in San Jose were the Vietnamese could buy the staples and spices of home. People haggled endlessly with my mother over everything beginning with a rock sugar which I pretended was yellow kryptonite and ending with the varieties of meat in the freezer from pork chops and catfish with a glint of light in their eyes to shoestring s of chewy tripe and packets of chicken hearts small and tender as button mushrooms. Can we just sell TV dinners, I asked once.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music: Youth Is Served With New Maturity From Syd, Cherry Glazerr and Ty Segall",
"title": "Pop Music: Youth Is Served With New Maturity From Syd, Cherry Glazerr and Ty Segall",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>Don't trust anyone over 30? Our three featured albums this month come from artists who are younger than that -- one still not even 20 -- but all accomplished veterans of their respective scenes, and all emerging with works of remarkable focus and vision.\u003c/em>\u003c/p>\n\u003ch2>Syd\u003c/h2>\n\u003cp>Sydney Bennett, known as Syd tha Kyd in her work with the \u003ca href=\"http://www.oddfuture.com\">Odd Future\u003c/a> collective and co-fronting the atmospheric-soul syndicate \u003ca href=\"http://www.internet-band.com\">the Internet\u003c/a>, has jettisoned that label of youth for her solo debut, \u003ca href=\"http://smarturl.it/FINalbum\">“Fin.”\u003c/a> Now, with her solo debut she is just simply \u003ca href=\"https://www.internetsyd.com/\">Syd\u003c/a>, as if she’d shed her skin and is moving on to something new.\u003c/p>\n\u003cp>Well, the opening song is titled “Shake Em Off,” and is all about being able to move forward, to get rid of excessive baggage — emotional baggage, of course, but also a sense of being open to new possibilities, to ignore limitations. That’s right down to the music on the track, produced by Fontana hip-hopper Hitboy, with its sense of confident focus, pared down to impactful minimalism, her delivery of her affirmation clear and sharp and uncomplicated. It’s not the only little bit of advice she has, as she sings “Smile More” with a hopeful tone to a lover, and perhaps to herself — a bit different and far more sensual context than the same advice given by Burr to Hamilton in the Broadway sensation.\u003c/p>\n\u003cp>That doesn't mean this is simple, not in any way. Working with a roster of producers including Internet guitarist Steve Lacy on some tracks and hazebanga (whose credits go from M.I.A. to Mariah Carey and Selena Gomez) on a couple, as well as producing three herself, she shows an impressive sense of art in the use of sound and space, building solidly on the Odd Future and Internet approaches. Connecting with the latter, this is being released concurrently with Internet partner Matt Martians’ album “The Drum Chord Theory,” and the two will be doing a joint tour. Even her voice is used with distinctive subtlety, often conversational but soaring with precise flights when she wishes, when it’s most effective.\u003c/p>\n\u003cp>And throughout there is a sense of promise in a young artist discovering her own talents, searching possibilities. One of the singles released ahead of the album puts that right in the title, the hip-hop/soul twitch “All About Me.” Based on what is heard here, we look forward to learning just that. She seems to be learning, too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNIOrsxsa0A\u003c/p>\n\u003ch2>Cherry Glazerr\u003c/h2>\n\u003cp>On arrival a few years ago, the then-teenaged L.A. trio \u003ca href=\"http://cherry-glazerr.com\">Cherry Glazerr\u003c/a> announced its sense of whimsy with its very name, an homage of sorts to L.A. public radio morning host \u003ca href=\"http://curious.kcrw.com/2014/02/radio-host-chery-glaser-interviews-the-band-cherry-glazerr\">Chery Glaser\u003c/a>. There’s still plenty of whimsy with this third album — it’s titled “Apocalipstick,” after all, but here the band announces that it, unlike many others, fully understands that whimsy and irony are not the same thing and that whimsy and depth can do more than just coexist, but strengthen each other. And founder-front person Clementine Creevy — now complemented by two new members in drummer Tabor Allen and multi-instrumentalist Sasami Ashworth — is still not yet 20.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11289469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg\" alt=\"Cherry Glazerr\" width=\"301\" height=\"301\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut.jpg 1600w\" sizes=\"(max-width: 301px) 100vw, 301px\"> Opener “Told You I’d Be With the Guys” is an inside-out reach for solidarity with other women, echoed in the song’s sound, built on a kickoff guitar lick that consciously or otherwise evokes “Last Splash” by the Breeders, a notable ‘90s female-centric band. Guided by veteran producers Joe Chicarrelli and Carlos De La Garza, the trio brings brightness to the sound, punchy and powerful, but also loaded with hooks that call to mind not just the Breeders, but other similar vintage acts ranging from the Cure to Jane’s Addiction, Creevy able to shriek like Perry Farrell or coo like Debbie Harry, the swings maximizing the impact.\u003c/p>\n\u003cp>For all of that, at root this is still your basic rock trio of guitar, bass and drums, moving from the metal wallop of “Moon Dust” to the compelling punk-surf waves of “Humble Pro” (which itself breaks into melodic choruses before returning to crash-bang mode) to the more subdued, somber “Nuclear Bomb.” Later, “Sip O’ Poison” gallops away from — or perhaps it’s toward — dread in a dense clip-clop as Creevy’s guitar trades distorted solos with a tinny synthesizer.\u003c/p>\n\u003cp>And then there’s another title that catches the eye: “Nurse Ratched,” a tribute to the complicated, monstrous, manipulative nurse of “One Flew Over the Cuckoo’s Nest.” Is it a condemnation? Is it a tribute? “You’re so cold master, where do I begin?” Creevy sings, later adding, “She’s a wild one in the land that’s supposedly free.” Maybe not so much whimsy here, but ambiguity at its best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFgz9aiiZlQ\u003c/p>\n\u003ch2>Ty Segall\u003c/h2>\n\u003cp>\u003ca href=\"http://ty-segall.com\">Ty Segall\u003c/a>’s riffed-up, revved-up guitar-rock song “Thank You Mr. K” stops for a second midway through, and then there’s a crash, like a chandelier flung down a sweeping staircase, before the musical fury resumes. Well, it’s not fine crystal. As you can \u003ca href=\"https://vimeo.com/188364924\">see in a video\u003c/a> on Segall’s web site, it’s really a toilet being smashed to bits. But those two contrasting images make for a pretty good description of what Segall offers on the latest of his many and frequent projects.\u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Segall-800x568.jpg\" alt=\"Segall\" width=\"800\" height=\"568\" class=\"aligncenter size-medium wp-image-11299603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Glory and irreverence do battle throughout the album, titled simply “Ty Segall,” in classic glam-rock fashion -- and this is perhaps the most glam, and most focused, of the Southern Californian’s catalog, in which he has moved readily from rock to metal to folky musings, often in the course of one album.\u003c/p>\n\u003cp>So in that sense it’s noteworthy and fitting that he’s recycled the simple, focused title of his first ultra-indie release from 2008, bespeaking that sense of renewed purpose, if not a truly cleaned slate. Of course, that might also be tongue-in-cheek (not unusual for him) in that where he often works in the studio as a one-man band, here he’s focused on guitar and vocals in league with a full group, accompanied by longtime co-conspirator Mikal Cronin on bass, Emmet Kelly on guitar, Charles Moothart on drums and Ben Boye on keyboards.\u003c/p>\n\u003cp>Relatively short and crisp is the dominant mode, opener “Break a Guitar” coming off as T. Rex (a long-time Segall fave) jamming with Neil Young (another hero). “Freedom,” just two minutes long, is a classic anglophilic shuffle. There is contrast: “Orange Color Queen” slows it down for an acoustic turn, while “Warm Hands (Freedom Returned)” plays off the opener with an extended excursion stretching more than 10 minutes, and giving the band plenty of time to work through ranges of styles. Another contrast brings it all together, with closing “Take Care (To Comb Your Hair)” reaching back to ‘60s Merseyside and ‘70s power-pop for a catchy ditty. Though…. technically it’s not the closer. Never one to let a mood stand or a conclusion really be a conclusion, right after that song ends comes “Untitled,” listed at a full 13 seconds (yes, seconds) but really just a four-Mississippi burst of two quick beats). Don’t be surprised if Segall’s next album \u003ci>starts\u003c/i> that way. Of course, at the rate he puts things out, we may have to wait just a few weeks for that one.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/293028117\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003ch2>Bonus Track: \u003ca href=\"http://www.fatherjohnmisty.com\">Father John Misty\u003c/a>, “Pure Comedy” single\u003c/h2>\n\u003cp>And here, in a single previewing the upcoming album of the same title, we have the mercurial Mr. Misty channeling his inner Randy Newman (and a bit of John Lennon to boot) into timely, sardonic, unsparing topicality.\u003c/p>\n\u003cp>“Ladies, I hope we don’t end up regretting this,” he sings over a piano-centric arrangement in a song of fear about bringing children into this world — not a new concept, but perhaps a renewed one. In the accompanying video, our government is seen in places like something from a line-drawn Bosch hell-scape, countered here and there by images of children and animals, as well as some protests, for at least a slight glimmer of hope.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wKrSYgirAhc\u003c/p>\n\u003cp>But that is hard-won and fleeting, as he finds plenty of targets at which to aim his disgust and despair, almost resignedly reaching the conclusion of the final line, as we see the Earth, photographed from space: “I hate to say it, but each other’s all we got.” Sounds like Father John is having something of a crisis of faith.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, there’s a sense of urgency to this, at least in its timing, a sense that he needs to say this right now. If that is something that carries throughout the album, it could be a masterpiece.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Don't trust anyone over 30? Our three featured albums this month come from artists who are younger than that -- one still not even 20 -- but all accomplished veterans of their respective scenes, and all emerging with works of remarkable focus and vision.\u003c/em>\u003c/p>\n\u003ch2>Syd\u003c/h2>\n\u003cp>Sydney Bennett, known as Syd tha Kyd in her work with the \u003ca href=\"http://www.oddfuture.com\">Odd Future\u003c/a> collective and co-fronting the atmospheric-soul syndicate \u003ca href=\"http://www.internet-band.com\">the Internet\u003c/a>, has jettisoned that label of youth for her solo debut, \u003ca href=\"http://smarturl.it/FINalbum\">“Fin.”\u003c/a> Now, with her solo debut she is just simply \u003ca href=\"https://www.internetsyd.com/\">Syd\u003c/a>, as if she’d shed her skin and is moving on to something new.\u003c/p>\n\u003cp>Well, the opening song is titled “Shake Em Off,” and is all about being able to move forward, to get rid of excessive baggage — emotional baggage, of course, but also a sense of being open to new possibilities, to ignore limitations. That’s right down to the music on the track, produced by Fontana hip-hopper Hitboy, with its sense of confident focus, pared down to impactful minimalism, her delivery of her affirmation clear and sharp and uncomplicated. It’s not the only little bit of advice she has, as she sings “Smile More” with a hopeful tone to a lover, and perhaps to herself — a bit different and far more sensual context than the same advice given by Burr to Hamilton in the Broadway sensation.\u003c/p>\n\u003cp>That doesn't mean this is simple, not in any way. Working with a roster of producers including Internet guitarist Steve Lacy on some tracks and hazebanga (whose credits go from M.I.A. to Mariah Carey and Selena Gomez) on a couple, as well as producing three herself, she shows an impressive sense of art in the use of sound and space, building solidly on the Odd Future and Internet approaches. Connecting with the latter, this is being released concurrently with Internet partner Matt Martians’ album “The Drum Chord Theory,” and the two will be doing a joint tour. Even her voice is used with distinctive subtlety, often conversational but soaring with precise flights when she wishes, when it’s most effective.\u003c/p>\n\u003cp>And throughout there is a sense of promise in a young artist discovering her own talents, searching possibilities. One of the singles released ahead of the album puts that right in the title, the hip-hop/soul twitch “All About Me.” Based on what is heard here, we look forward to learning just that. She seems to be learning, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZNIOrsxsa0A'\n title='//www.youtube.com/embed/ZNIOrsxsa0A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Cherry Glazerr\u003c/h2>\n\u003cp>On arrival a few years ago, the then-teenaged L.A. trio \u003ca href=\"http://cherry-glazerr.com\">Cherry Glazerr\u003c/a> announced its sense of whimsy with its very name, an homage of sorts to L.A. public radio morning host \u003ca href=\"http://curious.kcrw.com/2014/02/radio-host-chery-glaser-interviews-the-band-cherry-glazerr\">Chery Glaser\u003c/a>. There’s still plenty of whimsy with this third album — it’s titled “Apocalipstick,” after all, but here the band announces that it, unlike many others, fully understands that whimsy and irony are not the same thing and that whimsy and depth can do more than just coexist, but strengthen each other. And founder-front person Clementine Creevy — now complemented by two new members in drummer Tabor Allen and multi-instrumentalist Sasami Ashworth — is still not yet 20.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11289469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg\" alt=\"Cherry Glazerr\" width=\"301\" height=\"301\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/RS23897_SC345-qut.jpg 1600w\" sizes=\"(max-width: 301px) 100vw, 301px\"> Opener “Told You I’d Be With the Guys” is an inside-out reach for solidarity with other women, echoed in the song’s sound, built on a kickoff guitar lick that consciously or otherwise evokes “Last Splash” by the Breeders, a notable ‘90s female-centric band. Guided by veteran producers Joe Chicarrelli and Carlos De La Garza, the trio brings brightness to the sound, punchy and powerful, but also loaded with hooks that call to mind not just the Breeders, but other similar vintage acts ranging from the Cure to Jane’s Addiction, Creevy able to shriek like Perry Farrell or coo like Debbie Harry, the swings maximizing the impact.\u003c/p>\n\u003cp>For all of that, at root this is still your basic rock trio of guitar, bass and drums, moving from the metal wallop of “Moon Dust” to the compelling punk-surf waves of “Humble Pro” (which itself breaks into melodic choruses before returning to crash-bang mode) to the more subdued, somber “Nuclear Bomb.” Later, “Sip O’ Poison” gallops away from — or perhaps it’s toward — dread in a dense clip-clop as Creevy’s guitar trades distorted solos with a tinny synthesizer.\u003c/p>\n\u003cp>And then there’s another title that catches the eye: “Nurse Ratched,” a tribute to the complicated, monstrous, manipulative nurse of “One Flew Over the Cuckoo’s Nest.” Is it a condemnation? Is it a tribute? “You’re so cold master, where do I begin?” Creevy sings, later adding, “She’s a wild one in the land that’s supposedly free.” Maybe not so much whimsy here, but ambiguity at its best.\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/GFgz9aiiZlQ'\n title='//www.youtube.com/embed/GFgz9aiiZlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ty Segall\u003c/h2>\n\u003cp>\u003ca href=\"http://ty-segall.com\">Ty Segall\u003c/a>’s riffed-up, revved-up guitar-rock song “Thank You Mr. K” stops for a second midway through, and then there’s a crash, like a chandelier flung down a sweeping staircase, before the musical fury resumes. Well, it’s not fine crystal. As you can \u003ca href=\"https://vimeo.com/188364924\">see in a video\u003c/a> on Segall’s web site, it’s really a toilet being smashed to bits. But those two contrasting images make for a pretty good description of what Segall offers on the latest of his many and frequent projects.\u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/Segall-800x568.jpg\" alt=\"Segall\" width=\"800\" height=\"568\" class=\"aligncenter size-medium wp-image-11299603\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-240x170.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-375x266.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/Segall-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Glory and irreverence do battle throughout the album, titled simply “Ty Segall,” in classic glam-rock fashion -- and this is perhaps the most glam, and most focused, of the Southern Californian’s catalog, in which he has moved readily from rock to metal to folky musings, often in the course of one album.\u003c/p>\n\u003cp>So in that sense it’s noteworthy and fitting that he’s recycled the simple, focused title of his first ultra-indie release from 2008, bespeaking that sense of renewed purpose, if not a truly cleaned slate. Of course, that might also be tongue-in-cheek (not unusual for him) in that where he often works in the studio as a one-man band, here he’s focused on guitar and vocals in league with a full group, accompanied by longtime co-conspirator Mikal Cronin on bass, Emmet Kelly on guitar, Charles Moothart on drums and Ben Boye on keyboards.\u003c/p>\n\u003cp>Relatively short and crisp is the dominant mode, opener “Break a Guitar” coming off as T. Rex (a long-time Segall fave) jamming with Neil Young (another hero). “Freedom,” just two minutes long, is a classic anglophilic shuffle. There is contrast: “Orange Color Queen” slows it down for an acoustic turn, while “Warm Hands (Freedom Returned)” plays off the opener with an extended excursion stretching more than 10 minutes, and giving the band plenty of time to work through ranges of styles. Another contrast brings it all together, with closing “Take Care (To Comb Your Hair)” reaching back to ‘60s Merseyside and ‘70s power-pop for a catchy ditty. Though…. technically it’s not the closer. Never one to let a mood stand or a conclusion really be a conclusion, right after that song ends comes “Untitled,” listed at a full 13 seconds (yes, seconds) but really just a four-Mississippi burst of two quick beats). Don’t be surprised if Segall’s next album \u003ci>starts\u003c/i> that way. Of course, at the rate he puts things out, we may have to wait just a few weeks for that one.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/293028117&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/293028117'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Bonus Track: \u003ca href=\"http://www.fatherjohnmisty.com\">Father John Misty\u003c/a>, “Pure Comedy” single\u003c/h2>\n\u003cp>And here, in a single previewing the upcoming album of the same title, we have the mercurial Mr. Misty channeling his inner Randy Newman (and a bit of John Lennon to boot) into timely, sardonic, unsparing topicality.\u003c/p>\n\u003cp>“Ladies, I hope we don’t end up regretting this,” he sings over a piano-centric arrangement in a song of fear about bringing children into this world — not a new concept, but perhaps a renewed one. In the accompanying video, our government is seen in places like something from a line-drawn Bosch hell-scape, countered here and there by images of children and animals, as well as some protests, for at least a slight glimmer of hope.\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/wKrSYgirAhc'\n title='//www.youtube.com/embed/wKrSYgirAhc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that is hard-won and fleeting, as he finds plenty of targets at which to aim his disgust and despair, almost resignedly reaching the conclusion of the final line, as we see the Earth, photographed from space: “I hate to say it, but each other’s all we got.” Sounds like Father John is having something of a crisis of faith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, there’s a sense of urgency to this, at least in its timing, a sense that he needs to say this right now. If that is something that carries throughout the album, it could be a masterpiece.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After President Trump \u003ca href=\"https://ww2.kqed.org/news/2017/01/28/arrivals-to-u-s-blocked-and-detained-as-trumps-immigration-freeze-sets-in/\" target=\"_blank\">announced his executive order\u003c/a> banning refugees and prohibiting people from seven predominantly Muslim nations from entering the United States, a faint bell went off somewhere deep in my brain. This seems kind of familiar, I thought. I know I’ve heard about this kind of thing before.\u003c/p>\n\u003cp>With some memory-jogging research, I focused on the \u003ca href=\"http://avalon.law.yale.edu/19th_century/chinese_exclusion_act.asp\" target=\"_blank\">Chinese Exclusion Act\u003c/a> and the anti-Chinese violence -- such as the \u003ca href=\"http://www.scpr.org/programs/offramp/2016/10/21/52801/commemorating-la-s-chinese-massacre-possibly-the-w/\" target=\"_blank\">1871 Chinese Massacre\u003c/a> -- that took place right here in California.\u003c/p>\n\u003cp>The Chinese Exclusion Act of 1882 -- the first major law restricting immigration to the United States -- was largely a response to fear on the part of Americans on the West Coast, who attributed declining wages and unemployment to Chinese workers. The act halted Chinese immigration for 10 years and prohibited Chinese from becoming U.S. citizens.\u003c/p>\n\u003cp>Sure, I could draw a new cartoon about the parallels to Trump's executive order and his \u003ca href=\"https://ww2.kqed.org/news/2017/01/26/trumps-suggested-import-tax-would-mean-u-s-consumers-pay-for-that-wall/\" target=\"_blank\">border wall\u003c/a>, but maybe there was a cartoon drawn back in the 1800s that's still timely today. With a little more digging, I discovered a wonderful cartoon by \u003ca href=\"https://cartoons.osu.edu/digital_albums/thomasnast/bio.htm\" target=\"_blank\">Thomas Nast\u003c/a>, a man often called \"the father of the American political cartoon.\"\u003c/p>\n\u003cp>The cartoon shows European immigrants, already in the United States, pulling up the ladder to stop Chinese immigration. The same issue of Harper’s included a story about a shoe factory owner who brought in Chinese immigrant workers and achieved great success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to my friend Jenny Robb, curator of the \u003ca href=\"https://cartoons.osu.edu/\" target=\"_blank\">Billy Ireland Cartoon Library and Museum\u003c/a> at Ohio State University, this particular cartoon was published in Harper's Weekly in 1870.\u003c/p>\n\u003cp>\"This cartoon might possibly be a response to the Naturalization Act of 1870, and also to residual opposition to the Burlingame Treaty of 1868, which was ratified by China in 1869 and the growing anti-Chinese sentiment in its wake,\" Robb says.\u003c/p>\n\u003cp>\"According to the issue of Harper’s Weekly where this cartoon appeared, Congress was debating the naturalization bill at this time.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.markfiore.com/\" target=\"_blank\">Mark Fiore\u003c/a> is a Pulitzer Prize-winning political animator and cartoonist.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After President Trump \u003ca href=\"https://ww2.kqed.org/news/2017/01/28/arrivals-to-u-s-blocked-and-detained-as-trumps-immigration-freeze-sets-in/\" target=\"_blank\">announced his executive order\u003c/a> banning refugees and prohibiting people from seven predominantly Muslim nations from entering the United States, a faint bell went off somewhere deep in my brain. This seems kind of familiar, I thought. I know I’ve heard about this kind of thing before.\u003c/p>\n\u003cp>With some memory-jogging research, I focused on the \u003ca href=\"http://avalon.law.yale.edu/19th_century/chinese_exclusion_act.asp\" target=\"_blank\">Chinese Exclusion Act\u003c/a> and the anti-Chinese violence -- such as the \u003ca href=\"http://www.scpr.org/programs/offramp/2016/10/21/52801/commemorating-la-s-chinese-massacre-possibly-the-w/\" target=\"_blank\">1871 Chinese Massacre\u003c/a> -- that took place right here in California.\u003c/p>\n\u003cp>The Chinese Exclusion Act of 1882 -- the first major law restricting immigration to the United States -- was largely a response to fear on the part of Americans on the West Coast, who attributed declining wages and unemployment to Chinese workers. The act halted Chinese immigration for 10 years and prohibited Chinese from becoming U.S. citizens.\u003c/p>\n\u003cp>Sure, I could draw a new cartoon about the parallels to Trump's executive order and his \u003ca href=\"https://ww2.kqed.org/news/2017/01/26/trumps-suggested-import-tax-would-mean-u-s-consumers-pay-for-that-wall/\" target=\"_blank\">border wall\u003c/a>, but maybe there was a cartoon drawn back in the 1800s that's still timely today. With a little more digging, I discovered a wonderful cartoon by \u003ca href=\"https://cartoons.osu.edu/digital_albums/thomasnast/bio.htm\" target=\"_blank\">Thomas Nast\u003c/a>, a man often called \"the father of the American political cartoon.\"\u003c/p>\n\u003cp>The cartoon shows European immigrants, already in the United States, pulling up the ladder to stop Chinese immigration. The same issue of Harper’s included a story about a shoe factory owner who brought in Chinese immigrant workers and achieved great success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to my friend Jenny Robb, curator of the \u003ca href=\"https://cartoons.osu.edu/\" target=\"_blank\">Billy Ireland Cartoon Library and Museum\u003c/a> at Ohio State University, this particular cartoon was published in Harper's Weekly in 1870.\u003c/p>\n\u003cp>\"This cartoon might possibly be a response to the Naturalization Act of 1870, and also to residual opposition to the Burlingame Treaty of 1868, which was ratified by China in 1869 and the growing anti-Chinese sentiment in its wake,\" Robb says.\u003c/p>\n\u003cp>\"According to the issue of Harper’s Weekly where this cartoon appeared, Congress was debating the naturalization bill at this time.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.markfiore.com/\" target=\"_blank\">Mark Fiore\u003c/a> is a Pulitzer Prize-winning political animator and cartoonist.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Read Poems From the 7 Countries Affected by Trump’s Immigration Ban",
"title": "Read Poems From the 7 Countries Affected by Trump’s Immigration Ban",
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"content": "\u003cp>On Monday, Tehran-born poet Kaveh Akbar began tweeting out poetry written by poets from the seven countries — Iran, Libya, Yemen, Sudan, Somalia, Iraq and Syria — impacted by President Donald Trump’s executive order that \u003ca href=\"http://www.pbs.org/newshour/bb/trumps-immigration-order-tangle-legal-issues/\">temporarily bans immigrants\u003c/a> from those countries.\u003c/p>\n\u003cp>The poetry Akbar shared includes work from \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/khaled-mattawa\">Khaled Mattawa\u003c/a>, a Libyan poet born in Benghazi who emigrated to the U.S. as a teenager, \u003ca href=\"http://www.narrativemagazine.com/authors/ladan-osman\">Ladan Osman\u003c/a>, who was born in Somalia and raised in Columbus, Ohio, and \u003ca href=\"http://safia-mafia.com/bio\">Safia Elhillo\u003c/a>, a poet born in the U.S. to Sudanese parents, but who didn’t move to the U.S. until 2000.\u003c/p>\n\u003cp>Akbar said he was inspired to tweet Monday morning while reading the poetry of Persian poet Majid Naficy, and wondering what his life would be like without having read Naficy’s work. Naficy, who was born and raised in Iran, \u003ca href=\"http://www.scpr.org/news/2012/03/13/31608/los-angeles-iranian-poet-writes-farsi-about-life-a/\">fled to the U.S.\u003c/a> after \u003ca href=\"http://www.pbs.org/newshour/updates/middle_east-jan-june10-timeline/\">Ayatollah Khomeini\u003c/a> established theocratic rule in Iran in 1979, an experience that appears in Naficy’s poetry. His poem, “Allowance,” begins with the lines: “When creeping out of his tight skin / He suffers pain / And the world becomes small for him.”\u003c/p>\n\u003cp>“I was struck by how I was the very, very lucky beneficiary of this sort of gorgeousness and beauty,” Akbar said. “And how my person would be diminished from a lack of access to these sort of voices.”\u003c/p>\n\u003cp>Akbar often shares poets from a range of backgrounds on his Twitter account and at \u003ca href=\"https://www.divedapper.com/about/\">Divedapper\u003c/a>, a contemporary poetry site he founded and edits. He said he has always felt compelled to share the poetry he loves with others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This seemed particularly important to him on Monday, after a \u003ca href=\"http://www.pbs.org/newshour/rundown/fallout-grows-trumps-new-immigration-crackdown/\">weekend of protests\u003c/a> over the ban. He hoped that in sharing the poetry it would channel the rage people felt “toward a kind of love, and gratefulness” for that writing, he said.\u003c/p>\n\u003cp>The ban also has personal resonance for Akbar, who was born in Tehran and moved to the U.S. when he was two and a half years old. Though English is his primary spoken language, he said “there is a part of Iran that is hardwired into me.”\u003c/p>\n\u003cfigure id=\"attachment_11293628\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg class=\"wp-image-11293628\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg\" alt=\"Kaveh Akbar\" width=\"267\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg 683w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">Kaveh Akbar \u003ccite>(B. A. Van Sise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akbar, who now teaches poetry in Florida, and whose \u003ca href=\"http://kavehakbar.com/Books\">debut full-length collection\u003c/a> is coming out this Fall, sometimes \u003ca href=\"http://www.narrativemagazine.com/issues/poems-week-2015-2016/poem-week/do-you-speak-persian-kaveh-akbar\">writes about the difficulty\u003c/a> of straddling different worlds and languages, and holding on to the culture of his origin country.\u003c/p>\n\u003cp>He believes that at its core, poetry is about sharing an experience with readers they might not have otherwise had.\u003c/p>\n\u003cp>“When you read a poem by a poet who is living in Syria, you are granted access to an experience that is absolutely nothing like your experience living in Duluth or Montpelier,” he said, and with that access often comes empathy. “So I think that engaging in that work is one of the most empathetic things we can do right now.”\u003c/p>\n\u003cp>Read the poetry Akbar shared below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//storify.com/newshour/poets/embed?border=false\" width=\"100%\" height=\"750\" frameborder=\"no\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Poetry written by poets from the seven countries affected by Trump's immigration ban -- Iran, Libya, Yemen, Sudan, Somalia, Iraq and Syria.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, Tehran-born poet Kaveh Akbar began tweeting out poetry written by poets from the seven countries — Iran, Libya, Yemen, Sudan, Somalia, Iraq and Syria — impacted by President Donald Trump’s executive order that \u003ca href=\"http://www.pbs.org/newshour/bb/trumps-immigration-order-tangle-legal-issues/\">temporarily bans immigrants\u003c/a> from those countries.\u003c/p>\n\u003cp>The poetry Akbar shared includes work from \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/khaled-mattawa\">Khaled Mattawa\u003c/a>, a Libyan poet born in Benghazi who emigrated to the U.S. as a teenager, \u003ca href=\"http://www.narrativemagazine.com/authors/ladan-osman\">Ladan Osman\u003c/a>, who was born in Somalia and raised in Columbus, Ohio, and \u003ca href=\"http://safia-mafia.com/bio\">Safia Elhillo\u003c/a>, a poet born in the U.S. to Sudanese parents, but who didn’t move to the U.S. until 2000.\u003c/p>\n\u003cp>Akbar said he was inspired to tweet Monday morning while reading the poetry of Persian poet Majid Naficy, and wondering what his life would be like without having read Naficy’s work. Naficy, who was born and raised in Iran, \u003ca href=\"http://www.scpr.org/news/2012/03/13/31608/los-angeles-iranian-poet-writes-farsi-about-life-a/\">fled to the U.S.\u003c/a> after \u003ca href=\"http://www.pbs.org/newshour/updates/middle_east-jan-june10-timeline/\">Ayatollah Khomeini\u003c/a> established theocratic rule in Iran in 1979, an experience that appears in Naficy’s poetry. His poem, “Allowance,” begins with the lines: “When creeping out of his tight skin / He suffers pain / And the world becomes small for him.”\u003c/p>\n\u003cp>“I was struck by how I was the very, very lucky beneficiary of this sort of gorgeousness and beauty,” Akbar said. “And how my person would be diminished from a lack of access to these sort of voices.”\u003c/p>\n\u003cp>Akbar often shares poets from a range of backgrounds on his Twitter account and at \u003ca href=\"https://www.divedapper.com/about/\">Divedapper\u003c/a>, a contemporary poetry site he founded and edits. He said he has always felt compelled to share the poetry he loves with others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This seemed particularly important to him on Monday, after a \u003ca href=\"http://www.pbs.org/newshour/rundown/fallout-grows-trumps-new-immigration-crackdown/\">weekend of protests\u003c/a> over the ban. He hoped that in sharing the poetry it would channel the rage people felt “toward a kind of love, and gratefulness” for that writing, he said.\u003c/p>\n\u003cp>The ban also has personal resonance for Akbar, who was born in Tehran and moved to the U.S. when he was two and a half years old. Though English is his primary spoken language, he said “there is a part of Iran that is hardwired into me.”\u003c/p>\n\u003cfigure id=\"attachment_11293628\" class=\"wp-caption alignright\" style=\"max-width: 267px\">\u003cimg class=\"wp-image-11293628\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg\" alt=\"Kaveh Akbar\" width=\"267\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024.jpg 683w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-375x562.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/kaveh-akbar-author-pic-by-b-a-van-sise-small-683x1024-520x780.jpg 520w\" sizes=\"(max-width: 267px) 100vw, 267px\">\u003cfigcaption class=\"wp-caption-text\">Kaveh Akbar \u003ccite>(B. A. Van Sise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akbar, who now teaches poetry in Florida, and whose \u003ca href=\"http://kavehakbar.com/Books\">debut full-length collection\u003c/a> is coming out this Fall, sometimes \u003ca href=\"http://www.narrativemagazine.com/issues/poems-week-2015-2016/poem-week/do-you-speak-persian-kaveh-akbar\">writes about the difficulty\u003c/a> of straddling different worlds and languages, and holding on to the culture of his origin country.\u003c/p>\n\u003cp>He believes that at its core, poetry is about sharing an experience with readers they might not have otherwise had.\u003c/p>\n\u003cp>“When you read a poem by a poet who is living in Syria, you are granted access to an experience that is absolutely nothing like your experience living in Duluth or Montpelier,” he said, and with that access often comes empathy. “So I think that engaging in that work is one of the most empathetic things we can do right now.”\u003c/p>\n\u003cp>Read the poetry Akbar shared below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"//storify.com/newshour/poets/embed?border=false\" width=\"100%\" height=\"750\" frameborder=\"no\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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