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'I’m just one of you, I have strong emotions about these things.’ If so, then you will use informal language and profanity.”\u003c/p>\n\u003cp>The implication being that these days, profanity is the language of the people. Everybody’s working blue.\u003c/p>\n\u003cp>I asked a few Angelenos to chime in on their personal oaths.\u003c/p>\n\u003cp>“'Fuck' comes out of my mouth like every other word. I think that it just flows nicely,” says Beth Miller. “I like swearing. I think it’s fun. I like to paint in it.\"\u003c/p>\n\u003cp>For Joseph Perez, “'Shit' is my go-to word. Stubbing the toe, frustrated with the kids, pissed off at the wife.”\u003c/p>\n\u003cp>“It’s always 'fuck,' ” offers Alana Hillman. “If I'm trying to switch it up, it’d be 'shit.'”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I like the punctuation of a swear word. My act goes better with a few sprinklings of pepper.'\u003ccite>Comedian Maria Bamford\u003c/cite>\u003c/aside>\n\u003cp>“I think my go-to curse word is some variation of the word 'fuck,' for sure,” admits Damian Owl. “It’s versatile. Fuck can even be a good thing, like, 'fuck yeah,' or 'fuck you.' It has a lot of ways it can go.”\u003c/p>\n\u003cp>If you heard on the radio what you just read, those filthy words would have been tidied up. Which brings us to bleeping.\u003c/p>\n\u003cp>“The problem is that it doesn’t work at all,” Bergen states. And “those bleeped words? People subsequently don’t remember that they were bleeped. They think they actually heard the word itself.”\u003c/p>\n\u003cp>For example, take a sentence like, “Gosh, Margie’s BLEEP smells delicious.” What might be under that bleep?\u003c/p>\n\u003cp>No, it was “casserole.”\u003c/p>\n\u003cp>One of the strongest forces in opening the public embrace of profanity is comedy. Comedian Maria Bamford knows all about that. She stars in her own TV show, \"Lady Dynamite.\"\u003c/p>\n\u003cp>“I think my dad tried to watch the show that I have on Netflix with his friends,” says Bamford, “and they were all a little bit worried 'cause it is a saucy show. But not in comparison to others. Now there's just a lot more adult material and it's not as big a deal.”\u003c/p>\n\u003cp>Though she doesn’t slather on the raunch as much as some comics, “I like the punctuation of a swear word,” Bamford admits. “My act goes better with a few sprinklings of pepper. One of my favorite jokes I ever wrote was that my parents are heckling me and my mom says, ‘Well, shut the fuck up you stupid cunt before I snap your neck in half. Honey, I’m just reading what you wrote down here.’ Still hurts, mother.”\u003c/p>\n\u003cp>According to Bergen, it’s all part of the shift from thinking words are bad because we’re told they’re bad to finding reasons why they actually are bad.\u003c/p>\n\u003cp>“What you find is that the worst words of the language are not the F word or the SH word, it’s actually slurs,” Bergen explains. “Words that insult people based on their ethnicity or race or religion, sexual orientation. These are the words that people find to be most offensive. If you look at the survey data, the four-letter SH word is actually found to be less offensive than the word 'scum.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s right, scum. So, culturally speaking, we’re swearing more, but at the same time, we’re thinking about it more. So maybe American culture isn’t so fudged up after all.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 1939, movie audiences were shocked at Clark Gable’s groundbreaking D-bomb — “Frankly my dear, I don’t give a damn” — in the classic film \"Gone With the Wind.\"\u003c/p>\n\u003cp>Seventy-seven years later, we have Donald Trump, for example. A president-elect who has no problem spouting searing curses willy-nilly into the closest available microphone. Of course, he wouldn’t be the first politico with such a tongue. Hillary Clinton, George W. Bush and Richard Nixon have all dropped well-placed expletives.\u003c/p>\n\u003cp>Profanity has become an accepted part of American culture -- its definition, power and impact changing with every generation.\u003c/p>\n\u003cp>It’s a topic UC San Diego professor Benjamin Bergen covers in his new book, \"What the F: What Swearing Reveals About Our Language, Our Brains and Ourselves.\"\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/291572714&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/291572714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You have to remember that a language is reinvented by every successive generation of new speakers of that language,” says Bergen. “The words that used to be so profoundly profane are now starting to become part of the furniture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bergen explains why such language might be appealing to a candidate.\u003c/p>\n\u003cp>“Because it’s all about self-presentation,” Bergen says. “’Do I want to present myself as a man or woman of the people? 'I’m just one of you, I have strong emotions about these things.’ If so, then you will use informal language and profanity.”\u003c/p>\n\u003cp>The implication being that these days, profanity is the language of the people. Everybody’s working blue.\u003c/p>\n\u003cp>I asked a few Angelenos to chime in on their personal oaths.\u003c/p>\n\u003cp>“'Fuck' comes out of my mouth like every other word. I think that it just flows nicely,” says Beth Miller. “I like swearing. I think it’s fun. I like to paint in it.\"\u003c/p>\n\u003cp>For Joseph Perez, “'Shit' is my go-to word. Stubbing the toe, frustrated with the kids, pissed off at the wife.”\u003c/p>\n\u003cp>“It’s always 'fuck,' ” offers Alana Hillman. “If I'm trying to switch it up, it’d be 'shit.'”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I like the punctuation of a swear word. My act goes better with a few sprinklings of pepper.'\u003ccite>Comedian Maria Bamford\u003c/cite>\u003c/aside>\n\u003cp>“I think my go-to curse word is some variation of the word 'fuck,' for sure,” admits Damian Owl. “It’s versatile. Fuck can even be a good thing, like, 'fuck yeah,' or 'fuck you.' It has a lot of ways it can go.”\u003c/p>\n\u003cp>If you heard on the radio what you just read, those filthy words would have been tidied up. Which brings us to bleeping.\u003c/p>\n\u003cp>“The problem is that it doesn’t work at all,” Bergen states. And “those bleeped words? People subsequently don’t remember that they were bleeped. They think they actually heard the word itself.”\u003c/p>\n\u003cp>For example, take a sentence like, “Gosh, Margie’s BLEEP smells delicious.” What might be under that bleep?\u003c/p>\n\u003cp>No, it was “casserole.”\u003c/p>\n\u003cp>One of the strongest forces in opening the public embrace of profanity is comedy. Comedian Maria Bamford knows all about that. She stars in her own TV show, \"Lady Dynamite.\"\u003c/p>\n\u003cp>“I think my dad tried to watch the show that I have on Netflix with his friends,” says Bamford, “and they were all a little bit worried 'cause it is a saucy show. But not in comparison to others. Now there's just a lot more adult material and it's not as big a deal.”\u003c/p>\n\u003cp>Though she doesn’t slather on the raunch as much as some comics, “I like the punctuation of a swear word,” Bamford admits. “My act goes better with a few sprinklings of pepper. One of my favorite jokes I ever wrote was that my parents are heckling me and my mom says, ‘Well, shut the fuck up you stupid cunt before I snap your neck in half. Honey, I’m just reading what you wrote down here.’ Still hurts, mother.”\u003c/p>\n\u003cp>According to Bergen, it’s all part of the shift from thinking words are bad because we’re told they’re bad to finding reasons why they actually are bad.\u003c/p>\n\u003cp>“What you find is that the worst words of the language are not the F word or the SH word, it’s actually slurs,” Bergen explains. “Words that insult people based on their ethnicity or race or religion, sexual orientation. These are the words that people find to be most offensive. If you look at the survey data, the four-letter SH word is actually found to be less offensive than the word 'scum.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s right, scum. So, culturally speaking, we’re swearing more, but at the same time, we’re thinking about it more. So maybe American culture isn’t so fudged up after all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>LOS ANGELES — Tinder has started giving users the option to select a gender other than man or woman.\u003c/p>\n\u003cp>The online dating app has announced that its latest update allows users to type a word that describes their gender identity. The West Hollywood-based company \u003ca href=\"http://blog.gotinder.com/genders/\" target=\"_blank\">says in a blog post\u003c/a> Tuesday that users also can choose to be shown in searches that best reflect that identity.\u003c/p>\n\u003cp>Tinder says it didn't have \"the right tools to serve our diverse community in the past, but that changes today.\" It says people who believe they were wrongfully removed over their gender selection are invited back to the platform.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11175611\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/TinderCaps-800x504.jpg\" alt=\"tindercaps\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1020x643.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-960x605.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-520x328.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The app was set up with input from GLAAD, an organization that monitors media and advocates for lesbian, gay, bisexual and transgender people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The update also lands during \u003ca href=\"http://www.glsen.org/article/transgender-awareness-week\" target=\"_blank\">Transgender Awareness Week\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XP90QAnmaA4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — Tinder has started giving users the option to select a gender other than man or woman.\u003c/p>\n\u003cp>The online dating app has announced that its latest update allows users to type a word that describes their gender identity. The West Hollywood-based company \u003ca href=\"http://blog.gotinder.com/genders/\" target=\"_blank\">says in a blog post\u003c/a> Tuesday that users also can choose to be shown in searches that best reflect that identity.\u003c/p>\n\u003cp>Tinder says it didn't have \"the right tools to serve our diverse community in the past, but that changes today.\" It says people who believe they were wrongfully removed over their gender selection are invited back to the platform.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11175611\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/TinderCaps-800x504.jpg\" alt=\"tindercaps\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1020x643.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-960x605.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-520x328.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The app was set up with input from GLAAD, an organization that monitors media and advocates for lesbian, gay, bisexual and transgender people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The update also lands during \u003ca href=\"http://www.glsen.org/article/transgender-awareness-week\" target=\"_blank\">Transgender Awareness Week\u003c/a>.\u003c/p>\n\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/XP90QAnmaA4'\n title='//www.youtube.com/embed/XP90QAnmaA4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Election Day Tale: 'Dewey Defeats Truman'",
"title": "An Election Day Tale: 'Dewey Defeats Truman'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>lection Day, 1948, Chicago.\u003c/p>\n\u003cp>My dad was at home on Nashville Avenue, a business student at Northwestern, a year and a half or so after his short hitch with the Army was over. By his account, he was lying on the living-room couch in the dark, listening to election returns on the radio. It seemed the vote might be going for Truman over his Republican challenger, Thomas Dewey of New York. But an announcer mentioned the Chicago Tribune was already calling the race and that an early edition declaring Dewey the winner was on the street. Dad said he went out to a newsstand and bought a copy just as a Tribune delivery driver was trying to retrieve the early edition. That's the copy pictured above.\u003c/p>\n\u003cp>One of the things I noticed when I was a kid looking at that front page was how little evidence the Tribune had to declare a winner. Much of the South looked like a lock for States' Rights (and segregationist) candidate \u003ca href=\"http://www.pbs.org/now/politics/dixiecrats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Strom Thurmond\u003c/a>. The Trib's front-page copy mentioned polls were still open in most of the country, and where voting was over, the count was so preliminary -- well, you just have to admire the power of wishful thinking.\u003c/p>\n\u003cp>Of course the Tribune had to be first with the news: Its owner, \u003ca href=\"http://www.nytimes.com/books/97/07/13/reviews/mccormick-obit.html\" target=\"_blank\" rel=\"noopener noreferrer\">Colonel Robert R. McCormick\u003c/a>, was an arch-anti-Democrat and sworn foe of FDR and everything he stood for. A 1936 story on the Democratic National Convention was headlined, \"The Soviets Gather at Philadelphia.\" A subhead in this 1948 edition's lead election story reads, \"New Deal Repudiated.\"\u003c/p>\n\u003cfigure id=\"attachment_11164966\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\">\u003cimg class=\"size-full wp-image-11164966\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\" alt=\"A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election.\" width=\"300\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What also got my attention, and still does, are signs the front page had been prepared in great haste. Several lines of type in the lead story's second paragraph were inserted upside down. Also, the first three pages seem to be cast in a \"typewriter\" Courier typeface that appears slapdash and irregular, with some lines askew and poorly spaced; the type is different from the interior pages, which are set in what I assume was the paper's regular typeface.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(After some research, the explanation appears to be that the paper's typesetters were on strike and that the lines in question were indeed typed, then cut and pasted somehow, then photographed for reproduction on the press. See \"\u003ca href=\"https://web.archive.org/web/20120730072243/http://deweydefeatstruman.com/dewey-defeats-truman-the-rarely-told-story-1948.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Dewey Defeats Truman: The Rarely Told Story of Chicago Tribune's Most Famous Issue\u003c/a>\" and \"\u003ca href=\"https://web.archive.org/web/20121002211856/http://www.historybuff.com/library/refdewey.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Eleven Editions of the November 3, 1948, Chicago Tribune\u003c/a>\" -- the latter a fascinating breakdown of what the paper published and when that day.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>erhaps what I admire most about this imaginative exercise in journalism is the reporting on display in the election mainbar. In perhaps the only story he's remembered for, the Trib's Washington bureau chief, Arthur Sears Henning, declared the outcome of the vote:\u003c/p>\n\u003cblockquote>\u003cp>\"Dewey and Warren won a sweeping victory in the Presidential election yesterday.\u003c/p>\n\u003cp>\"The early returns showed the Republican ticket leading Truman and Barkley pretty consistently in northern and western states. The indications were that the complete returns would disclose that Dewey won the Presidency by an overwhelming majority of electoral votes.\"\u003c/p>\u003c/blockquote>\n\u003cp>Since the numbers didn't bear out the tale, who or what was the source of that intelligence? Herbert Brownell, Dewey's campaign manager.\u003c/p>\n\u003cp>Brownell, wrote Henning, \"claimed that on the basis of the complete returns 'we will wind up sweeping two-thirds of the states for the Republican ticket.' \" There was more:\u003c/p>\n\u003cblockquote>\u003cp>\"As states definitely in the Republican column in the light of the fragmentary returns Brownell named Illinois, Ohio, Indiana, Connecticut, Delaware, Maine, Maryland, New Hampshire, Vermont, and South Dakota. Four years ago the Republicans carried only five of these states.\u003c/p>\n\u003cp>\"'At this moment,' said Brownell, 'the polls have closed in 12 of the 48 states outside the solid south. These states have a total of 120 votes in the electoral college.\u003c/p>\n\u003cp>\"'On the basis of reports which I have been receiving from organization leaders thruout the country, I am confident that the Dewey-Warren ticket has already carried 10 of these 12 states with a total of 101 of the 120 electoral votes.\u003c/p>\n\u003cp>\"'In the other two states--Kentucky and West Virginia--returns are not yet conclusive but the trend to the Dewey-Warren ticket is heartening.' \"\u003c/p>\u003c/blockquote>\n\u003cp>Brownell wasn't completely off-base, though Illinois, Ohio, West Virginia and Kentucky all went for Truman. Still, the paper went out on that limb on the basis of 12 states and hearsay about \"reports from organizers.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>enning's eventual successor as head of the Tribune Washington bureau, Walter Trohan, was in Chicago that night covering congressional elections for the paper. He recorded \u003ca href=\"http://www.trumanlibrary.org/oralhist/trohan.htm\" target=\"_blank\" rel=\"noopener noreferrer\">an account\u003c/a> of parts of his bureau tenure for the Harry S. Truman Library in 1970. He said an election evening phone call with Ohio Sen. Robert Taft, who had lost the Republican nomination to Dewey, led him to believe the Trib's story and banner headline were wrong. About the 72-year-old Henning's insistence that Dewey was winning, Trohan said, \"Why he became so stubborn I don't know; I guess age.\"\u003c/p>\n\u003cp>Trohan was called on to write a new version of the story for later editions, with Truman the victor. But before that happened, he was asked to appear on a local TV show to discuss the returns:\u003c/p>\n\u003cblockquote>\u003cp>\"...And that night it was terrible, about 10 o'clock, before -- we were still carrying the headline -- I was called to go on TV to discuss the congressional election. And I went up and there was Henning, and there was the wife of the publisher, and some very important people, a dozen people or so. The announcer was a fellow with a charming voice, but no sense, in a very nice pearl-shaped tone, said, 'Well, Walter,' and I had never met him before in my life, 'how is Mr. Dewey going to get along with majority Congress?'\u003c/p>\n\u003cp>\"I said, 'He isn't going to have a majority Congress, the Democrats have won the Congress.'\u003c/p>\n\u003cp>\"He said, 'You mean that Dewey will have to work with a hostile Congress?'\u003c/p>\n\u003cp>\"And I said, 'No, I don't mean anything of the kind. Mr. Dewey ain't going to be there either.' \"\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Henning and the Trib were already committed to a different version not only of the story, but of history. Henning's rather brief piece ended with this bit of context under the previously mentioned subhead, \"New Deal Repudiated\":\u003c/p>\n\u003cblockquote>\u003cp>\"The Republican victory brought to a close the 16 year reign of the New Deal which began in the country's most devastating depression, introduced a collectivist economy, produced a four-term President, embraced a disastrous war and left the nation a 250 billion dollar debt and heritage of foreign policy containing the seeds of another war.\"\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The war Henning referred to, of course, was the one the United States and its allies fought to vanquish fascism.\u003c/p>\n\n",
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"excerpt": "A prized copy of a historic paper and the origins of a legendary journalistic gaffe. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>lection Day, 1948, Chicago.\u003c/p>\n\u003cp>My dad was at home on Nashville Avenue, a business student at Northwestern, a year and a half or so after his short hitch with the Army was over. By his account, he was lying on the living-room couch in the dark, listening to election returns on the radio. It seemed the vote might be going for Truman over his Republican challenger, Thomas Dewey of New York. But an announcer mentioned the Chicago Tribune was already calling the race and that an early edition declaring Dewey the winner was on the street. Dad said he went out to a newsstand and bought a copy just as a Tribune delivery driver was trying to retrieve the early edition. That's the copy pictured above.\u003c/p>\n\u003cp>One of the things I noticed when I was a kid looking at that front page was how little evidence the Tribune had to declare a winner. Much of the South looked like a lock for States' Rights (and segregationist) candidate \u003ca href=\"http://www.pbs.org/now/politics/dixiecrats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Strom Thurmond\u003c/a>. The Trib's front-page copy mentioned polls were still open in most of the country, and where voting was over, the count was so preliminary -- well, you just have to admire the power of wishful thinking.\u003c/p>\n\u003cp>Of course the Tribune had to be first with the news: Its owner, \u003ca href=\"http://www.nytimes.com/books/97/07/13/reviews/mccormick-obit.html\" target=\"_blank\" rel=\"noopener noreferrer\">Colonel Robert R. McCormick\u003c/a>, was an arch-anti-Democrat and sworn foe of FDR and everything he stood for. A 1936 story on the Democratic National Convention was headlined, \"The Soviets Gather at Philadelphia.\" A subhead in this 1948 edition's lead election story reads, \"New Deal Repudiated.\"\u003c/p>\n\u003cfigure id=\"attachment_11164966\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\">\u003cimg class=\"size-full wp-image-11164966\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\" alt=\"A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election.\" width=\"300\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What also got my attention, and still does, are signs the front page had been prepared in great haste. Several lines of type in the lead story's second paragraph were inserted upside down. Also, the first three pages seem to be cast in a \"typewriter\" Courier typeface that appears slapdash and irregular, with some lines askew and poorly spaced; the type is different from the interior pages, which are set in what I assume was the paper's regular typeface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(After some research, the explanation appears to be that the paper's typesetters were on strike and that the lines in question were indeed typed, then cut and pasted somehow, then photographed for reproduction on the press. See \"\u003ca href=\"https://web.archive.org/web/20120730072243/http://deweydefeatstruman.com/dewey-defeats-truman-the-rarely-told-story-1948.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Dewey Defeats Truman: The Rarely Told Story of Chicago Tribune's Most Famous Issue\u003c/a>\" and \"\u003ca href=\"https://web.archive.org/web/20121002211856/http://www.historybuff.com/library/refdewey.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Eleven Editions of the November 3, 1948, Chicago Tribune\u003c/a>\" -- the latter a fascinating breakdown of what the paper published and when that day.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>erhaps what I admire most about this imaginative exercise in journalism is the reporting on display in the election mainbar. In perhaps the only story he's remembered for, the Trib's Washington bureau chief, Arthur Sears Henning, declared the outcome of the vote:\u003c/p>\n\u003cblockquote>\u003cp>\"Dewey and Warren won a sweeping victory in the Presidential election yesterday.\u003c/p>\n\u003cp>\"The early returns showed the Republican ticket leading Truman and Barkley pretty consistently in northern and western states. The indications were that the complete returns would disclose that Dewey won the Presidency by an overwhelming majority of electoral votes.\"\u003c/p>\u003c/blockquote>\n\u003cp>Since the numbers didn't bear out the tale, who or what was the source of that intelligence? Herbert Brownell, Dewey's campaign manager.\u003c/p>\n\u003cp>Brownell, wrote Henning, \"claimed that on the basis of the complete returns 'we will wind up sweeping two-thirds of the states for the Republican ticket.' \" There was more:\u003c/p>\n\u003cblockquote>\u003cp>\"As states definitely in the Republican column in the light of the fragmentary returns Brownell named Illinois, Ohio, Indiana, Connecticut, Delaware, Maine, Maryland, New Hampshire, Vermont, and South Dakota. Four years ago the Republicans carried only five of these states.\u003c/p>\n\u003cp>\"'At this moment,' said Brownell, 'the polls have closed in 12 of the 48 states outside the solid south. These states have a total of 120 votes in the electoral college.\u003c/p>\n\u003cp>\"'On the basis of reports which I have been receiving from organization leaders thruout the country, I am confident that the Dewey-Warren ticket has already carried 10 of these 12 states with a total of 101 of the 120 electoral votes.\u003c/p>\n\u003cp>\"'In the other two states--Kentucky and West Virginia--returns are not yet conclusive but the trend to the Dewey-Warren ticket is heartening.' \"\u003c/p>\u003c/blockquote>\n\u003cp>Brownell wasn't completely off-base, though Illinois, Ohio, West Virginia and Kentucky all went for Truman. Still, the paper went out on that limb on the basis of 12 states and hearsay about \"reports from organizers.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>enning's eventual successor as head of the Tribune Washington bureau, Walter Trohan, was in Chicago that night covering congressional elections for the paper. He recorded \u003ca href=\"http://www.trumanlibrary.org/oralhist/trohan.htm\" target=\"_blank\" rel=\"noopener noreferrer\">an account\u003c/a> of parts of his bureau tenure for the Harry S. Truman Library in 1970. He said an election evening phone call with Ohio Sen. Robert Taft, who had lost the Republican nomination to Dewey, led him to believe the Trib's story and banner headline were wrong. About the 72-year-old Henning's insistence that Dewey was winning, Trohan said, \"Why he became so stubborn I don't know; I guess age.\"\u003c/p>\n\u003cp>Trohan was called on to write a new version of the story for later editions, with Truman the victor. But before that happened, he was asked to appear on a local TV show to discuss the returns:\u003c/p>\n\u003cblockquote>\u003cp>\"...And that night it was terrible, about 10 o'clock, before -- we were still carrying the headline -- I was called to go on TV to discuss the congressional election. And I went up and there was Henning, and there was the wife of the publisher, and some very important people, a dozen people or so. The announcer was a fellow with a charming voice, but no sense, in a very nice pearl-shaped tone, said, 'Well, Walter,' and I had never met him before in my life, 'how is Mr. Dewey going to get along with majority Congress?'\u003c/p>\n\u003cp>\"I said, 'He isn't going to have a majority Congress, the Democrats have won the Congress.'\u003c/p>\n\u003cp>\"He said, 'You mean that Dewey will have to work with a hostile Congress?'\u003c/p>\n\u003cp>\"And I said, 'No, I don't mean anything of the kind. Mr. Dewey ain't going to be there either.' \"\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Henning and the Trib were already committed to a different version not only of the story, but of history. Henning's rather brief piece ended with this bit of context under the previously mentioned subhead, \"New Deal Repudiated\":\u003c/p>\n\u003cblockquote>\u003cp>\"The Republican victory brought to a close the 16 year reign of the New Deal which began in the country's most devastating depression, introduced a collectivist economy, produced a four-term President, embraced a disastrous war and left the nation a 250 billion dollar debt and heritage of foreign policy containing the seeds of another war.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The war Henning referred to, of course, was the one the United States and its allies fought to vanquish fascism.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Are Ships Buried Under San Francisco?",
"headTitle": "Why Are Ships Buried Under San Francisco? | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291570006″ 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>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want the Bay Curious team to investigate? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that’s all about answering \u003cem>your\u003c/em> questions about the Bay Area. Find us on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n the heart of San Francisco’s Financial District, you can grab a drink at the Old Ship Saloon. Owner Bill Duffy says the bar opened in 1851 inside the hull of the Arkansas, a ship that now lies in the dirt below the bar.\u003c/p>\n\u003cp>“People who wanted to go to the bar would have to get up this plank and in through the side of the ship,” says Duffy.\u003c/p>\n\u003cp>The Arkansas is one of 30 to 60 ships buried under the city. Some are marked with above-ground plaques, but many go completely unrecognized — a ghost fleet beneath your feet. Which brings us to the question:\u003c/p>\n\u003ch2>Why are there ships under San Francisco?\u003c/h2>\n\u003cp>Most of the buried ships lie under the Financial District and the Embarcadero — two of the city’s flattest neighborhoods. In a city known for its hills, you’d hardly know it taking a walk from the Embarcadero and the Transamerica Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/291570006″&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/291570006″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You can find the original shoreline by using your feet,” says Kevin Boyd, senior science writer at the Exploratorium, where an exhibit called “The Changing Shoreline of San Francisco” is currently on display. “As soon as you find yourself heading uphill at any significant degree, you can be pretty sure you’re close to the early shoreline.”\u003c/p>\n\u003cp>But why did the shoreline change? And how did the ships get buried there?\u003c/p>\n\u003cfigure id=\"attachment_10982521\" class=\"wp-caption aligncenter\" style=\"max-width: 3888px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982521 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg\" alt=\"The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\" width=\"3888\" height=\"2592\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o.jpg 3888w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/443335464_c1f732e300_o-960x640.jpg 960w\" sizes=\"(max-width: 3888px) 100vw, 3888px\">\u003cfigcaption class=\"wp-caption-text\">The Old Ship Saloon opened in 1851 and operated out of the hull of the Arkansas (Credit: Jennifer Woodard Madera)\u003c/figcaption>\u003c/figure>\n\u003cp>“San Francisco in 1848 was a small town of a few hundred. But the discovery of gold that year had a pretty big impact. The small town became a city,” says James Delgado, a maritime archaeologist at the National Oceanic and Atmospheric Administration and author of “\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520255807\">Gold Rush Port.\u003c/a>”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n 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>After gold was discovered, ships pregnant with people and goods poured into the Bay Area. They dropped anchor in the deeper waters offshore, somewhere below today’s Bay Bridge.\u003c/p>\n\u003cp>Once moored, many of the ships never set sail again. Some vessels had arrived to the Gold Coast in a decrepit state, the owners knowingly sending the ships to the bay on their last voyage. Other ships simply had trouble leaving once sailors caught gold fever.\u003c/p>\n\u003cfigure id=\"attachment_10982724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Clipper-California-800x500.jpg\" alt=\"An advertisement for a line of ships bringing passengers to the Gold Rush.\" width=\"800\" height=\"500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-800x500.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1920x1200.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-1180x738.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Clipper-California-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An advertisement for a line of ships bringing passengers to the Gold Rush.\u003c/figcaption>\u003c/figure>\n\u003cp>“There were large numbers of desertions, in some cases even officers,” says Delgado.\u003c/p>\n\u003cp>The harbor became clogged as the number of ships climbed near 1,000. As the mass grew, the ships became a greater nuisance. Many of the ships had to have their rigging taken down in order to avoid entanglement with neighboring vessels. Contemporary observers often referred to it as a “forest of masts.”\u003c/p>\n\u003cp>Because the ships were stationed offshore in deep water, goods had to be slogged across half a mile of the shallow, muddy tidal flats. Merchants had to pay workers handsomely to forget about their gold fever and accept the job of a porter.\u003c/p>\n\u003cfigure id=\"attachment_10981646\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10981646 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg\" alt=\"The waterfront in 1851 (San Francisco Maritime Museum National Historical Park)\" width=\"800\" height=\"643\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Ship-in-the-Bay.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The waterfront in 1851. (Courtesy of the San Francisco Maritime Museum National Historical Park)\u003c/figcaption>\u003c/figure>\n\u003cp>Eventually, politicians devised a solution to lessen these hefty expenses: bring the shoreline closer to deep water. The city began selling water lots out in the Bay on the condition that buyers fill them in with land.\u003c/p>\n\u003cp>“In order to secure the title, you would put real property on it,” says Delgado. “You could drive pilings and build a fence around it. But the easiest, cheapest way was to do that with a ship.”\u003c/p>\n\u003cp>Land in Gold Rush-era San Francisco was incredibly valuable and people tried to secure these water lots any way they could.\u003c/p>\n\u003cp>“If you scuttled your ship, you could claim the land under it as part of your salvage,” says Richard Everett, curator of the San Francisco Maritime National Historic Park.\u003c/p>\n\u003cfigure id=\"attachment_10991294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10991294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg\" alt=\"A map of the buried ships under San Francisco.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Buried-Ships-Map-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the buried ships under San Francisco. \u003ccite>(San Francisco Maritime National Historic Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some men used this technicality to lay claim to other people’s lots. They were known as the “hulk undertakers.”\u003c/p>\n\u003cp>In the dead of night, they would sail ships over valuable lots, unplug holes drilled into the ship’s keel and \u003cem>conveniently\u003c/em> lose the vessel on the spot.\u003c/p>\n\u003cp>“There were actual open wars. One day the captain of the hulk undertakers was in the midst of giving a command when a wharf employee fired a shot at him. His mouth was open, he was yelling, and the bullet passed through one cheek and out the other, missing his tongue and his teeth. To the end of his days he wore a beard to cover those two scars on either side of his mouth,” says Delgado.\u003c/p>\n\u003cp>Besides land, San Francisco also needed buildings. Because the city grew so rapidly and lumber was expensive to mill, many of the early buildings were constructed of canvas tents. One visitor described San Francisco as a magic lantern city at night, because the tents covering the hillsides would glow from within. While this may have been picturesque, the residents wanted more permanent structures, so they turned to the ships in the harbor.\u003c/p>\n\u003cp>The junker ships were taken to “Rotten Row,” where Charles Hare and the local Chinese community systematically broke down hundreds of ships. The wood and metal were recycled into building materials.\u003c/p>\n\u003cp>About 200 of the nicer ships were easily turned into permanent structures. The majority were used as warehouses but other ships became hotels, offices, bars, counting houses, restaurants, auction halls, banks, cafes and a church. Even the city jail moved onto a ship once the old one became overcrowded and worn.\u003c/p>\n\u003cfigure id=\"attachment_10991250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10991250 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg\" alt=\"An illustration of early San Francisco where old ships were converted into buildings.\" width=\"800\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-800x577.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769-400x288.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Library-of-Congress-e1466110626769.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of early San Francisco, where old ships were converted into buildings. \u003ccite>(Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the prisoners actually was said to have taken the door off its hinges and carried it on his back to make a show and to demand that the jailer feed him because the jailer had skipped a meal,” says Delgado.\u003c/p>\n\u003cp>As lots of water was filled and the city expanded into the Bay, many of the floating buildings found themselves surrounded by land, sitting along city streets.\u003c/p>\n\u003cp>But then there were a series of fires. The biggest blaze ripped through the city on May 4, 1851. It took out about 20 city blocks and destroyed more than a thousand buildings.\u003c/p>\n\u003cp>“That was the giant fire that took out most of the waterfront. Many of the ships burned down to their water lines,” says Everett.\u003c/p>\n\u003cfigure id=\"attachment_10982523\" class=\"wp-caption aligncenter\" style=\"max-width: 796px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10982523 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg\" alt=\"A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the De Young Legion of Honor)\" width=\"796\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865.jpg 796w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/San-Francisco-Fire-e1465404430865-400x282.jpg 400w\" sizes=\"(max-width: 796px) 100vw, 796px\">\u003cfigcaption class=\"wp-caption-text\">A print depicting the San Francisco Fire in May 1851. Losses allegedly totaled $20,000,000 (Courtesy of the Fine Arts Museums of San Francisco’s Permanent Collection )\u003c/figcaption>\u003c/figure>\n\u003cp>Dozens of ships stayed behind, and remain firmly anchored in what today is the Financial District or Embarcadero.\u003c/p>\n\u003cp>The city forgot about the ships. One by one, they’ve been built over. Nowadays, we barely think about the hulks lying just under our feet.\u003c/p>\n\u003cp>That is, until we have to lay a new foundation or dig a fresh tunnel.\u003c/p>\n\u003cp>In 1994, Muni was digging a light-rail tunnel beneath Justin Herman Plaza on the Embarcadero when workers hit a ship — the Rome. The vessel was so huge they literally had to tunnel through. Now, thousands of riders on J, K, L, M, N and T trains unknowingly ride through its hull every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want the Bay Curious team to investigate? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Too Many California Ballot Measures? Just Explain Them in Song",
"title": "Too Many California Ballot Measures? Just Explain Them in Song",
"headTitle": "Election 2016 | The California Report | KQED News",
"content": "\u003cp>Americans will decide more than 150 state ballot measures on Tuesday — up slightly from two years ago. That puts a lot of pressure on voters to study up on everything from marijuana legalization to gun control to the death penalty.\u003c/p>\n\u003cp>Californians in particular have a lot of homework to do. With 17 measures, their state has the longest ballot in the country this year. On top of that, there are 650 local measures around the state to decide on.\u003c/p>\n\u003cp>Voters are coming up with some creative ways to keep track of it all — like resident Deborah Barron, who had a \"Proposition Party\" at her home in San Francisco's Mission District.\u003c/p>\n\u003cp>Like any good host, she had snacks and drinks ready. But she also had hand-outs for the 17 state ballot measures and for the 25 local measures facing San Francisco voters.\u003c/p>\n\u003cfigure id=\"attachment_11157987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11157987\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg\" alt=\"Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District. \u003ccite>(Ben Adler/Capital Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The half-dozen adults at her house divvied up the prep work and took turns leading the discussion – starting with Proposition 51, the $9 billion statewide school bond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I mean, I don't know,\" says Barron, a 43-year-old attorney in private practice. \"Normally, I am 'Yes' on education ones, but...\"\u003c/p>\n\u003cp>\"I'm kind of 'No' on this too,\" chimes in 43-year-old Eric Quandt of Berkeley, who works in the San Francisco Public Defender's office.\u003c/p>\n\u003cp>\"That's how I feel,\" adds Jane Ivory Ernstthal. \"But I feel so wrong!\"\u003c/p>\n\u003cp>The group laughs. \"Are you voting against the education of our youth?\" Barron quips.\u003c/p>\n\u003cp>But party-goers quickly get frustrated.\u003c/p>\n\u003cp>\"Everybody's got college educations. All of us work in things that are impacted by this,\" Barron says. \"Numerous of us are attorneys, who read law for a living. And we still can't figure out how to vote.\"\u003c/p>\n\u003cp>And if it's this hard for people who've been voting for years, imagine what it's like for first-time voters. Carlos Hurtado, a junior at the University of California, Davis, is feeling the pressure.\u003c/p>\n\u003cp>\"It's just a lot, a lot to deal with,\" Hurtado says. \"I gotta take some time on the weekend to look over everything.\"\u003c/p>\n\u003cp>Asked if he planned to vote on all of the ballot measures, Hurtado replies: \"The ones that I feel strongly about.\"\u003c/p>\n\u003cp>\"I'll probably just scan it, see what interests me,\" says Julietta Zuvia, another student at UC-Davis.\u003c/p>\n\u003cp>It's a strategy that might make some long-time voters cringe, but not Kim Alexander with the California Voter Foundation.\u003c/p>\n\u003cp>\"I worry that people look at these 17 propositions and mistakenly think they have to vote on every single one of them – which they don't,\" Alexander says.\u003c/p>\n\u003cp>She says it's far better to leave something blank than to do what voters typically do, which is vote 'No.'\u003c/p>\n\u003cp>For voters who are overwhelmed by all those ballot measures, Alexander offers a California election tradition from her and her colleagues – the Proposition Song. She contributes on vocals and ukelele.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yizO7L2J7LU\u003c/p>\n\u003cp>The tune uses music — think Schoolhouse Rock — to explain each of the state's 17 measures.\u003c/p>\n\u003cp>Here's the chorus:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"It's the Proposition Song.\u003c/em>\u003c/p>\n\u003cp>\u003cem>You should all be singing along.\u003c/em>\u003c/p>\n\u003cp>\u003cem>'Cause the ballot is too darn long.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And a lyric:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"Proposition 56 would enact\u003c/em>\u003c/p>\n\u003cp>\u003cem>a new tobacco tax.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If it passes smokers pay two more bucks per pack.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the song isn't the only way voters can learn about all the ballots. There's the state's \u003ca href=\"http://voterguide.sos.ca.gov/\" target=\"_blank\">official voter information guide \u003c/a>and also a myriad of online guides – \u003ca href=\"http://votersedge.capradio.org/\" target=\"_blank\">professional\u003c/a> and \u003ca href=\"http://seepolitical.com/#/props\" target=\"_blank\">amateur\u003c/a>, with graphics, videos and even \u003ca href=\"https://ballot.fyi/\" target=\"_blank\">mock text message chats\u003c/a>. And then, there are \u003ca href=\"https://drive.google.com/file/d/0B_sbc0NfVjK0aEdSUnY5ZG5yWWc/view\" target=\"_blank\">Proposition Haiku\u003c/a>, from Los Angeles Democratic Party activist Damian Carroll. Here's a taste of that:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Proposition 59\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Asks to overturn\u003c/em>\u003c/p>\n\u003cp>\u003cem>Citizens United, But\u003c/em>\u003c/p>\n\u003cp>\u003cem>Shucks, it's non-binding\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Kim Alexander, of the California Voter Foundation, says all those ballot measures do have a benefit.\u003c/p>\n\u003cp>\"Love it or hate it, California voters get to make law directly when we vote,\" Alexander says. \"And that's a huge amount of power – especially when you're talking about California, because we are a very influential state.\"\u003c/p>\n\u003cp>It is indeed a huge amount of power, vested in 18 million California voters — many of whom aren't quite sure what to do with it.\u003c/p>\n\u003cp>Copyright 2016 Capital Public Radio. To see more, visit \u003ca href=\"http://www.capradio.org\">Capital Public Radio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/news/tag/cacounts/\">California Counts\u003c/a> is a collaboration of KPBS, KPCC, KQED and Capital Public Radio to report on the 2016 election. The coverage focuses on major issues and solicits diverse voices on what’s important to the future of California.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Americans will decide more than 150 state ballot measures on Tuesday — up slightly from two years ago. That puts a lot of pressure on voters to study up on everything from marijuana legalization to gun control to the death penalty.\u003c/p>\n\u003cp>Californians in particular have a lot of homework to do. With 17 measures, their state has the longest ballot in the country this year. On top of that, there are 650 local measures around the state to decide on.\u003c/p>\n\u003cp>Voters are coming up with some creative ways to keep track of it all — like resident Deborah Barron, who had a \"Proposition Party\" at her home in San Francisco's Mission District.\u003c/p>\n\u003cp>Like any good host, she had snacks and drinks ready. But she also had hand-outs for the 17 state ballot measures and for the 25 local measures facing San Francisco voters.\u003c/p>\n\u003cfigure id=\"attachment_11157987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11157987\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg\" alt=\"Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/img_5375-3c6994343d6c3fad664c68cc7b04939811593b9d.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Barron, third from left, hosts a proposition party on Oct. 30 at her home in San Francisco's Mission District. \u003ccite>(Ben Adler/Capital Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The half-dozen adults at her house divvied up the prep work and took turns leading the discussion – starting with Proposition 51, the $9 billion statewide school bond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I mean, I don't know,\" says Barron, a 43-year-old attorney in private practice. \"Normally, I am 'Yes' on education ones, but...\"\u003c/p>\n\u003cp>\"I'm kind of 'No' on this too,\" chimes in 43-year-old Eric Quandt of Berkeley, who works in the San Francisco Public Defender's office.\u003c/p>\n\u003cp>\"That's how I feel,\" adds Jane Ivory Ernstthal. \"But I feel so wrong!\"\u003c/p>\n\u003cp>The group laughs. \"Are you voting against the education of our youth?\" Barron quips.\u003c/p>\n\u003cp>But party-goers quickly get frustrated.\u003c/p>\n\u003cp>\"Everybody's got college educations. All of us work in things that are impacted by this,\" Barron says. \"Numerous of us are attorneys, who read law for a living. And we still can't figure out how to vote.\"\u003c/p>\n\u003cp>And if it's this hard for people who've been voting for years, imagine what it's like for first-time voters. Carlos Hurtado, a junior at the University of California, Davis, is feeling the pressure.\u003c/p>\n\u003cp>\"It's just a lot, a lot to deal with,\" Hurtado says. \"I gotta take some time on the weekend to look over everything.\"\u003c/p>\n\u003cp>Asked if he planned to vote on all of the ballot measures, Hurtado replies: \"The ones that I feel strongly about.\"\u003c/p>\n\u003cp>\"I'll probably just scan it, see what interests me,\" says Julietta Zuvia, another student at UC-Davis.\u003c/p>\n\u003cp>It's a strategy that might make some long-time voters cringe, but not Kim Alexander with the California Voter Foundation.\u003c/p>\n\u003cp>\"I worry that people look at these 17 propositions and mistakenly think they have to vote on every single one of them – which they don't,\" Alexander says.\u003c/p>\n\u003cp>She says it's far better to leave something blank than to do what voters typically do, which is vote 'No.'\u003c/p>\n\u003cp>For voters who are overwhelmed by all those ballot measures, Alexander offers a California election tradition from her and her colleagues – the Proposition Song. She contributes on vocals and ukelele.\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/yizO7L2J7LU'\n title='//www.youtube.com/embed/yizO7L2J7LU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The tune uses music — think Schoolhouse Rock — to explain each of the state's 17 measures.\u003c/p>\n\u003cp>Here's the chorus:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"It's the Proposition Song.\u003c/em>\u003c/p>\n\u003cp>\u003cem>You should all be singing along.\u003c/em>\u003c/p>\n\u003cp>\u003cem>'Cause the ballot is too darn long.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And a lyric:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>\"Proposition 56 would enact\u003c/em>\u003c/p>\n\u003cp>\u003cem>a new tobacco tax.\u003c/em>\u003c/p>\n\u003cp>\u003cem>If it passes smokers pay two more bucks per pack.\"\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Of course, the song isn't the only way voters can learn about all the ballots. There's the state's \u003ca href=\"http://voterguide.sos.ca.gov/\" target=\"_blank\">official voter information guide \u003c/a>and also a myriad of online guides – \u003ca href=\"http://votersedge.capradio.org/\" target=\"_blank\">professional\u003c/a> and \u003ca href=\"http://seepolitical.com/#/props\" target=\"_blank\">amateur\u003c/a>, with graphics, videos and even \u003ca href=\"https://ballot.fyi/\" target=\"_blank\">mock text message chats\u003c/a>. And then, there are \u003ca href=\"https://drive.google.com/file/d/0B_sbc0NfVjK0aEdSUnY5ZG5yWWc/view\" target=\"_blank\">Proposition Haiku\u003c/a>, from Los Angeles Democratic Party activist Damian Carroll. Here's a taste of that:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Proposition 59\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Asks to overturn\u003c/em>\u003c/p>\n\u003cp>\u003cem>Citizens United, But\u003c/em>\u003c/p>\n\u003cp>\u003cem>Shucks, it's non-binding\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Kim Alexander, of the California Voter Foundation, says all those ballot measures do have a benefit.\u003c/p>\n\u003cp>\"Love it or hate it, California voters get to make law directly when we vote,\" Alexander says. \"And that's a huge amount of power – especially when you're talking about California, because we are a very influential state.\"\u003c/p>\n\u003cp>It is indeed a huge amount of power, vested in 18 million California voters — many of whom aren't quite sure what to do with it.\u003c/p>\n\u003cp>Copyright 2016 Capital Public Radio. To see more, visit \u003ca href=\"http://www.capradio.org\">Capital Public Radio\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/news/tag/cacounts/\">California Counts\u003c/a> is a collaboration of KPBS, KPCC, KQED and Capital Public Radio to report on the 2016 election. The coverage focuses on major issues and solicits diverse voices on what’s important to the future of California.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003ca href=\"https://www.facebook.com/pages/Oakdale-Memorial-Park-Mortuary/117609474932667\" target=\"_blank\" rel=\"noopener\">Oakdale Memorial Park\u003c/a> things are a little different on Nov. 1 — All Saints’ Day for many Christians.\u003c/p>\n\u003cp>This place of rest in \u003ca href=\"http://www.ci.glendora.ca.us/\" target=\"_blank\" rel=\"noopener\">Glendora\u003c/a>, east of Los Angeles, comes alive with the joyful strum and blaring brass of live mariachi music. The color and beauty of Mexican folkloric dance sweeps across the grounds. Sweet and savory aromas rise from a small army of food trucks nearby. And vendors sit at display tables and beneath tents, selling handmade arts and crafts.\u003c/p>\n\u003cp>Hundreds of people have come to celebrate \u003ca href=\"http://nationalgeographic.org/media/dia-de-los-muertos/\" target=\"_blank\" rel=\"noopener\">Dia de Los Muertos\u003c/a>, the indigenous Mexican festival also known as Day of the Dead.\u003c/p>\n\u003cp>Rosie Kaiban came with her daughter, Stephanie, and her granddaughter, Lauren.\u003c/p>\n\u003cp>“We’re here to enjoy all the people and enjoy everything that Dia de Los Muertos stands for,” says Kaiban.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what it stands for is getting a little harder to tell, in part because the festival’s cultural icons are beginning to appear on everything — from beer bottles to T-shirts, tennis shoes and dog collars. Even \u003ca href=\"http://www.starbucks.com/menu/food/bakery/dia-de-los-muertos-cookie\" target=\"_blank\" rel=\"noopener\">Starbucks features Dia de los Muertos skull cookies \u003c/a>in their pastry cases.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Building of the altar is a way that we intentionally and mindfully create something beautiful.’\u003ccite>Gilbert Cadena, professor at Cal Poly Pomona\u003c/cite>\u003c/aside>\n\u003cp>But as the scene at Oakdale Memorial Park demonstrates, the day means much more. People are here to commemorate a tradition that dates back thousands of years. The central cultural experience is about family and remembrance.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artbyhectorsilva.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles-based Chicano artist Hector Silva\u003c/a> stands next to his work — a stunning collection of intricate and ornate pencil art sketches, incredible for their precision and depth. Silva has celebrated the day since he was a kid in Jalisco, Mexico.\u003c/p>\n\u003cp>“It’s significant,” says Silva. “Celebrating our people that are passed on. And just remember them and to keep loving them. I do a lot of Dia de Los Muertos art because I want to keep that tradition alive.”\u003c/p>\n\u003cfigure id=\"attachment_11156533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11156533\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg\" alt=\"Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1020x732.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/Hector-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based Chicano artist Hector Silva stands next to his ornate pencil sketches at Oakdale Memorial Park in Glendora for Dia de los Muertos Celebration. \u003ccite>(Tena Rubio/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the tradition is elaborate. Celebrants \u003ca href=\"http://www.mexicansugarskull.com/support/dodhistory.html\" target=\"_blank\" rel=\"noopener\">paint their faces as skulls \u003c/a>to represent the veil between life and death. Altars are adorned with marigolds, sugar skulls and photographs of loved ones.\u003c/p>\n\u003cp>Gilbert Cadena teaches ethnic and women’s studies at Cal Poly Pomona, and hopes the focus of Dia de los Muertos remains on the deep familial and cultural ties that the day represents.\u003c/p>\n\u003cp>“Building of the altar is a way that we intentionally and mindfully create something beautiful,” Cadena says. “It’s a way your story and your life will be passed on to your children and family.”\u003c/p>\n\u003cp>Everything on the altar has meaning. Each sugar skull bears the name of a loved one. The bright and pungent marigolds are said to guide the spirits home. Bright burning candles light the way.\u003c/p>\n\u003cp>And then there are the personal touches.\u003c/p>\n\u003cp>“If your mother or father likes tamales, you can bring tamales. If they like to smoke, you bring a pipe. If they like to drink, you can bring a shot of tequila,” explains Cadena. “Something to remember them by.”\u003c/p>\n\u003cp>Dia de los Muertos is a tradition that embraces life and death — a hopeful and meaningful common bond we all share. Standing next to her family’s grave, Rosie Kaiban says it best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My mother-in-law. My sister-in-law. And, someday, we’ll be buried here, too.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Pop Music, Couples Edition: Johnnyswim, Nataly Dawn and Hope Sandoval",
"title": "New Pop Music, Couples Edition: Johnnyswim, Nataly Dawn and Hope Sandoval",
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"content": "\u003cp>\u003cem>A married pair explore their relationship's dynamics. A singer takes a solo sojourn from the band she formed with her husband. And Hope Sandoval and Kurt Vile get together for an unexpectedly delightful duet.\u003c/em>\u003c/p>\n\u003ch2>Johnnyswim\u003c/h2>\n\u003cp>You know how in old movies some kid would be spying on a young couple smooching and then scrunch up his face in disgust and say, “Oooh, mush?”\u003c/p>\n\u003cp>That kid would have a tough time with \"Georgica Pond,\" the new album from \u003cstrong>\u003ca href=\"http://www.johnnyswim.com/home\">Johnnyswim\u003c/a>\u003c/strong>, the unabashedly romantic married duo of Amanda Sudano and Abner Ramirez. In the dreamy “In My Arms,” he sings to her, “I’m gonna love you like nobody will, under the rainbow and over the hill.” And she replies, “ 'Cause money can buy me a diamond that fades, but ours is a love story for every age, I’ll be the writer if you’ll be my page …” Later he sings, cooingly, in French!\u003c/p>\n\u003cp>Oooh, mush. Wonderful, wonderful mush. Duets in which they pledge devotion, examine their life together, the magic still there, even after a decade together. Even after writing and recording and touring together. Even after each experienced the death of a parent. Even after having had their first child last year.\u003c/p>\n\u003cp>That’s impressive enough. But what’s \u003ci>really\u003c/i> impressive is that as mushy as it may be, it never gets gloppy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg\" alt=\"johnnyswim_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover.jpg 1500w\" sizes=\"(max-width: 294px) 100vw, 294px\">Well, they do have some good role models. Marvin and Tammi. Peaches and Herb. Heck, even some Johnny and June or Sonny and Cher. They’re here in spirit, if not always specific sounds. \"Georgica Pond\" expands and extends the folk-soul-gospel blends of their 2014 full-album debut, \"Diamonds,\" and nearly captures the magnetic chemistry known to anyone who has seen them in concert. There’s a naturalness to their interplay, equal parts spontaneous spark and confident craft.\u003c/p>\n\u003cp>Oh, and another role-model pair: The late \u003ca href=\"http://www.nytimes.com/2012/05/18/arts/music/donna-summer-queen-of-disco-dies-at-63.html\">Donna Summer\u003c/a> and her husband, songwriter and musician Bruce Sudano — Amanda’s parents. Again, nothing here sounds like “Bad Girls,” let alone “I Feel Love.” But growing up with parents who had a collaborative musical marriage was clearly an inspiration to the daughter. And yeah, now and then you can hear some vocal similarities to her mother.\u003c/p>\n\u003cp>Like her folks, younger Sudano and Ramirez began their relationship with music, when she attended a songwriting workshop he ran in 2005 in Nashville, where they both lived. Romance came a little later. They married in 2009 and relocated to Los Angeles, where they made this album in the intimate setting of their home studio.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J92sLFG9-3A\u003c/p>\n\u003cp>Johnnyswim (the name coming from how she as a child implored her late goldfish not to be dead) is not all valentines and roses: “My love can’t rescue you, the way you want it to,” she sings in “Rescue You.” There’s an ache to that admission, though, as there is in the desolation of “Lonely Night in Georgia,” a gospel/country-style duet, with Vince Gill (who co-wrote the song with them) on guitar and a full choir backing them up. Even “Drunks,” with its Lumineers-ish everyone-join-in chorus and its aspirational bent — “I want to write a song drunks all sing, and the sober sing along” — comes down to the core hope that it will be “our song,” the two of them.\u003c/p>\n\u003cp>Oh, and \"Georgica Pond\"? That, they have explained, is a place on Long Island where they stayed sometimes with Sudano’s mom, and where, now a few years since Summer’s death, the couple took their kid to visit. “One day when I’m gone, scatter my ashes on Georgica Pond,” Sudano sings. Mush. And much more.\u003c/p>\n\u003ch2>Nataly Dawn\u003c/h2>\n\u003cp>We’ve got another collaborative married couple now. Well, half of one.\u003c/p>\n\u003cp>\"I’m walking around in a haze and I feel you falling away from me,” sings \u003cstrong>\u003ca href=\"http://www.natalydawnmusic.com/\">Nataly Dawn\u003c/a>\u003c/strong> in the lush, descriptively named title song of her new solo album, \"Haze.\" Should we be concerned? She came to renown as half of \u003ca href=\"https://www.youtube.com/user/PomplamooseMusic\">Pomplamoose\u003c/a> with husband Jack Conte. The Bay Area duo found viral hitdom via some amusing and at times unlikely covers — from “My Favorite Things” to “Single Ladies” to the “Angry Birds” theme — presented in playful videos of them multitracking instruments and Dawn’s layered vocal harmonies, at once delightful and precious. Sometimes, perhaps, too precious.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg\" alt=\"nataly_dawn_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-150x150.jpg 150w\" sizes=\"(max-width: 294px) 100vw, 294px\">Not so here. \"Haze\" finds a smart balance of emotions (ruefulness and hope, for the most part) and sounds (the accomplished professionalism of Dawn’s 2013 album \"How I Knew Her\" and the DIY charm of \"Pomplamoose\"). Key is that where “How I Knew Her” was recorded in a full professional studio (with Conte producing) in a seemingly conscious step away from the \"Pomplamoose\" casualness. This one saw them (yes, he’s still around) back in the cozy comfort of home, freer to play around, and perhaps her feeling freer to explore her thoughts.\u003c/p>\n\u003cp>Opening song “I Could Lose” in its brief time moves from fragile, intimate acoustic guitar and voice to strings-enhanced confidence. “Orchid” touches on the pop playfulness that marks Pomplamoose’s covers, but with a dreamy cast. The home setting also, it seems, brought out an air of restless cabin fever, captured in what is the album’s killer song, “Waiting Room,” mixing a battle of anticipation and resignation.\u003c/p>\n\u003cp>“Every room,” Dawn sings, “is a waiting room.” Let’s hope we’re not meant to read too much into that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PeciLlwVFL8\u003c/p>\n\u003ch2>Hope Sandoval and the Warm Inventions\u003c/h2>\n\u003cp>OK, another couple to spotlight in our bonus tracks, but just a duet here, with \u003ca href=\"http://www.hopesandoval.com/home.shtml\">\u003cstrong>Hope Sandoval\u003c/strong> \u003c/a>(of \u003ca href=\"http://www.allmusic.com/artist/mazzy-star-mn0000401287/biography\">Mazzy Star\u003c/a> fame) teaming with \u003ca href=\"http://www.kurtvile.com/\">Kurt Vile\u003c/a> on “Let Me Get There,” from the former’s first album in seven years, \"Until the Hunter.\" It’s a song full of sweet affection, sounding like a bit of a cross between Seals & Croft and Buffalo Springfield, which may be a little surprise to those who know Sandoval only from Mazzy’s murky, moody mystique. Such little surprises are part and parcel to her recordings with the Warm Inventions (which really is just her and \u003ca href=\"https://www.mybloodyvalentine.org//home?hs=1\">My Bloody Valentine\u003c/a>’s Colm O’Coisog, making the ampersand a bit confusing).\u003c/p>\n\u003cp>\u003cimg class=\"alignleft size-full wp-image-11149844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg\" alt=\"hope-sandoval-until-the-hunter-album\" width=\"370\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg 370w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-150x150.jpg 150w\" sizes=\"(max-width: 370px) 100vw, 370px\">\u003c/p>\n\u003cp>Nice touches pop up throughout the album as the overall tone moves from intimate, dusky folk to expansive desert psychedelia. The most delightful may be the simplest of them all: the hand claps that provide light percussion in the song “I Took a Slip.”\u003c/p>\n\u003cp>Not that she and he (and a few other friends who join in) have turned into the Angels or the early Beatles or anything. But those basic little, understated clapped beats put a joy into the song, even more so for being wrapped in strummed guitar, some space noises and desolate slide wails, not as contrasting juxtaposition or pop irony, but as spirited propulsion. Were they premeditated calculation or spontaneous exclamation? Doesn’t really matter, though it feels like the latter. Regardless, it’s a perfect and perfectly human touch.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pyRJYnAndT0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A married pair explore their relationship's dynamics. A singer takes a solo sojourn from the band she formed with her husband. And Hope Sandoval and Kurt Vile get together for an unexpectedly delightful duet.\u003c/em>\u003c/p>\n\u003ch2>Johnnyswim\u003c/h2>\n\u003cp>You know how in old movies some kid would be spying on a young couple smooching and then scrunch up his face in disgust and say, “Oooh, mush?”\u003c/p>\n\u003cp>That kid would have a tough time with \"Georgica Pond,\" the new album from \u003cstrong>\u003ca href=\"http://www.johnnyswim.com/home\">Johnnyswim\u003c/a>\u003c/strong>, the unabashedly romantic married duo of Amanda Sudano and Abner Ramirez. In the dreamy “In My Arms,” he sings to her, “I’m gonna love you like nobody will, under the rainbow and over the hill.” And she replies, “ 'Cause money can buy me a diamond that fades, but ours is a love story for every age, I’ll be the writer if you’ll be my page …” Later he sings, cooingly, in French!\u003c/p>\n\u003cp>Oooh, mush. Wonderful, wonderful mush. Duets in which they pledge devotion, examine their life together, the magic still there, even after a decade together. Even after writing and recording and touring together. Even after each experienced the death of a parent. Even after having had their first child last year.\u003c/p>\n\u003cp>That’s impressive enough. But what’s \u003ci>really\u003c/i> impressive is that as mushy as it may be, it never gets gloppy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg\" alt=\"johnnyswim_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover.jpg 1500w\" sizes=\"(max-width: 294px) 100vw, 294px\">Well, they do have some good role models. Marvin and Tammi. Peaches and Herb. Heck, even some Johnny and June or Sonny and Cher. They’re here in spirit, if not always specific sounds. \"Georgica Pond\" expands and extends the folk-soul-gospel blends of their 2014 full-album debut, \"Diamonds,\" and nearly captures the magnetic chemistry known to anyone who has seen them in concert. There’s a naturalness to their interplay, equal parts spontaneous spark and confident craft.\u003c/p>\n\u003cp>Oh, and another role-model pair: The late \u003ca href=\"http://www.nytimes.com/2012/05/18/arts/music/donna-summer-queen-of-disco-dies-at-63.html\">Donna Summer\u003c/a> and her husband, songwriter and musician Bruce Sudano — Amanda’s parents. Again, nothing here sounds like “Bad Girls,” let alone “I Feel Love.” But growing up with parents who had a collaborative musical marriage was clearly an inspiration to the daughter. And yeah, now and then you can hear some vocal similarities to her mother.\u003c/p>\n\u003cp>Like her folks, younger Sudano and Ramirez began their relationship with music, when she attended a songwriting workshop he ran in 2005 in Nashville, where they both lived. Romance came a little later. They married in 2009 and relocated to Los Angeles, where they made this album in the intimate setting of their home studio.\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/J92sLFG9-3A'\n title='//www.youtube.com/embed/J92sLFG9-3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Johnnyswim (the name coming from how she as a child implored her late goldfish not to be dead) is not all valentines and roses: “My love can’t rescue you, the way you want it to,” she sings in “Rescue You.” There’s an ache to that admission, though, as there is in the desolation of “Lonely Night in Georgia,” a gospel/country-style duet, with Vince Gill (who co-wrote the song with them) on guitar and a full choir backing them up. Even “Drunks,” with its Lumineers-ish everyone-join-in chorus and its aspirational bent — “I want to write a song drunks all sing, and the sober sing along” — comes down to the core hope that it will be “our song,” the two of them.\u003c/p>\n\u003cp>Oh, and \"Georgica Pond\"? That, they have explained, is a place on Long Island where they stayed sometimes with Sudano’s mom, and where, now a few years since Summer’s death, the couple took their kid to visit. “One day when I’m gone, scatter my ashes on Georgica Pond,” Sudano sings. Mush. And much more.\u003c/p>\n\u003ch2>Nataly Dawn\u003c/h2>\n\u003cp>We’ve got another collaborative married couple now. Well, half of one.\u003c/p>\n\u003cp>\"I’m walking around in a haze and I feel you falling away from me,” sings \u003cstrong>\u003ca href=\"http://www.natalydawnmusic.com/\">Nataly Dawn\u003c/a>\u003c/strong> in the lush, descriptively named title song of her new solo album, \"Haze.\" Should we be concerned? She came to renown as half of \u003ca href=\"https://www.youtube.com/user/PomplamooseMusic\">Pomplamoose\u003c/a> with husband Jack Conte. The Bay Area duo found viral hitdom via some amusing and at times unlikely covers — from “My Favorite Things” to “Single Ladies” to the “Angry Birds” theme — presented in playful videos of them multitracking instruments and Dawn’s layered vocal harmonies, at once delightful and precious. Sometimes, perhaps, too precious.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg\" alt=\"nataly_dawn_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-150x150.jpg 150w\" sizes=\"(max-width: 294px) 100vw, 294px\">Not so here. \"Haze\" finds a smart balance of emotions (ruefulness and hope, for the most part) and sounds (the accomplished professionalism of Dawn’s 2013 album \"How I Knew Her\" and the DIY charm of \"Pomplamoose\"). Key is that where “How I Knew Her” was recorded in a full professional studio (with Conte producing) in a seemingly conscious step away from the \"Pomplamoose\" casualness. This one saw them (yes, he’s still around) back in the cozy comfort of home, freer to play around, and perhaps her feeling freer to explore her thoughts.\u003c/p>\n\u003cp>Opening song “I Could Lose” in its brief time moves from fragile, intimate acoustic guitar and voice to strings-enhanced confidence. “Orchid” touches on the pop playfulness that marks Pomplamoose’s covers, but with a dreamy cast. The home setting also, it seems, brought out an air of restless cabin fever, captured in what is the album’s killer song, “Waiting Room,” mixing a battle of anticipation and resignation.\u003c/p>\n\u003cp>“Every room,” Dawn sings, “is a waiting room.” Let’s hope we’re not meant to read too much into that.\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/PeciLlwVFL8'\n title='//www.youtube.com/embed/PeciLlwVFL8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Hope Sandoval and the Warm Inventions\u003c/h2>\n\u003cp>OK, another couple to spotlight in our bonus tracks, but just a duet here, with \u003ca href=\"http://www.hopesandoval.com/home.shtml\">\u003cstrong>Hope Sandoval\u003c/strong> \u003c/a>(of \u003ca href=\"http://www.allmusic.com/artist/mazzy-star-mn0000401287/biography\">Mazzy Star\u003c/a> fame) teaming with \u003ca href=\"http://www.kurtvile.com/\">Kurt Vile\u003c/a> on “Let Me Get There,” from the former’s first album in seven years, \"Until the Hunter.\" It’s a song full of sweet affection, sounding like a bit of a cross between Seals & Croft and Buffalo Springfield, which may be a little surprise to those who know Sandoval only from Mazzy’s murky, moody mystique. Such little surprises are part and parcel to her recordings with the Warm Inventions (which really is just her and \u003ca href=\"https://www.mybloodyvalentine.org//home?hs=1\">My Bloody Valentine\u003c/a>’s Colm O’Coisog, making the ampersand a bit confusing).\u003c/p>\n\u003cp>\u003cimg class=\"alignleft size-full wp-image-11149844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg\" alt=\"hope-sandoval-until-the-hunter-album\" width=\"370\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg 370w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-150x150.jpg 150w\" sizes=\"(max-width: 370px) 100vw, 370px\">\u003c/p>\n\u003cp>Nice touches pop up throughout the album as the overall tone moves from intimate, dusky folk to expansive desert psychedelia. The most delightful may be the simplest of them all: the hand claps that provide light percussion in the song “I Took a Slip.”\u003c/p>\n\u003cp>Not that she and he (and a few other friends who join in) have turned into the Angels or the early Beatles or anything. But those basic little, understated clapped beats put a joy into the song, even more so for being wrapped in strummed guitar, some space noises and desolate slide wails, not as contrasting juxtaposition or pop irony, but as spirited propulsion. Were they premeditated calculation or spontaneous exclamation? Doesn’t really matter, though it feels like the latter. Regardless, it’s a perfect and perfectly human touch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Let’s Get Metaphysical: Meet the Gym Owner Who’ll Give You an Exorcism",
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"content": "\u003cp>At first glance, you probably wouldn’t guess that Adam Higgs is an exorcist. Of course, he claims other titles as well: clairvoyant, psychic, medium, healer, channeler of spirits from beyond the grave. And, according to his website, he’s a metaphysical master.\u003c/p>\n\u003cp>But, sitting behind the desk at the SHED Health Center -- the small gym he runs in Meiners Oaks, a few miles from Ventura -- Higgs looks a lot more like the London bouncer that he once was. Muscular, cut, 6 feet tall and 208 pounds of pure power-lifting bloke, as it were. Oh yeah, he used to be a competitive power lifter, too.\u003c/p>\n\u003cp>All in all, seemingly a man more likely to deliver a swift head butt than to thoughtfully read your palm. Yet that’s exactly what I was to experience, despite the fact that I went to his gym only to get in a quick workout.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/290478682\" 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>We ended up talking about his occult work. And yes, performing exorcisms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, you probably wouldn’t guess that Adam Higgs is an exorcist. Of course, he claims other titles as well: clairvoyant, psychic, medium, healer, channeler of spirits from beyond the grave. And, according to his website, he’s a metaphysical master.\u003c/p>\n\u003cp>But, sitting behind the desk at the SHED Health Center -- the small gym he runs in Meiners Oaks, a few miles from Ventura -- Higgs looks a lot more like the London bouncer that he once was. Muscular, cut, 6 feet tall and 208 pounds of pure power-lifting bloke, as it were. Oh yeah, he used to be a competitive power lifter, too.\u003c/p>\n\u003cp>All in all, seemingly a man more likely to deliver a swift head butt than to thoughtfully read your palm. Yet that’s exactly what I was to experience, despite the fact that I went to his gym only to get in a quick workout.\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/290478682&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/290478682'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We ended up talking about his occult work. And yes, performing exorcisms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
"title": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289389916\" 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>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FveDFyqznG8\u003c/p>\n\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. Because in this moment that people are trying to create more borders, between us, between human beings, we have to build more bridges. I’m looking at a map right now, of America, of all of America. We are one America, and we have to unite our vision. We can’t agree on everything, but from disagreement, we can build beautiful things. This is maybe a very utopic way to think, but I believe we can build a better world building bridges.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\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/289389916&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/289389916'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\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/FveDFyqznG8'\n title='//www.youtube.com/embed/FveDFyqznG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. Because in this moment that people are trying to create more borders, between us, between human beings, we have to build more bridges. I’m looking at a map right now, of America, of all of America. We are one America, and we have to unite our vision. We can’t agree on everything, but from disagreement, we can build beautiful things. This is maybe a very utopic way to think, but I believe we can build a better world building bridges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289753182\" 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>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\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/289753182&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/289753182'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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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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"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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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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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",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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