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"disqusTitle": "5 Years After Occupy Oakland, Still Fighting for the 99 Percent",
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"content": "\u003cp>Just before dawn on December 12, 2011, Jason \"Shake\" Anderson was marching with a group of thousands to the Port of Oakland.\u003c/p>\n\u003cp>“We are doing this to bring attention to what’s going on across the world, where the 1 percent is actually taking money from us every day, making our life hard,\" Anderson said, \"and they’re still collecting dough and they living a great life, and that’s off us.”\u003c/p>\n\u003cp>The march was one of \u003ca href=\"https://occupyoakland.org/\" target=\"_blank\">Occupy Oakland\u003c/a>'s largest actions, part of a months-long stretch that featured dozens of massive marches, a \u003ca href=\"http://ww2.kqed.org/news/2011/12/12/occupy-port-protest-live-tweets-from-reporters/\" target=\"_blank\">shutdown of the port\u003c/a> and clashes with police.\u003c/p>\n\u003cp>So where is Anderson now?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/286661382\" 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>I got back in touch with him, and we met up in Oakland’s Mosswood Park to reminisce, surrounded by sunbathers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Occupy happened and it extended the way I was already living,\" Anderson said.\u003c/p>\n\u003cp>At the time Occupy Oakland began, Anderson was a Navy veteran, DJ'ing at a pirate radio station.\u003c/p>\n\u003cp>“I wasn’t necessarily political, but I also always had a wanting to learn the money system,\" said Anderson. \"My politics came from like, 'What is money really, and why do we need it, and why is it such a problem?' ”\u003c/p>\n\u003cp>Anderson saw \u003ca href=\"https://www.youtube.com/watch?v=n9KEg9cH6F4&feature=youtu.be\" target=\"_blank\">a video online\u003c/a> of someone at Occupy Wall Street.\u003c/p>\n\u003cp>\"And I was like wow! I mean like two years straight I’ve been asking the same money question ... this is great!\"\u003c/p>\n\u003cfigure id=\"attachment_11120188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11120188 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg\" alt='Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for Mayor of Oakland in 2014.' width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for mayor of Oakland in 2014. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2011, Anderson’s tent was among more than 100 pitched on a plaza in the heart of downtown Oakland. Every day, the camp featured political workshops, performances, child care, and meals -- all for free.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson volunteered for Occupy Oakland’s media committee, and served as a sort of de facto security guard at the camp, and helped de-escalate conflicts when they arose. \u003c/span>\u003c/p>\n\u003cp>\"Every type of anarchist was there with all their philosophies, right. I had to learn all that later. I was just there to help people,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There truly were people of all stripes there. Anderson, a local from West Oakland, marched in the same crowds as David Keenan, who grew up as a punk rocker in L.A. \u003c/span>\u003c/p>\n\u003cp>“I would say it was a radicalizing moment for me in terms of seeing how you can have a really incredible movement kind of just squashed very quickly.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its global notoriety, the main Occupy Oakland camp actually lasted only five weeks before it was evicted by the city and removed by the police. \u003c/span>\u003cspan style=\"font-weight: 400\">After the camp was broken up, Keenan yearned for a permanent space to provide a home for the collective spirit of Occupy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \"Not someone’s house that’s just like friends and friends of friends,\" Keenan said. \"But like a truly public space where anyone could participate and we could build solidarity, a space where that could happen all the time that couldn’t be closed down the way that the plaza was closed down.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After more than two years of looking, Keenan and other activists found a defunct Italian social club in North Oakland. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120271\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg\" alt=\"Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 22,000-square-foot building is called the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\">Omni Commons\u003c/a>. There’s a ballroom for concerts, a kitchen for a cafe, with winding hallways and alcoves everywhere. Currently, there are 13 groups using the Omni, ranging from food justice organizations to a small printing press.\u003c/p>\n\u003cp>“We’re doing something at a scale that most cultural groups or political organizers aren’t really doing,\" says Keenan. \"But coming out of a lot of the energy of Occupy and the sense of empowerment that you got doing things at a big scale, we’re like, 'Let’s try to have space for that to happen and that can’t be taken away.' \"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Paying the monthly $15,000 rent has been difficult for these groups. But with the help of an anonymous million-dollar donation, they are very close to buying the building, which Keenan hopes will solidify the Omni as a cultural space for years to come. \u003c/span>\u003c/p>\n\u003cp>We peeked in one small room and found children and their parents, learning to do screen printing. \u003cspan style=\"font-weight: 400\">The screen the kids were working with said “Against Adult Supremacy.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg\" alt=\"Franki Velez (with baby) helps teach screenprinting at the Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez (with baby) helps teach screen printing at the Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the moms in here was Franki Velez — her son, Ashoka, is 8 months old. When I asked her about Occupy Oakland, she beams.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>“It was the best damn thing that ever happened to me. It changed my life,\" said Velez.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When \u003ca href=\"http://occupywallst.org/\" target=\"_blank\">Occupy Wall Street\u003c/a> started spreading to other cities in October 2011, Velez says she was living in Tacoma, Washington, getting her master's degree in public administration. She went straight to Occupy Tacoma, and was surrounded by 250 fellow dissatisfied souls. \u003c/span>\u003c/p>\n\u003cp>“And that was the first time in my life I didn’t feel alone,\" Velez said. \"So I sold everything I owned, jumped in my VW Bug, and I came to Oakland and I never left. I got involved in Occupy Oakland.\"\u003c/p>\n\u003cp>Velez camped with \u003ca href=\"http://takebackthetract.com/\" target=\"_blank\">Occupy the Farm\u003c/a> — a tract of UC Berkeley agricultural land in Albany slated for development. She helped run a free school at Occupy Lakeview, an effort to prevent the closing of an elementary school. She also met her future husband and father of her child through Occupy Oakland.\u003c/p>\n\u003cp>So what's she doing now?\u003c/p>\n\u003cp>\"Now I’m a mom, full time,\" Velez said, \"and I’m going to be starting apothecary school because I think we need to like get deeper with our healing, we need to connect with the earth. Food is medicine. We already screamed and yelled about the problems, and now it’s like we’re focused on the solutions,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_11120513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-800x473.jpg\" alt=\"Franki Velez outside Omni Commons in Oakland.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-11120513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-400x237.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-1180x698.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-960x568.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez outside Omni Commons in Oakland. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what are those solutions? Well, there are still well-organized groups across the San Francisco Bay Area that try to stop home foreclosures. The activism of \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\">Black Lives Matter\u003c/a> and the economic message of \u003ca href=\"https://berniesanders.com/stream/\" target=\"_blank\">Bernie Sanders’ campaign \u003c/a>both trace some of their roots to Occupy Wall Street.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then there’s Shake Anderson, who we heard from a few minutes ago. In 2014, he decided to \u003ca href=\"https://oaklandnorth.net/2014/05/21/mayoral-candidate-jason-shake-anderson/\" target=\"_blank\">run for mayor of Oakland\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\"It only seemed logical for me to run for mayor because I kept doing things in the vein of community work,\" Anderson explained. \"I ran for what Occupy should’ve run for, meaning that look at what we’ve done, this is our representative to speak to the masses.”\u003c/p>\n\u003cp>But \u003cspan style=\"font-weight: 400\">I had to ask: Isn’t running for public office inconsistent with the anti-establishment tenor of Occupy? \u003c/span>\u003c/p>\n\u003cp>“There’s a power that you’re fighting against. But then you, you don’t create any way to negotiate with that power? That's a futile movement,\" Anderson said. \"That means that you’ll never get past yelling on the streets. And since I’m about progress, I think we should evolve. So what I did was my evolution. It wasn’t Occupy’s evolution.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson ended up with less than 2 percent of the vote, but he says the simple fact that he ran was a victory.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To mark the five-year anniversary of Occupy Oakland, people will be gathering in the plaza where it all began \u003ca href=\"https://occupyoakland.org/2016/09/beyond-occupy-five-years-hence/\" target=\"_blank\">on Oct\u003c/a>. 8. Franki Velez and David Keenan say they’ll be there. Anderson might show up, too. He said Occupy is part of his DNA now.\u003c/span>\u003c/p>\n\n",
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"excerpt": "Occupy Oakland became perhaps the most well-known encampment outside of Occupy Wall Street in New York. So what are occupiers doing now?",
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"description": "Occupy Oakland became perhaps the most well-known encampment outside of Occupy Wall Street in New York. So what are occupiers doing now?",
"title": "5 Years After Occupy Oakland, Still Fighting for the 99 Percent | KQED",
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"headline": "5 Years After Occupy Oakland, Still Fighting for the 99 Percent",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just before dawn on December 12, 2011, Jason \"Shake\" Anderson was marching with a group of thousands to the Port of Oakland.\u003c/p>\n\u003cp>“We are doing this to bring attention to what’s going on across the world, where the 1 percent is actually taking money from us every day, making our life hard,\" Anderson said, \"and they’re still collecting dough and they living a great life, and that’s off us.”\u003c/p>\n\u003cp>The march was one of \u003ca href=\"https://occupyoakland.org/\" target=\"_blank\">Occupy Oakland\u003c/a>'s largest actions, part of a months-long stretch that featured dozens of massive marches, a \u003ca href=\"http://ww2.kqed.org/news/2011/12/12/occupy-port-protest-live-tweets-from-reporters/\" target=\"_blank\">shutdown of the port\u003c/a> and clashes with police.\u003c/p>\n\u003cp>So where is Anderson now?\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/286661382&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/286661382'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I got back in touch with him, and we met up in Oakland’s Mosswood Park to reminisce, surrounded by sunbathers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Occupy happened and it extended the way I was already living,\" Anderson said.\u003c/p>\n\u003cp>At the time Occupy Oakland began, Anderson was a Navy veteran, DJ'ing at a pirate radio station.\u003c/p>\n\u003cp>“I wasn’t necessarily political, but I also always had a wanting to learn the money system,\" said Anderson. \"My politics came from like, 'What is money really, and why do we need it, and why is it such a problem?' ”\u003c/p>\n\u003cp>Anderson saw \u003ca href=\"https://www.youtube.com/watch?v=n9KEg9cH6F4&feature=youtu.be\" target=\"_blank\">a video online\u003c/a> of someone at Occupy Wall Street.\u003c/p>\n\u003cp>\"And I was like wow! I mean like two years straight I’ve been asking the same money question ... this is great!\"\u003c/p>\n\u003cfigure id=\"attachment_11120188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11120188 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg\" alt='Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for Mayor of Oakland in 2014.' width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21353_Shake-Anderson-in-park-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jason \"Shake\" Anderson volunteered for Occupy Oakland’s media committee. He ran for mayor of Oakland in 2014. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2011, Anderson’s tent was among more than 100 pitched on a plaza in the heart of downtown Oakland. Every day, the camp featured political workshops, performances, child care, and meals -- all for free.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson volunteered for Occupy Oakland’s media committee, and served as a sort of de facto security guard at the camp, and helped de-escalate conflicts when they arose. \u003c/span>\u003c/p>\n\u003cp>\"Every type of anarchist was there with all their philosophies, right. I had to learn all that later. I was just there to help people,” he said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There truly were people of all stripes there. Anderson, a local from West Oakland, marched in the same crowds as David Keenan, who grew up as a punk rocker in L.A. \u003c/span>\u003c/p>\n\u003cp>“I would say it was a radicalizing moment for me in terms of seeing how you can have a really incredible movement kind of just squashed very quickly.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its global notoriety, the main Occupy Oakland camp actually lasted only five weeks before it was evicted by the city and removed by the police. \u003c/span>\u003cspan style=\"font-weight: 400\">After the camp was broken up, Keenan yearned for a permanent space to provide a home for the collective spirit of Occupy\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \"Not someone’s house that’s just like friends and friends of friends,\" Keenan said. \"But like a truly public space where anyone could participate and we could build solidarity, a space where that could happen all the time that couldn’t be closed down the way that the plaza was closed down.\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">After more than two years of looking, Keenan and other activists found a defunct Italian social club in North Oakland. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120271\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg\" alt=\"Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/RS21350_David-Keenan-qut-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inspired by his time with Occupy Oakland, David Keenan helped found Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 22,000-square-foot building is called the \u003ca href=\"https://omnicommons.org/\" target=\"_blank\">Omni Commons\u003c/a>. There’s a ballroom for concerts, a kitchen for a cafe, with winding hallways and alcoves everywhere. Currently, there are 13 groups using the Omni, ranging from food justice organizations to a small printing press.\u003c/p>\n\u003cp>“We’re doing something at a scale that most cultural groups or political organizers aren’t really doing,\" says Keenan. \"But coming out of a lot of the energy of Occupy and the sense of empowerment that you got doing things at a big scale, we’re like, 'Let’s try to have space for that to happen and that can’t be taken away.' \"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Paying the monthly $15,000 rent has been difficult for these groups. But with the help of an anonymous million-dollar donation, they are very close to buying the building, which Keenan hopes will solidify the Omni as a cultural space for years to come. \u003c/span>\u003c/p>\n\u003cp>We peeked in one small room and found children and their parents, learning to do screen printing. \u003cspan style=\"font-weight: 400\">The screen the kids were working with said “Against Adult Supremacy.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11120333\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11120333\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg\" alt=\"Franki Velez (with baby) helps teach screenprinting at the Omni Commons.\" width=\"1920\" height=\"1081\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-in-screenprint-room-qut-1-960x541.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez (with baby) helps teach screen printing at the Omni Commons. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of the moms in here was Franki Velez — her son, Ashoka, is 8 months old. When I asked her about Occupy Oakland, she beams.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>“It was the best damn thing that ever happened to me. It changed my life,\" said Velez.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When \u003ca href=\"http://occupywallst.org/\" target=\"_blank\">Occupy Wall Street\u003c/a> started spreading to other cities in October 2011, Velez says she was living in Tacoma, Washington, getting her master's degree in public administration. She went straight to Occupy Tacoma, and was surrounded by 250 fellow dissatisfied souls. \u003c/span>\u003c/p>\n\u003cp>“And that was the first time in my life I didn’t feel alone,\" Velez said. \"So I sold everything I owned, jumped in my VW Bug, and I came to Oakland and I never left. I got involved in Occupy Oakland.\"\u003c/p>\n\u003cp>Velez camped with \u003ca href=\"http://takebackthetract.com/\" target=\"_blank\">Occupy the Farm\u003c/a> — a tract of UC Berkeley agricultural land in Albany slated for development. She helped run a free school at Occupy Lakeview, an effort to prevent the closing of an elementary school. She also met her future husband and father of her child through Occupy Oakland.\u003c/p>\n\u003cp>So what's she doing now?\u003c/p>\n\u003cp>\"Now I’m a mom, full time,\" Velez said, \"and I’m going to be starting apothecary school because I think we need to like get deeper with our healing, we need to connect with the earth. Food is medicine. We already screamed and yelled about the problems, and now it’s like we’re focused on the solutions,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_11120513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/Velez-800x473.jpg\" alt=\"Franki Velez outside Omni Commons in Oakland.\" width=\"800\" height=\"473\" class=\"size-medium wp-image-11120513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-800x473.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-400x237.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-1180x698.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/Velez-960x568.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Franki Velez outside Omni Commons in Oakland. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what are those solutions? Well, there are still well-organized groups across the San Francisco Bay Area that try to stop home foreclosures. The activism of \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\">Black Lives Matter\u003c/a> and the economic message of \u003ca href=\"https://berniesanders.com/stream/\" target=\"_blank\">Bernie Sanders’ campaign \u003c/a>both trace some of their roots to Occupy Wall Street.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then there’s Shake Anderson, who we heard from a few minutes ago. In 2014, he decided to \u003ca href=\"https://oaklandnorth.net/2014/05/21/mayoral-candidate-jason-shake-anderson/\" target=\"_blank\">run for mayor of Oakland\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\"It only seemed logical for me to run for mayor because I kept doing things in the vein of community work,\" Anderson explained. \"I ran for what Occupy should’ve run for, meaning that look at what we’ve done, this is our representative to speak to the masses.”\u003c/p>\n\u003cp>But \u003cspan style=\"font-weight: 400\">I had to ask: Isn’t running for public office inconsistent with the anti-establishment tenor of Occupy? \u003c/span>\u003c/p>\n\u003cp>“There’s a power that you’re fighting against. But then you, you don’t create any way to negotiate with that power? That's a futile movement,\" Anderson said. \"That means that you’ll never get past yelling on the streets. And since I’m about progress, I think we should evolve. So what I did was my evolution. It wasn’t Occupy’s evolution.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anderson ended up with less than 2 percent of the vote, but he says the simple fact that he ran was a victory.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To mark the five-year anniversary of Occupy Oakland, people will be gathering in the plaza where it all began \u003ca href=\"https://occupyoakland.org/2016/09/beyond-occupy-five-years-hence/\" target=\"_blank\">on Oct\u003c/a>. 8. Franki Velez and David Keenan say they’ll be there. Anderson might show up, too. He said Occupy is part of his DNA now.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At LGBTQ-Focused Convention, Gaming Is for Everyone",
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"headTitle": "At LGBTQ-Focused Convention, Gaming Is for Everyone | KQED",
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"content": "\u003cp>From comic books to video games, nearly every character you can imagine turned up in Santa Clara over the weekend for the \u003ca href=\"http://gaymerx.com/\" target=\"_blank\" rel=\"noopener\">GaymerX GX4\u003c/a> convention.\u003c/p>\n\u003cp>The LGBTQ-focused event is in its fourth year, and drew about 2,400 people who came for the series of panels, tabletop games, vendors and live shows.\u003c/p>\n\u003cp>GaymerX is unique among gaming conventions, because it focuses on creating a safe and inclusive environment for gamers of all identities. LGBTQ gamers say they often experience harassment and discrimination within online chat rooms and at physical gaming spaces like conventions and tournaments.\u003c/p>\n\u003cfigure id=\"attachment_11113874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-800x533.jpg\" alt=\"Chakka Corn and her back up dancers perform “Final Fantasy 7.5” during the GX4 Drag Show\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chakka Corn and her backup dancers perform “Final Fantasy 7.5” during the GX4 Drag Show \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New this year was the option for attendees to choose from more than just two genders during registration or when picking up their passes.\u003c/p>\n\u003cp>“It’s really helping increase dialogue between all of us,” says Victor Phang, who came to GaymerX for the first time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phang, along with two of his friends, all \u003ca href=\"https://en.wikipedia.org/wiki/Cosplay\" target=\"_blank\" rel=\"noopener\">cosplayed\u003c/a> as gender-bent versions of “Final Fantasy” characters: Nguyen as Rinoa Heartily from “Final Fantasy VIII,” Phang as Beatrix from “Final Fantasy IX,” and Yu as Fang from “Final Fantasy XIII.”\u003c/p>\n\u003cfigure id=\"attachment_11113765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113765\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-800x551.jpg\" alt=\"Tuan Nguyen (left), Victor Phang and Sherman Yu all attended GX4 together for the first time this year. All three of them cosplayed as gender-bent version of Final Fantasy characters; Nguyen as Rinoa Heartily from Final Fantasy 8, Phang as Beatrix from Final Fantasy 9, and Yu as Fang from Final Fantasy 13. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuan Nguyen (left), Victor Phang and Sherman Yu all attended GX4 together for the first time this year. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel that there are a lot more new people this year. It’s good to see the community coming out and having more safe spaces to be themselves,” says Michael Todd, who has been to the convention once before.\u003c/p>\n\u003cfigure id=\"attachment_11113766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113766\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-800x1200.jpg\" alt=\"Michael Todd, cosplaying as Electabuzz, poses for a photo at GX4\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Todd, cosplaying as Electabuzz, poses for a photo at GX4. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11113817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113817\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-800x582.jpg\" alt=\"Gil Goldstein (right), Nikki Allamanno and Starla Zamora pose for a photo in their cosplay costumes.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-960x699.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Goldstein (right), Nikki Allamanno and Starla Zamora pose for a photo in their cosplay costumes. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gil Goldstein (right), Nikki Allamanno and Starla Zamora all attended GX4 in full cosplay attire. Goldstein dressed as Link from “Legend of Zelda” while Allamanno and Zamora are dressed as Fenris and Isavela from “Dragon Age 2.”\u003c/p>\n\u003cp>“It’s probably the best Con that we go to,” says Allamanno. “It’s so inclusive.”\u003c/p>\n\u003cfigure id=\"attachment_11113815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113815 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-800x533.jpg\" alt=\"Body painting artist Brandon McGill paints the hand of model Ty Monzingo at GaymerX’s GX4 convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Body-painting artist Brandon McGill paints the hand of model Ty Monzingo at GaymerX’s GX4 convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many attractions at GX4 was the expo hall and indie space where larger gaming companies such as Microsoft and Ubisoft sat alongside up-and-coming indie designers and game developers. Many artists were there as well, including body-painting artist Brandon McGill.\u003c/p>\n\u003cfigure id=\"attachment_11113816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113816\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-800x525.jpg\" alt=\"Brandon McGill begins painting the hand of model Ty Monzingo. \" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-960x630.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon McGill begins painting the hand of model Ty Monzingo. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Video games like “Super Mario Smash Brothers” and “Legend of Zelda” were available to play in the Magfest Arcade.\u003c/p>\n\u003cfigure id=\"attachment_11113818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113818\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-800x533.jpg\" alt=\"Jennifer Unkle (left) and Colin Dettmar play Mario Kart Double Dash in the Magfest Arcade at the GX4 convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Unkle (left) and Colin Dettmar play Mario Kart Double Dash in the Magfest Arcade at the GX4 convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11113819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113819\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-800x533.jpg\" alt=\"Sam (center) watches as two of her friends play video games in the Magfest Arcade. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam (center) watches as two of her friends play video games in the Magfest Arcade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those gamers who preferred analog to digital, a giant Jenga tower was a delightful throwback to childhood. There was also a tabletop gaming room featuring multiple role-playing and board games.\u003c/p>\n\u003cfigure id=\"attachment_11113820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-800x533.jpg\" alt=\"Greg Gadwood (right) plays a game of Giant Jenga with Alex Meza at the GaymerX GX4 Convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Gadwood (right) plays a game of Giant Jenga with Alex Meza at the GaymerX GX4 Convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the physical gaming, however, GaymerX offered panel discussions on a wide variety of topics. Several discussed the best practices for developing new indie games and how to use current video programming software. A few also took a deep look at how games can help build a sense of self.\u003c/p>\n\u003cp>During one panel, game critic Katherine Cross and game designer Crystal Frasier discussed how people can discover their identity through the use of games.\u003c/p>\n\u003cfigure id=\"attachment_11113821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-800x533.jpg\" alt=\"Widely published game critic Katherine Cross and writer, game developer, and graphic designer Crystal Frasier speak at a panel on finding identity through gaming.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Widely published game critic \u003ca href=\"https://quinnae.com/\" target=\"_blank\" rel=\"noopener\">Katherine Cross\u003c/a> and writer, game developer and graphic designer \u003ca href=\"https://twitter.com/amazonchique\" target=\"_blank\" rel=\"noopener\">Crystal Frasier\u003c/a> speak at a panel on finding identity through gaming. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Cross and Frasier spoke about the idea that by playing games as children, players are allowed to investigate and experiment with things they may not have a term for or understanding of yet. When it comes to gender and how they perceive themselves in the world, being able to act ideas out in a video game can allow players to “try on” different personas as they develop in life.\u003c/p>\n\u003cfigure id=\"attachment_11113822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113822 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-800x533.jpg\" alt=\"Two cosplayers costumed as Janey Spring (left) and Athena the Gladiator (right) from Borderlands the Presequel hold hands and kiss on stage during the GX4 Cosplay Pageant at the GaymerX Convention. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two cosplayers costumed as Janey Spring (left) and Athena the Gladiator (right) from “Borderlands: The Pre-Sequel” hold hands and kiss on stage during the GX4 Cosplay Pageant at the GaymerX Convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two biggest events of the convention were the Cosplay Pageant and the Kitty Powers Drag Show.\u003c/p>\n\u003cp>Drag queens and kings graced the stage during the Kitty Powers Drag Show Saturday night, offering renditions of Lady Gaga’s “Applause” and many popular video game theme songs.\u003c/p>\n\u003cp>To cap off the weekend’s convention, over 30 contestants danced, catwalked and crawled across the stage during the GX4 Cosplay Pageant on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-800x584.jpg\" alt=\"Mettaton, from the indie role playing video game Undertale, cosplayed on stage during the GX4 Cosplay Pageant.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-1180x862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mettaton, from the indie role playing video game “Undertale,” cosplayed on stage during the GX4 Cosplay Pageant. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A wide variety of cosplay characters and costumes competed for prizes during the pageant. From sewing, gluing and taping costumes to shading, highlighting and outlining makeup, each one of the cosplayers brought their own personal style to their characters.\u003c/p>\n\u003cfigure id=\"attachment_11113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113824 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-800x533.jpg\" alt=\"Cosplay character Handsome Jack, from the video game Borderlands: The Presequel, winks and waves on stage during the GX 4 Cosplay Pageant\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cosplay character Handsome Jack, from the video game “Borderlands: The Pre-Sequel,” winks and waves on stage during the GX 4 Cosplay Pageant \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Gil Goldstein says, “It’s nice that they have a place that people can come and be themselves — or someone else.”\u003c/p>\n\n",
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"excerpt": "GaymerX aims to create a fun, safe space for gamers who often face harassment and discrimination. The convention drew 2,400 people to Santa Clara.\r\n",
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"title": "At LGBTQ-Focused Convention, Gaming Is for Everyone | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From comic books to video games, nearly every character you can imagine turned up in Santa Clara over the weekend for the \u003ca href=\"http://gaymerx.com/\" target=\"_blank\" rel=\"noopener\">GaymerX GX4\u003c/a> convention.\u003c/p>\n\u003cp>The LGBTQ-focused event is in its fourth year, and drew about 2,400 people who came for the series of panels, tabletop games, vendors and live shows.\u003c/p>\n\u003cp>GaymerX is unique among gaming conventions, because it focuses on creating a safe and inclusive environment for gamers of all identities. LGBTQ gamers say they often experience harassment and discrimination within online chat rooms and at physical gaming spaces like conventions and tournaments.\u003c/p>\n\u003cfigure id=\"attachment_11113874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-800x533.jpg\" alt=\"Chakka Corn and her back up dancers perform “Final Fantasy 7.5” during the GX4 Drag Show\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs18-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chakka Corn and her backup dancers perform “Final Fantasy 7.5” during the GX4 Drag Show \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New this year was the option for attendees to choose from more than just two genders during registration or when picking up their passes.\u003c/p>\n\u003cp>“It’s really helping increase dialogue between all of us,” says Victor Phang, who came to GaymerX for the first time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phang, along with two of his friends, all \u003ca href=\"https://en.wikipedia.org/wiki/Cosplay\" target=\"_blank\" rel=\"noopener\">cosplayed\u003c/a> as gender-bent versions of “Final Fantasy” characters: Nguyen as Rinoa Heartily from “Final Fantasy VIII,” Phang as Beatrix from “Final Fantasy IX,” and Yu as Fang from “Final Fantasy XIII.”\u003c/p>\n\u003cfigure id=\"attachment_11113765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113765\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-800x551.jpg\" alt=\"Tuan Nguyen (left), Victor Phang and Sherman Yu all attended GX4 together for the first time this year. All three of them cosplayed as gender-bent version of Final Fantasy characters; Nguyen as Rinoa Heartily from Final Fantasy 8, Phang as Beatrix from Final Fantasy 9, and Yu as Fang from Final Fantasy 13. \" width=\"800\" height=\"551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs11-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuan Nguyen (left), Victor Phang and Sherman Yu all attended GX4 together for the first time this year. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel that there are a lot more new people this year. It’s good to see the community coming out and having more safe spaces to be themselves,” says Michael Todd, who has been to the convention once before.\u003c/p>\n\u003cfigure id=\"attachment_11113766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113766\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-800x1200.jpg\" alt=\"Michael Todd, cosplaying as Electabuzz, poses for a photo at GX4\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs10.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Todd, cosplaying as Electabuzz, poses for a photo at GX4. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11113817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113817\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-800x582.jpg\" alt=\"Gil Goldstein (right), Nikki Allamanno and Starla Zamora pose for a photo in their cosplay costumes.\" width=\"800\" height=\"582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-800x582.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-1180x859.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs13-960x699.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Goldstein (right), Nikki Allamanno and Starla Zamora pose for a photo in their cosplay costumes. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gil Goldstein (right), Nikki Allamanno and Starla Zamora all attended GX4 in full cosplay attire. Goldstein dressed as Link from “Legend of Zelda” while Allamanno and Zamora are dressed as Fenris and Isavela from “Dragon Age 2.”\u003c/p>\n\u003cp>“It’s probably the best Con that we go to,” says Allamanno. “It’s so inclusive.”\u003c/p>\n\u003cfigure id=\"attachment_11113815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113815 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-800x533.jpg\" alt=\"Body painting artist Brandon McGill paints the hand of model Ty Monzingo at GaymerX’s GX4 convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Body-painting artist Brandon McGill paints the hand of model Ty Monzingo at GaymerX’s GX4 convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the many attractions at GX4 was the expo hall and indie space where larger gaming companies such as Microsoft and Ubisoft sat alongside up-and-coming indie designers and game developers. Many artists were there as well, including body-painting artist Brandon McGill.\u003c/p>\n\u003cfigure id=\"attachment_11113816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113816\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-800x525.jpg\" alt=\"Brandon McGill begins painting the hand of model Ty Monzingo. \" width=\"800\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs07-960x630.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brandon McGill begins painting the hand of model Ty Monzingo. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Video games like “Super Mario Smash Brothers” and “Legend of Zelda” were available to play in the Magfest Arcade.\u003c/p>\n\u003cfigure id=\"attachment_11113818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113818\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-800x533.jpg\" alt=\"Jennifer Unkle (left) and Colin Dettmar play Mario Kart Double Dash in the Magfest Arcade at the GX4 convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs09-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Unkle (left) and Colin Dettmar play Mario Kart Double Dash in the Magfest Arcade at the GX4 convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11113819\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113819\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-800x533.jpg\" alt=\"Sam (center) watches as two of her friends play video games in the Magfest Arcade. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs12-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam (center) watches as two of her friends play video games in the Magfest Arcade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those gamers who preferred analog to digital, a giant Jenga tower was a delightful throwback to childhood. There was also a tabletop gaming room featuring multiple role-playing and board games.\u003c/p>\n\u003cfigure id=\"attachment_11113820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113820\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-800x533.jpg\" alt=\"Greg Gadwood (right) plays a game of Giant Jenga with Alex Meza at the GaymerX GX4 Convention.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs19-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Gadwood (right) plays a game of Giant Jenga with Alex Meza at the GaymerX GX4 Convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the physical gaming, however, GaymerX offered panel discussions on a wide variety of topics. Several discussed the best practices for developing new indie games and how to use current video programming software. A few also took a deep look at how games can help build a sense of self.\u003c/p>\n\u003cp>During one panel, game critic Katherine Cross and game designer Crystal Frasier discussed how people can discover their identity through the use of games.\u003c/p>\n\u003cfigure id=\"attachment_11113821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-800x533.jpg\" alt=\"Widely published game critic Katherine Cross and writer, game developer, and graphic designer Crystal Frasier speak at a panel on finding identity through gaming.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs14-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Widely published game critic \u003ca href=\"https://quinnae.com/\" target=\"_blank\" rel=\"noopener\">Katherine Cross\u003c/a> and writer, game developer and graphic designer \u003ca href=\"https://twitter.com/amazonchique\" target=\"_blank\" rel=\"noopener\">Crystal Frasier\u003c/a> speak at a panel on finding identity through gaming. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Cross and Frasier spoke about the idea that by playing games as children, players are allowed to investigate and experiment with things they may not have a term for or understanding of yet. When it comes to gender and how they perceive themselves in the world, being able to act ideas out in a video game can allow players to “try on” different personas as they develop in life.\u003c/p>\n\u003cfigure id=\"attachment_11113822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113822 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-800x533.jpg\" alt=\"Two cosplayers costumed as Janey Spring (left) and Athena the Gladiator (right) from Borderlands the Presequel hold hands and kiss on stage during the GX4 Cosplay Pageant at the GaymerX Convention. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two cosplayers costumed as Janey Spring (left) and Athena the Gladiator (right) from “Borderlands: The Pre-Sequel” hold hands and kiss on stage during the GX4 Cosplay Pageant at the GaymerX Convention. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two biggest events of the convention were the Cosplay Pageant and the Kitty Powers Drag Show.\u003c/p>\n\u003cp>Drag queens and kings graced the stage during the Kitty Powers Drag Show Saturday night, offering renditions of Lady Gaga’s “Applause” and many popular video game theme songs.\u003c/p>\n\u003cp>To cap off the weekend’s convention, over 30 contestants danced, catwalked and crawled across the stage during the GX4 Cosplay Pageant on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11113823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11113823\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-800x584.jpg\" alt=\"Mettaton, from the indie role playing video game Undertale, cosplayed on stage during the GX4 Cosplay Pageant.\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-800x584.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-400x292.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-1180x862.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs03-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mettaton, from the indie role playing video game “Undertale,” cosplayed on stage during the GX4 Cosplay Pageant. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A wide variety of cosplay characters and costumes competed for prizes during the pageant. From sewing, gluing and taping costumes to shading, highlighting and outlining makeup, each one of the cosplayers brought their own personal style to their characters.\u003c/p>\n\u003cfigure id=\"attachment_11113824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11113824 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-800x533.jpg\" alt=\"Cosplay character Handsome Jack, from the video game Borderlands: The Presequel, winks and waves on stage during the GX 4 Cosplay Pageant\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/161002_GaymerX_bhs04-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cosplay character Handsome Jack, from the video game “Borderlands: The Pre-Sequel,” winks and waves on stage during the GX 4 Cosplay Pageant \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Gil Goldstein says, “It’s nice that they have a place that people can come and be themselves — or someone else.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"title": "California's 'Godfather of Chicano Theater' Wins National Medal of Arts",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/284755246\" 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>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O8QqiJesJwY\u003c/p>\n\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\u003c/p>\n\u003cp>https://youtu.be/z4EEuupp_eY?t=31s\u003c/p>\n\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Luis Valdez, writer and director of “Zoot Suit” and \"La Bamba,” was honored for his 50-year career of bringing Latino culture to the American stage and screen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Luis Valdez, born to a family of migrant workers in Delano, California, received the \u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\">National Medal of Arts\u003c/a> last week. The writer and director of \"Zoot Suit\" and \"La Bamba\" was honored for his 50-year career of bringing Chicano and Latino culture to the American stage and screen.\u003c/p>\n\u003cp>\u003cem>The California Report’s\u003c/em> Sasha Khokha spoke to Valdez about his journey from marching with Cesar Chavez to meeting President Obama in the White House.\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/284755246&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/284755246'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Your theater company, \u003ca href=\"http://elteatrocampesino.com/\">El Teatro Campesino\u003c/a>, got its start in the 1965 farmworker grape strike in Delano in the Central Valley, where you performed skits on the back of flatbed trucks. How did theater help the farmworker movement?\u003c/strong>\u003c/p>\n\u003cp>The picket line was basically composed of people standing out in the middle of nowhere with bullhorns, talking their heads off all day long. Injecting chants and music and even some preliminary \u003cem>actos -- \u003c/em>we didn't call them skits, we called them \u003cem>actos -- \u003c/em>on top of a flatbed truck was another way to extend the power of the picket line. It could get boring to be out there for hours. Teatro helped to liven things up and to focus ideas. For me, it gave theater a whole new meaning. It wasn't just for the sake of entertainment, much less entertaining the bourgeoisie. This was for the poorest of the poor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O8QqiJesJwY'\n title='//www.youtube.com/embed/O8QqiJesJwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>One of your most famous plays is \"Zoot Suit,\" the first show by a Chicano playwright to make it to Broadway, which of course turned into a major movie. Now you’re \u003ca href=\"https://www.centertheatregroup.org/tickets/mark-taper-forum/2017-18/zoot-suit/\">bringing it back\u003c/a> to the Mark Taper Forum in Los Angeles, 38 years after it premiered there. How do you think about \"Zoot Suit\" differently now? \u003c/strong>\u003c/p>\n\u003cp>\"Zoot Suit\" is like a grandfather to a lot of Latino plays. It proved that we were box office, because the play ran for a year in Los Angeles. It played to almost a half a million people. That's a phenomenal record anywhere. It brought thousands and thousands of Latinos into the theater world who had never seen theater before. I think all the regional theater companies became aware that there's a Latino audience out there and they're willing to buy tickets if the material suits them.\u003c/p>\n\u003cp>\u003cstrong>One of your newest shows, \"\u003ca href=\"https://ww2.kqed.org/forum/2016/02/25/teatro-campesino-founder-luis-valdez-brings-valley-of-the-heart-to-san-jose-stage/\">Valley of the Heart\u003c/a>,\" tells the story of the son of a Mexican farmworker who falls in love with a Japanese-American farmer’s daughter during the anti-Japanese hysteria of World War II. Their eyes meet as they pick broccoli in Cupertino, in today’s Silicon Valley. What drew you to that story?\u003c/strong>\u003c/p>\n\u003cp>Like a lot of writers I draw from the incidents of my life. My dad took over the ranch of his Japanese employer back in 1941, in the Delano area. I thought my dad owned the place. It wasn't until after the war that I learned it was not my dad's ranch. It had belonged to a Japanese-American farmer, and he and his family were taken away and put in a concentration camp. I was 6 years old. And that shocked me, because I understood the war, but these were Americans!\u003c/p>\n\u003cp>And then in 1947, when I was 7, I met a friend who I thought was Filipino; his name was Esteban Cornejo. But it turned out his father was Mexican, and his mother was Japanese-American. They lived in this little shack, a wooden frame with cardboard for wallpaper. The thing I'll never forget is that the mother could cook both Japanese food and Mexican food like an expert. My first taste of Japanese food was at their table. And so I never forgot them, and I never forgot my friend Esteban.\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/z4EEuupp_eY'\n title='//www.youtube.com/embed/z4EEuupp_eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You were recently named a member of the Academy of Motion Picture Arts and Sciences, which has been criticized for its lack of diversity. What will you be looking for when you’re judging the Oscars?\u003c/strong>\u003c/p>\n\u003cp>It's not just a question of the actors, although everybody thinks of the actors. No, no. You need writers, screenwriters, producers. You need people in executive positions that can give you the green light and make the thing happen. And if they're not Latinos at least they should be Latino-conscious. And that's always a struggle in Hollywood because it's a question of educating people at every level.\u003c/p>\n\u003cp>We have a ways to go. But despite the ugliness, despite the violence, despite the contradictions of the human race, I still believe in people. We now need to keep moving forward, and the arts make that possible. The arts make us more empathetic and more understanding. The way to the human mind is through the heart. And so as a playwright one of the things that I strive for is to touch the heart of the audience.\u003c/p>\n\u003cp>\u003cstrong>You just met President Obama. What did you say to him?\u003c/strong>\u003c/p>\n\u003cp>I told him that I did some commercials for him in Salinas in Spanish when he was running the first time in the primary, because I've been supporting him all these years. I told him I was proud of him, and that we're going to miss him. To me, being in the Obama White House was like a breath of fresh air. To see him so eloquent and so alive is an answer to all those years of oppression. But that oppression still exists in agriculture. Farmworkers are still wage slaves. And until we change our values, until we stop looking down our noses at the people that grow the food that we all consume, the world will not change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Music, New Perspectives: The Gaslamp Killer, Warpaint and Dwight Yoakam",
"title": "New Music, New Perspectives: The Gaslamp Killer, Warpaint and Dwight Yoakam",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>It's all about perspective for the three acts spotlighted in this month's California pop music roundup: The Gaslamp Killer's perspective coming from a near-death and life-altering accident, Warpaint's from a hiatus and growth, and Dwight Yoakam's from looking back over his three-decade career and back to his Kentucky roots.\u003c/p>\n\u003cp>An angelic child’s voice begins “Instrumentalepathy,” the follow-up to \u003ca href=\"http://www.thegaslampkiller.com\">\u003cb>the Gaslamp Killer\u003c/b>\u003c/a>’s aptly titled 2012 debut “Breakthrough.” And the first single released to preview the album is called “Residual Tingles.” But then, the child is singing “This is the way the world ends,” and those tingles are the constant reminders for the artist of just what has gone on in his life since that debut.\u003c/p>\n\u003cp>See, in the summer of 2013, William Benjamin Bensussen — the San Diego-raised, Los Angeles-based producer and DJ who uses the Gaslamp Killer name professionally — nearly lost that life. Riding home one night, he flipped his scooter, landed hard and would have succumbed to internal hemorrhaging were it not for astute surgeons slicing open his chest to deal with the damage not long before he would have bled to death.\u003c/p>\n\u003cp>It left him bedridden, in pain, without his spleen, physically (and pharmaceutically) impaired for months. It also left him in career and artistic limbo, having come just as he was grabbing the spotlight with his inventive sonic senses, as he’d showcased on “Breakthrough,” as well as various productions and collaborations as he became a rising star in the \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a> label community that has formed around electro-ace Flying Lotus. (The Gaslamp Killer was on the recent Brainfeeder bill at the Hollywood Bowl that also featured Flying Lotus, Thundercat and new signee George Clinton's P-Funk.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NOk8iEv5HG0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So… “Tingles?” Sounds benign, pleasant even. Certainly small stuff in context, especially if you see the photo that ran back then in the LA Weekly showing his post-surgical chest stapled closed from abdomen to sternum. But the tingles, one can assume, are the continuing reminders — both physical and psychological — of the trauma. And it’s not just tingles, but twinges, spasms, jolts, as well as some out-of-body floating — residual or otherwise — that provide much of the language and punctuation of the sound collages TGK has crafted with equal amounts of skill and personality. A few other titles are giveaways: “The Butcher,” “Gammalaser Kill,” “Shred You to Bits.” And make that personalities. Bensussen has tapped a bunch of friends, including singer Gonjasufi and former Jogger member Amir Yaghmai, to help him with this sonic/emotional exploration.\u003c/p>\n\u003cp>That opening track with the kid’s voice, “Pathetic Dreams,” is a disjointed journey through a state between consciousness and unconsciousness, made in collaboration with Kid Moxie and Miguel Atwood-Ferguson. That feeling continues through the album, bouncing from the relatively steady “Tingles” (which could make a good soundtrack piece) to the jarring electro-pings of “The Butcher” (featuring electronic music producer Mophono). Live drums provide a sonic thread — calling it a heartbeat may be too prosaic, though maybe that’s just it, in this case sometimes unsteady, sometimes throbbing or pounding, like blood in a fevered head.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TycqoWwBpxM\u003c/p>\n\u003cp>Most striking, perhaps, are the two tracks featuring Yaghmai’s Turkish tambour touches, which also graced a couple of “Breakthrough” pieces, echoing the multiculturally expansive and expanded explosion of the live Gaslamp Killer Experience shows, such as the one at England's noted Glastonbury Festival in 2015. On this album, with “Warm Wind” and “Haleva,” the two create psychedelic exoticisms, dreamy and otherworldly, brittle and, yes, tingly.\u003c/p>\n\u003cp>\u003cstrong>Warpaint\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11101113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Warpaint-800x533.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11101113\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warpaint \u003ccite>(Mia Kirby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something delightfully straightforward, even quaint, about \u003ca href=\"http://warpaintwarpaint.com\">\u003cb>Warpaint\u003c/b>\u003c/a>’s new song, titled, well, “New Song.” It works on two levels, both as an analogy for a new relationship — the lyrics are very plain in that regard, the meaning right on the surface, kind of sweet and familiar — and as a signal that the L.A. quartet is doing some things new with its songs. This one in particular is marked by its bright melodies, again sweet and familiar, like something a poppy British ‘80s group might have done. Bananarama with better singing.\u003c/p>\n\u003cp>But before you worry, there is plenty under that surface on “Heads Up,” the album that sports that track. That’s clear from the first song, “Whiteout,” as Stella Mozgawa’s spare drums and Jenny Lee Lindberg’s rubbery bass conjure the dubby, murky mystique that had been the band’s signature sound through its two previous albums. When Lindberg and guitarist Emily Kokai break into a soaring chorus here, the effect is elevating, the pop touches and art instincts complementing and enhancing each other — and setting up the real treat of the swirls of guitars and stuttered rhythms that then dissolve back into the opening spareness.\u003c/p>\n\u003cp>And that, pretty much, is the new Warpaint, the four women having reconvened after exploring some solo and side projects for a couple of years, recharged, renewed and with new vision of what they can be as a band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_PhAMlJDMeI\u003c/p>\n\u003cp>“New Song” is hardly an aberration, though, and is something of a touchstone here. “Don’t Let Go” ventures into dreamy pop, echoed duo vocals reaching back to the early ‘60s or even ‘50s, filtered again through the ‘80s — though when the two sing, ruefully, “It’s the end of us, because of what I’ve done…” the guitars get a little dissonant, out of sync, echoing the emotions.\u003c/p>\n\u003cp>The sounds and moods cycle. The title song is perky self-affirmation, bubbly even. “By Your Side,” gets heavy-dubby, with spiky organ jabs almost as if heard from the next room. But even the poppiest songs have their dark turns and musical weirdnesses, and even the duskier songs have their sunny pop passages.\u003c/p>\n\u003cp>Still, for all the new tones and expressiveness, the closing “Today Dear” may be a bit of a shock. It’s a low-key acoustic turn, like something from a lost ‘60s freak-folk act, picked guitars and echoed voices blending in swirls of harmony. It’s lovely. You might even say quaint.\u003c/p>\n\u003cp>\u003cstrong>Dwight Yoakam\u003cbr>\n\u003c/strong>\u003cbr>\nDwight Yoakam’s getting a lot of attention for the bluegrass-y version of Prince’s “Purple Rain” that caps off his acoustic-country showcase “Swimmin’ Pools, Movie Stars.” (And don’t we love that album title?) But we want to spotlight a revision of another classic that’s one of the set’s highlights: Yoakam’s own “Guitars, Cadillacs,” which had first life as the near-title song of his debut album “Guitars, Cadillacs, Etc., Etc.” — a full 30 years ago. That’s half his life (he turns 60 next month) and this new take, a frisky frolic, bridges the decades with a wink and a laugh at all that’s happened along the way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kozRt-Wv54A\u003c/p>\n\u003cp>When he wrote the song, he was a pretty fresh arrival in Hollywood from Kentucky (yes, the Bluegrass State), rebelling against urban cowboy slickness and finding a place alongside the resurgent roots and California country revival in this town south of Bakersfield, becoming a golden boy of that scene. \u003c/p>\n\u003cp>Now having had his own Hollywood career (from an acclaimed co-star role with Billy Bob Thornton in “Sling Blade” to a top spot in last year’s Christian drama “90 Minutes to Heaven”) and relationships alongside his music career, he’s returned to his own home state musical roots with affection and bubbling spirit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The whole album’s about bringing that past new perspective, and “Purple Rain” is understandably the attention-getter. But this revisit to an old friend is the best kind of nostalgia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's all about perspective for the three acts spotlighted in this month's California pop music roundup: The Gaslamp Killer's perspective coming from a near-death and life-altering accident, Warpaint's from a hiatus and growth, and Dwight Yoakam's from looking back over his three-decade career and back to his Kentucky roots.\u003c/p>\n\u003cp>An angelic child’s voice begins “Instrumentalepathy,” the follow-up to \u003ca href=\"http://www.thegaslampkiller.com\">\u003cb>the Gaslamp Killer\u003c/b>\u003c/a>’s aptly titled 2012 debut “Breakthrough.” And the first single released to preview the album is called “Residual Tingles.” But then, the child is singing “This is the way the world ends,” and those tingles are the constant reminders for the artist of just what has gone on in his life since that debut.\u003c/p>\n\u003cp>See, in the summer of 2013, William Benjamin Bensussen — the San Diego-raised, Los Angeles-based producer and DJ who uses the Gaslamp Killer name professionally — nearly lost that life. Riding home one night, he flipped his scooter, landed hard and would have succumbed to internal hemorrhaging were it not for astute surgeons slicing open his chest to deal with the damage not long before he would have bled to death.\u003c/p>\n\u003cp>It left him bedridden, in pain, without his spleen, physically (and pharmaceutically) impaired for months. It also left him in career and artistic limbo, having come just as he was grabbing the spotlight with his inventive sonic senses, as he’d showcased on “Breakthrough,” as well as various productions and collaborations as he became a rising star in the \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a> label community that has formed around electro-ace Flying Lotus. (The Gaslamp Killer was on the recent Brainfeeder bill at the Hollywood Bowl that also featured Flying Lotus, Thundercat and new signee George Clinton's P-Funk.)\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/NOk8iEv5HG0'\n title='//www.youtube.com/embed/NOk8iEv5HG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So… “Tingles?” Sounds benign, pleasant even. Certainly small stuff in context, especially if you see the photo that ran back then in the LA Weekly showing his post-surgical chest stapled closed from abdomen to sternum. But the tingles, one can assume, are the continuing reminders — both physical and psychological — of the trauma. And it’s not just tingles, but twinges, spasms, jolts, as well as some out-of-body floating — residual or otherwise — that provide much of the language and punctuation of the sound collages TGK has crafted with equal amounts of skill and personality. A few other titles are giveaways: “The Butcher,” “Gammalaser Kill,” “Shred You to Bits.” And make that personalities. Bensussen has tapped a bunch of friends, including singer Gonjasufi and former Jogger member Amir Yaghmai, to help him with this sonic/emotional exploration.\u003c/p>\n\u003cp>That opening track with the kid’s voice, “Pathetic Dreams,” is a disjointed journey through a state between consciousness and unconsciousness, made in collaboration with Kid Moxie and Miguel Atwood-Ferguson. That feeling continues through the album, bouncing from the relatively steady “Tingles” (which could make a good soundtrack piece) to the jarring electro-pings of “The Butcher” (featuring electronic music producer Mophono). Live drums provide a sonic thread — calling it a heartbeat may be too prosaic, though maybe that’s just it, in this case sometimes unsteady, sometimes throbbing or pounding, like blood in a fevered head.\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/TycqoWwBpxM'\n title='//www.youtube.com/embed/TycqoWwBpxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Most striking, perhaps, are the two tracks featuring Yaghmai’s Turkish tambour touches, which also graced a couple of “Breakthrough” pieces, echoing the multiculturally expansive and expanded explosion of the live Gaslamp Killer Experience shows, such as the one at England's noted Glastonbury Festival in 2015. On this album, with “Warm Wind” and “Haleva,” the two create psychedelic exoticisms, dreamy and otherworldly, brittle and, yes, tingly.\u003c/p>\n\u003cp>\u003cstrong>Warpaint\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11101113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Warpaint-800x533.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11101113\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Warpaint-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warpaint \u003ccite>(Mia Kirby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s something delightfully straightforward, even quaint, about \u003ca href=\"http://warpaintwarpaint.com\">\u003cb>Warpaint\u003c/b>\u003c/a>’s new song, titled, well, “New Song.” It works on two levels, both as an analogy for a new relationship — the lyrics are very plain in that regard, the meaning right on the surface, kind of sweet and familiar — and as a signal that the L.A. quartet is doing some things new with its songs. This one in particular is marked by its bright melodies, again sweet and familiar, like something a poppy British ‘80s group might have done. Bananarama with better singing.\u003c/p>\n\u003cp>But before you worry, there is plenty under that surface on “Heads Up,” the album that sports that track. That’s clear from the first song, “Whiteout,” as Stella Mozgawa’s spare drums and Jenny Lee Lindberg’s rubbery bass conjure the dubby, murky mystique that had been the band’s signature sound through its two previous albums. When Lindberg and guitarist Emily Kokai break into a soaring chorus here, the effect is elevating, the pop touches and art instincts complementing and enhancing each other — and setting up the real treat of the swirls of guitars and stuttered rhythms that then dissolve back into the opening spareness.\u003c/p>\n\u003cp>And that, pretty much, is the new Warpaint, the four women having reconvened after exploring some solo and side projects for a couple of years, recharged, renewed and with new vision of what they can be as a band.\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/_PhAMlJDMeI'\n title='//www.youtube.com/embed/_PhAMlJDMeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“New Song” is hardly an aberration, though, and is something of a touchstone here. “Don’t Let Go” ventures into dreamy pop, echoed duo vocals reaching back to the early ‘60s or even ‘50s, filtered again through the ‘80s — though when the two sing, ruefully, “It’s the end of us, because of what I’ve done…” the guitars get a little dissonant, out of sync, echoing the emotions.\u003c/p>\n\u003cp>The sounds and moods cycle. The title song is perky self-affirmation, bubbly even. “By Your Side,” gets heavy-dubby, with spiky organ jabs almost as if heard from the next room. But even the poppiest songs have their dark turns and musical weirdnesses, and even the duskier songs have their sunny pop passages.\u003c/p>\n\u003cp>Still, for all the new tones and expressiveness, the closing “Today Dear” may be a bit of a shock. It’s a low-key acoustic turn, like something from a lost ‘60s freak-folk act, picked guitars and echoed voices blending in swirls of harmony. It’s lovely. You might even say quaint.\u003c/p>\n\u003cp>\u003cstrong>Dwight Yoakam\u003cbr>\n\u003c/strong>\u003cbr>\nDwight Yoakam’s getting a lot of attention for the bluegrass-y version of Prince’s “Purple Rain” that caps off his acoustic-country showcase “Swimmin’ Pools, Movie Stars.” (And don’t we love that album title?) But we want to spotlight a revision of another classic that’s one of the set’s highlights: Yoakam’s own “Guitars, Cadillacs,” which had first life as the near-title song of his debut album “Guitars, Cadillacs, Etc., Etc.” — a full 30 years ago. That’s half his life (he turns 60 next month) and this new take, a frisky frolic, bridges the decades with a wink and a laugh at all that’s happened along the way.\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/kozRt-Wv54A'\n title='//www.youtube.com/embed/kozRt-Wv54A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When he wrote the song, he was a pretty fresh arrival in Hollywood from Kentucky (yes, the Bluegrass State), rebelling against urban cowboy slickness and finding a place alongside the resurgent roots and California country revival in this town south of Bakersfield, becoming a golden boy of that scene. \u003c/p>\n\u003cp>Now having had his own Hollywood career (from an acclaimed co-star role with Billy Bob Thornton in “Sling Blade” to a top spot in last year’s Christian drama “90 Minutes to Heaven”) and relationships alongside his music career, he’s returned to his own home state musical roots with affection and bubbling spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The whole album’s about bringing that past new perspective, and “Purple Rain” is understandably the attention-getter. But this revisit to an old friend is the best kind of nostalgia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the Laotian Master Musician Who Won America’s Highest Folk Arts Award",
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"content": "\u003cp>Clothes hang to dry on a metal fence surrounding the one-story apartment complex where Bounxeung Synanonh lives. A few toys litter the thirsty lawn.\u003c/p>\n\u003cp>But open the front door going directly into Synanonh’s tidy living room, and suddenly signs of ordinary life fade away to the sound of the \u003ca href=\"http://www.ksanti.net/free-reed/essays/khaenlaos.html\">khaen\u003c/a>, a traditional Laotian bamboo mouth organ.\u003c/p>\n\u003cp>Yes, off the beaten path in central Fresno, you’ll find a masterful musician, so well regarded that he was recently chosen as one of only nine artists in the United States to receive the \u003ca href=\"https://www.arts.gov/honors/heritage\">National Heritage Fellowship\u003c/a> from the National Endowment for the Arts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/284372971″ 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>There’s no higher award honoring traditional and folk artists in America. Some past recipients include BB King, the creator of bluegrass Bill Monroe, and ballad singer and storyteller Sheila Kay Adams. Rarely are the artists as famous as the king of the blues, but they are masters of their work, connecting people to a sense of place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And every time \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/bounxeung-synanonh\">Synanonh plays the khaen\u003c/a>, he is playing nothing less than the sound of home for the Laotian diaspora in Fresno and beyond. Playing the khaen is kind of like playing the harmonica in that the musician inhales and exhales through the instrument, allowing for a continuous sound.\u003c/p>\n\u003cp>But the khaen looks nothing like a harmonica. It has 16 long bamboo pipes or “flutes.” Synanonh blows through only one hole and plays notes with his fingers on the bamboo pipes. Each one of the pipes has a small metal reed in it.\u003c/p>\n\u003cp>When Synanonh was 15, he learned to play the khaen from his uncle and other village elders in Laos. That same year, he lost his eyesight. He says being blind forced him to learn only by ear.\u003c/p>\n\u003cp>“Once he got blind, and can’t see, then he plays more and more, and now he becomes an expert,” says Sonny Somchitvongsa, Synanonh’s interpreter.\u003c/p>\n\u003cp>In fact, Lao communities all over the country invite Synanonh to perform and even teach music lessons. This summer, he performed in Washington, D.C., at the \u003ca href=\"http://www.festival.si.edu/\">Smithsonian Folklife Festival\u003c/a>. His dedication to preserving the tradition of the khaen is one reason why he won a National Heritage Fellowship, which includes a $25,000 award.\u003c/p>\n\u003cfigure id=\"attachment_11101008\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg\" alt=\"Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power.\" width=\"800\" height=\"1051\" class=\"size-medium wp-image-11101008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-1180x1551.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-960x1262.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The khaen is not only a rich solo instrument; it’s also used to accompany storytelling in song.\u003c/p>\n\u003cp>Somchitvongsa is happy to demonstrate but he first he has to make sure Synanonh is in the right key.\u003c/p>\n\u003cp>“I can’t sing the high key, too high,” he says, and then sings a few words. “OK. Now it’s ready.”\u003c/p>\n\u003cp>He sings a song called “Tai Dam Lam Phanh.” It’s about an ethnic group called Tai Dam that has to flee its homeland because of all the bombing during the CIA’s secret war in Laos.\u003c/p>\n\u003cp>It’s a story Synanonh knows all too well. Like many Lao refugees here in the United States, he fled his homeland in the late 1970s for Thailand, where he ended up in a refugee camp. In 1981, when he was 32, he came to the U.S.\u003c/p>\n\u003cp>“I landed in Iowa, I lived there, but there’s no Lao people there,” he says. “Life is not too happy, and also it’s cold, and there’s snow.”\u003c/p>\n\u003cp>He lasted about a year in Iowa, until friends and cousins in Fresno urged him to move here where the weather is warm.\u003c/p>\n\u003cp>His wife, Kham Souvanakhyly, is happy he came to Fresno, too. She is also a refugee from Laos, but the couple met in the Central Valley. She has nine children from a previous marriage. Synanonh has tried to teach some of his stepchildren to play the khaen but they haven’t shown much interest, he says. Still, there are plenty of other students interested in learning from him.\u003c/p>\n\u003cp>Souvanakhyly says she is very proud of her husband. It makes her happy to hear him play. But, she says, every time he plays, she misses her homeland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says she yearns for Laos. And like others who are part of the diaspora, when she hears the khaen, memories of what she left behind so many years ago come flooding back. Bounxeung Synanonh will receive his award at the Library of Congress in Washington later this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Clothes hang to dry on a metal fence surrounding the one-story apartment complex where Bounxeung Synanonh lives. A few toys litter the thirsty lawn.\u003c/p>\n\u003cp>But open the front door going directly into Synanonh’s tidy living room, and suddenly signs of ordinary life fade away to the sound of the \u003ca href=\"http://www.ksanti.net/free-reed/essays/khaenlaos.html\">khaen\u003c/a>, a traditional Laotian bamboo mouth organ.\u003c/p>\n\u003cp>Yes, off the beaten path in central Fresno, you’ll find a masterful musician, so well regarded that he was recently chosen as one of only nine artists in the United States to receive the \u003ca href=\"https://www.arts.gov/honors/heritage\">National Heritage Fellowship\u003c/a> from the National Endowment for the Arts.\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/284372971″&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/284372971″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s no higher award honoring traditional and folk artists in America. Some past recipients include BB King, the creator of bluegrass Bill Monroe, and ballad singer and storyteller Sheila Kay Adams. Rarely are the artists as famous as the king of the blues, but they are masters of their work, connecting people to a sense of place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And every time \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/bounxeung-synanonh\">Synanonh plays the khaen\u003c/a>, he is playing nothing less than the sound of home for the Laotian diaspora in Fresno and beyond. Playing the khaen is kind of like playing the harmonica in that the musician inhales and exhales through the instrument, allowing for a continuous sound.\u003c/p>\n\u003cp>But the khaen looks nothing like a harmonica. It has 16 long bamboo pipes or “flutes.” Synanonh blows through only one hole and plays notes with his fingers on the bamboo pipes. Each one of the pipes has a small metal reed in it.\u003c/p>\n\u003cp>When Synanonh was 15, he learned to play the khaen from his uncle and other village elders in Laos. That same year, he lost his eyesight. He says being blind forced him to learn only by ear.\u003c/p>\n\u003cp>“Once he got blind, and can’t see, then he plays more and more, and now he becomes an expert,” says Sonny Somchitvongsa, Synanonh’s interpreter.\u003c/p>\n\u003cp>In fact, Lao communities all over the country invite Synanonh to perform and even teach music lessons. This summer, he performed in Washington, D.C., at the \u003ca href=\"http://www.festival.si.edu/\">Smithsonian Folklife Festival\u003c/a>. His dedication to preserving the tradition of the khaen is one reason why he won a National Heritage Fellowship, which includes a $25,000 award.\u003c/p>\n\u003cfigure id=\"attachment_11101008\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg\" alt=\"Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power.\" width=\"800\" height=\"1051\" class=\"size-medium wp-image-11101008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-800x1051.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-400x526.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-1180x1551.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/09/khaen-960x1262.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bounxeung Synanonh plays the khaen, which he says takes a lot of lung power. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The khaen is not only a rich solo instrument; it’s also used to accompany storytelling in song.\u003c/p>\n\u003cp>Somchitvongsa is happy to demonstrate but he first he has to make sure Synanonh is in the right key.\u003c/p>\n\u003cp>“I can’t sing the high key, too high,” he says, and then sings a few words. “OK. Now it’s ready.”\u003c/p>\n\u003cp>He sings a song called “Tai Dam Lam Phanh.” It’s about an ethnic group called Tai Dam that has to flee its homeland because of all the bombing during the CIA’s secret war in Laos.\u003c/p>\n\u003cp>It’s a story Synanonh knows all too well. Like many Lao refugees here in the United States, he fled his homeland in the late 1970s for Thailand, where he ended up in a refugee camp. In 1981, when he was 32, he came to the U.S.\u003c/p>\n\u003cp>“I landed in Iowa, I lived there, but there’s no Lao people there,” he says. “Life is not too happy, and also it’s cold, and there’s snow.”\u003c/p>\n\u003cp>He lasted about a year in Iowa, until friends and cousins in Fresno urged him to move here where the weather is warm.\u003c/p>\n\u003cp>His wife, Kham Souvanakhyly, is happy he came to Fresno, too. She is also a refugee from Laos, but the couple met in the Central Valley. She has nine children from a previous marriage. Synanonh has tried to teach some of his stepchildren to play the khaen but they haven’t shown much interest, he says. Still, there are plenty of other students interested in learning from him.\u003c/p>\n\u003cp>Souvanakhyly says she is very proud of her husband. It makes her happy to hear him play. But, she says, every time he plays, she misses her homeland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says she yearns for Laos. And like others who are part of the diaspora, when she hears the khaen, memories of what she left behind so many years ago come flooding back. Bounxeung Synanonh will receive his award at the Library of Congress in Washington later this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are few things more exciting than watching young (or not so young) musicians find their voices. The sound of discovery shines out of every track on “\u003ca href=\"http://ridgewayrecords.net/opaluna-2/\">Opaluna\u003c/a>” (Ridgeway Records), the eponymous new album by two 20-something musicians, the Colombian-born vocalist \u003ca href=\"http://www.susanapineda.com/opaluna\">Susana Pineda\u003c/a> and Bay Area guitarist Luis Salcedo.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/283269973\" 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>Pineda hails from Medellin and decided to study in the U.S. with the encouragement of her mentor, \u003ca href=\"https://www.youtube.com/watch?v=XGm-6-ewoH0\">Claudia Gomez\u003c/a>, who was a major force in the Bay Area Latin music scene in the 1980s and '90s before moving back to Colombia. Pineda and Salcedo met at the\u003ca href=\"http://cjc.edu/\" target=\"_blank\"> California Jazz Conservatory\u003c/a> in Berkeley, and they’ve honed a gorgeous roots-meets-21\u003csup>st \u003c/sup>century sound filtered through their love of jazz.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-11089942\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Opaluna_COVER.jpg\" alt=\"Opaluna_COVER\" width=\"395\" height=\"367\">\u003c/p>\n\u003cp>Salcedo is an accomplished guitarist who creates intricately latticed settings for Pineda’s gleaming vocals, breathing new life into the classic bolero \"\u003ca href=\"https://www.youtube.com/watch?v=Phc3_YNBR6U&index=5&list=PLQ44iCsZHimRcAsbh33C8-d9r0YWu28dj\">Dos Gardenias.\u003c/a>\" They're joined on several tracks by percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a> and \u003ca href=\"http://www.jeffdenson.com\">bassist Jeff Denson\u003c/a>, who produced the album (and founded and runs \u003ca href=\"http://ridgewayrecords.net\">Ridgeway Records\u003c/a>). Their originals are consistently winsome and winning, but I particularly loved their arrangement of “Mahjong” (with Santos) that foregrounds the folkloric melodic core of Wayne Shorter’s cosmic harmonies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opaluna draws on samba and psychedelia, Afro-Caribbean rhythms and an array of folk traditions. Another highlight is “Baile de Opuestos,” a musical translation of Frank Loesser’s “Inchworm” set to a Colombian joropo rhythm. Fresh and endearingly earnest, Opaluna creates jazz with a Latin-American sensibility all their own.\u003c/p>\n\u003cp>Recent graduates aren’t the only players branching out into new territory. One of my favorite new albums is Oakland folk singer \u003ca href=\"http://www.aireeneespiritu.com\">Aireene Espiritu’s\u003c/a> “Back Where I Belong,” a project focusing on songs by or associated with Bay Area R&B great \u003ca href=\"https://en.wikipedia.org/wiki/Sugar_Pie_DeSanto\">Sugar Pie DeSanto\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089943\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg\" alt=\"Aireene Espiritu\" width=\"800\" height=\"803\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-400x401.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu.jpg 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s one of four new roots-music-with-a-twist projects released by the pianist Jim Pugh’s \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a>. The CD that’s gotten the lion’s share of attention, not undeservedly, is Indian-born blues harmonica player Aki Kumar’s “\u003ca href=\"http://littlevillagefoundation.com/artists/aki-kumar/\">Aki Goes to Bollywood\u003c/a>.” But the Philippine-born Espiritu’s tribute to the great Filipina R&B singer who recorded for Chess Records in the 1960s is similarly head-turning, with arrangements filtered through her love of American roots music.\u003c/p>\n\u003cp>Backed by a top-shelf band led by Norwegian-born guitarist and \u003ca href=\"http://thehub.musiciansfriend.com/art-of-sound/the-art-of-sound-a-conversation-with-producer-christoffer-kid-andersen\">producer Kid Andersen\u003c/a> (who recorded the project in his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> in San Jose), Espiritu plays tenor ukulele and belts out songs in an array of styles. She sings spirituals, Motown, blues, R&B and even covers several songs associated with Pinoy rock\u003ca href=\"https://en.wikipedia.org/wiki/Freddie_Aguilar\"> icon Freddie Aguilar\u003c/a>, infusing Philippine standards with Oakland soul. But at the heart of the album is DeSanto, who wrote some great tunes. Espiritu delivers her “Going Back Where I Belong” with total conviction, and lets her wicked side out on “Witch For a Night.” But my favorite track is her aching version of “My Illusions,” an overlooked b-side from a 1970 DeSanto single.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089944\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Album-Cover--800x800.jpg\" alt=\"Album Cover -\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover-.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, Bay Area \u003ca href=\"http://www.willmagid.com\">multi-instrumentalist Will Magid\u003c/a> delivers an intoxicating dose of orchestral space-age soul on his new album “Alligator Spacewalk.” Featuring an expansive ensemble with strings and brass, the album is most interesting when Magid unleashes \u003ca href=\"http://sharlottegibson.com\">Sharlotte Gibson\u003c/a>, a powerhouse vocalist who sounds gloriously regal on “The Crown” and “Sweet Something.” Best known as the longtime ringleader of the \u003ca href=\"http://www.worldwidedanceparty.com/about.html\">World Wide Dance Party\u003c/a>, an ongoing forum for mixing up a global array of celebratory styles, Magid embraces tradition by re-imaging sounds for tomorrow.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are few things more exciting than watching young (or not so young) musicians find their voices. The sound of discovery shines out of every track on “\u003ca href=\"http://ridgewayrecords.net/opaluna-2/\">Opaluna\u003c/a>” (Ridgeway Records), the eponymous new album by two 20-something musicians, the Colombian-born vocalist \u003ca href=\"http://www.susanapineda.com/opaluna\">Susana Pineda\u003c/a> and Bay Area guitarist Luis Salcedo.\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/283269973&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/283269973'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pineda hails from Medellin and decided to study in the U.S. with the encouragement of her mentor, \u003ca href=\"https://www.youtube.com/watch?v=XGm-6-ewoH0\">Claudia Gomez\u003c/a>, who was a major force in the Bay Area Latin music scene in the 1980s and '90s before moving back to Colombia. Pineda and Salcedo met at the\u003ca href=\"http://cjc.edu/\" target=\"_blank\"> California Jazz Conservatory\u003c/a> in Berkeley, and they’ve honed a gorgeous roots-meets-21\u003csup>st \u003c/sup>century sound filtered through their love of jazz.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-11089942\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Opaluna_COVER.jpg\" alt=\"Opaluna_COVER\" width=\"395\" height=\"367\">\u003c/p>\n\u003cp>Salcedo is an accomplished guitarist who creates intricately latticed settings for Pineda’s gleaming vocals, breathing new life into the classic bolero \"\u003ca href=\"https://www.youtube.com/watch?v=Phc3_YNBR6U&index=5&list=PLQ44iCsZHimRcAsbh33C8-d9r0YWu28dj\">Dos Gardenias.\u003c/a>\" They're joined on several tracks by percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a> and \u003ca href=\"http://www.jeffdenson.com\">bassist Jeff Denson\u003c/a>, who produced the album (and founded and runs \u003ca href=\"http://ridgewayrecords.net\">Ridgeway Records\u003c/a>). Their originals are consistently winsome and winning, but I particularly loved their arrangement of “Mahjong” (with Santos) that foregrounds the folkloric melodic core of Wayne Shorter’s cosmic harmonies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opaluna draws on samba and psychedelia, Afro-Caribbean rhythms and an array of folk traditions. Another highlight is “Baile de Opuestos,” a musical translation of Frank Loesser’s “Inchworm” set to a Colombian joropo rhythm. Fresh and endearingly earnest, Opaluna creates jazz with a Latin-American sensibility all their own.\u003c/p>\n\u003cp>Recent graduates aren’t the only players branching out into new territory. One of my favorite new albums is Oakland folk singer \u003ca href=\"http://www.aireeneespiritu.com\">Aireene Espiritu’s\u003c/a> “Back Where I Belong,” a project focusing on songs by or associated with Bay Area R&B great \u003ca href=\"https://en.wikipedia.org/wiki/Sugar_Pie_DeSanto\">Sugar Pie DeSanto\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089943\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg\" alt=\"Aireene Espiritu\" width=\"800\" height=\"803\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-800x803.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-400x401.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Aireene-Espiritu.jpg 870w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s one of four new roots-music-with-a-twist projects released by the pianist Jim Pugh’s \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a>. The CD that’s gotten the lion’s share of attention, not undeservedly, is Indian-born blues harmonica player Aki Kumar’s “\u003ca href=\"http://littlevillagefoundation.com/artists/aki-kumar/\">Aki Goes to Bollywood\u003c/a>.” But the Philippine-born Espiritu’s tribute to the great Filipina R&B singer who recorded for Chess Records in the 1960s is similarly head-turning, with arrangements filtered through her love of American roots music.\u003c/p>\n\u003cp>Backed by a top-shelf band led by Norwegian-born guitarist and \u003ca href=\"http://thehub.musiciansfriend.com/art-of-sound/the-art-of-sound-a-conversation-with-producer-christoffer-kid-andersen\">producer Kid Andersen\u003c/a> (who recorded the project in his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> in San Jose), Espiritu plays tenor ukulele and belts out songs in an array of styles. She sings spirituals, Motown, blues, R&B and even covers several songs associated with Pinoy rock\u003ca href=\"https://en.wikipedia.org/wiki/Freddie_Aguilar\"> icon Freddie Aguilar\u003c/a>, infusing Philippine standards with Oakland soul. But at the heart of the album is DeSanto, who wrote some great tunes. Espiritu delivers her “Going Back Where I Belong” with total conviction, and lets her wicked side out on “Witch For a Night.” But my favorite track is her aching version of “My Illusions,” an overlooked b-side from a 1970 DeSanto single.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11089944\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/Album-Cover--800x800.jpg\" alt=\"Album Cover -\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover--150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/Album-Cover-.jpg 1503w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Finally, Bay Area \u003ca href=\"http://www.willmagid.com\">multi-instrumentalist Will Magid\u003c/a> delivers an intoxicating dose of orchestral space-age soul on his new album “Alligator Spacewalk.” Featuring an expansive ensemble with strings and brass, the album is most interesting when Magid unleashes \u003ca href=\"http://sharlottegibson.com\">Sharlotte Gibson\u003c/a>, a powerhouse vocalist who sounds gloriously regal on “The Crown” and “Sweet Something.” Best known as the longtime ringleader of the \u003ca href=\"http://www.worldwidedanceparty.com/about.html\">World Wide Dance Party\u003c/a>, an ongoing forum for mixing up a global array of celebratory styles, Magid embraces tradition by re-imaging sounds for tomorrow.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Martin Schmidt and Drew Daniel found the inspiration for their latest album in the basement of their house with an object that for most of us inspires only drudgery. A washing machine. The pair made an album of music almost entirely out of sounds sampled from their washer.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282932575\" 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>This is not the first time Schmidt and Daniel have relied on an unexpected instrument to make an album. The duo have an electronic band called Matmos, which is famous for doing things like making music out of surgery sounds and sampling the neural activity of crayfish. Now with their most recent album, \"Ultimate Care II,\" they can add a Whirlpool washing machine to their repertoire.\u003c/p>\n\u003cp>Schmidt and Daniel started Matmos in the Bay Area. They worked with Icelandic singer Bjork and performed at the Yerba Buena Center for the Arts. They have since moved to Baltimore, where they harnessed the Whirlpool in their basement to make \"Ultimate Care II,\" their first album in three years. The previous record, \"The Marriage of True Minds,\" involved deprivation tanks, parapsychological experiments and a remake of a song from the late '70s called \"E.S.P.\"\u003c/p>\n\u003cp>\"Ultimate Care II\" has only one track, and it is about the length of a wash cycle. If you listen to the excerpt above, you should be able to pick out a few sounds that will remind you of the last time you did your laundry. Perhaps with your next load you'll feel a little less drudgery. Maybe you'll even be compelled to try a little drumbeat of your own on the metallic top of your washer. You'll find that it makes quite a pleasant sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To hear more wonderful and weird auditory treats, check out \u003ca href=\"http://www.theworldaccordingtosound.org\" target=\"_blank\">The World According to Sound\u003c/a> podcast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Schmidt and Drew Daniel found the inspiration for their latest album in the basement of their house with an object that for most of us inspires only drudgery. A washing machine. The pair made an album of music almost entirely out of sounds sampled from their washer.\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/282932575&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/282932575'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is not the first time Schmidt and Daniel have relied on an unexpected instrument to make an album. The duo have an electronic band called Matmos, which is famous for doing things like making music out of surgery sounds and sampling the neural activity of crayfish. Now with their most recent album, \"Ultimate Care II,\" they can add a Whirlpool washing machine to their repertoire.\u003c/p>\n\u003cp>Schmidt and Daniel started Matmos in the Bay Area. They worked with Icelandic singer Bjork and performed at the Yerba Buena Center for the Arts. They have since moved to Baltimore, where they harnessed the Whirlpool in their basement to make \"Ultimate Care II,\" their first album in three years. The previous record, \"The Marriage of True Minds,\" involved deprivation tanks, parapsychological experiments and a remake of a song from the late '70s called \"E.S.P.\"\u003c/p>\n\u003cp>\"Ultimate Care II\" has only one track, and it is about the length of a wash cycle. If you listen to the excerpt above, you should be able to pick out a few sounds that will remind you of the last time you did your laundry. Perhaps with your next load you'll feel a little less drudgery. Maybe you'll even be compelled to try a little drumbeat of your own on the metallic top of your washer. You'll find that it makes quite a pleasant sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Sequins, Sweat and Tears: Bay Area Ballroom Dancing Couple Makes It Big",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282596322\" 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>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>[contextly_sidebar id=\"NPpjN80NLp1II4W4eKPTHelQoJDUWime\"]\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"large\" ids=\"11085204,11085327\"]\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/bumchinandmichelle/\">Bumchin Tegshjargal and Michelle Klets\u003c/a>, a pair of Bay Area 17-year-olds, spin onto the floor. He’s clothed in black from head to toe. She’s wearing a sparkly raspberry-colored dress.\u003c/p>\n\u003cp>They take their places for their first dance: the cha-cha. For a few seconds, they lock eyes and bob their heads to the music. And then, they move.\u003c/p>\n\u003cp>A new generation has discovered ballroom dancing. And not just social dancing. Thanks in part to shows like \"Dancing with the Stars,\" competitive ballroom dancing is in style.\u003c/p>\n\u003cp>Bumchin and Michelle are dancing at the \u003ca href=\"http://internationalgrandball.com/\">International Grand Ball\u003c/a>, a competition that’s held each summer in Burlingame, just south of San Francisco. I watch them snap gracefully from one pose to another. They make sweeping gestures and dramatic faces. They’re almost a cartoon version of elegance and passion.\u003c/p>\n\u003cp>But the lead-up to this moment isn’t so glamorous.\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/282596322&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/282596322'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A few hours before the competition, I find Bumchin standing at the bathroom sink, surrounded by hair products.\u003c/p>\n\u003cp>“I usually put a lot of gel in my hair,” says Bumchin, squirting a gooey glob of gel into his hand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.'\u003ccite>Michelle Klets\u003c/cite>\u003c/aside>\n\u003cp>Bumchin started dancing with Michelle a year and a half ago. In that short time, they’ve become one of the country’s top young couples in Latin dance. Before each competition, they have a routine. One crucial step is making their hair indestructible.\u003c/p>\n\u003cp>“Just in case that she touches your hair,” says Bumchin. “Or another competitor hits you in the head.\"\u003c/p>\n\u003cp>Michelle starts to get ready four hours before they step on the dance floor. “I actually hate getting glammed up for competitions because it's such a fuss!” she says.\u003c/p>\n\u003cp>She puts on hairspray, dramatic makeup and a cream to make her skin look more tan. And then her dress, which is covered in crystals.\u003c/p>\n\u003cp>\"You walk around as if you're a doll because you don't want to mess anything up,\" says Michelle. “I hate that because I'm a very move-y person, I just want to move all the time.”\u003c/p>\n\u003cfigure id=\"attachment_11085270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg\" alt=\"Michelle Klets warms up before starting dance practice in Oakland.\" width=\"800\" height=\"541\" class=\"size-medium wp-image-11085270\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-400x270.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/DoubleMichelle-960x649.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets warms up before starting dance practice in Oakland. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area couple recently won first place in a \u003ca href=\"http://www.dancesportinfo.net/Competition/US_National_Amateur_Dance_Championships_31503/Under_21_Latin_Champ_453255/Results\">national competition\u003c/a>, beating out dancers up to four years older than they are.\u003c/p>\n\u003cp>\"They’re both extremely talented and they both extremely 'want it,'\" says their coach, Cecilia Giovacchini.\u003c/p>\n\u003cp>They have different styles, she says. Bumchin \"is a feeler, he feels the music, he likes to express himself.\" Michelle, she says, is the opposite. “She's more technical, more analytical.\"\u003c/p>\n\u003cp>But together, they bring something else: chemistry. Every dance is like acting out a love story, so choosing the right partner is essential. \u003c/p>\n\u003cp>\"It's like we're family,\" says Bumchin. \"Brother and sister.\"\u003c/p>\n\u003cp>They say their relationship is not a romantic one. But the love is there.\u003c/p>\n\u003cp>\"When I have my breakdowns, he's there,\" says Michelle. \"When I have no makeup on, he's there. I'm the most vulnerable around him. So being on the floor with him, it's not really acting because even as friends we love each other so much.\"\u003c/p>\n\u003cfigure id=\"attachment_11081622\" class=\"wp-caption aligncenter\" style=\"max-width: 1279px\">\u003cimg class=\"wp-image-11081622 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg\" alt=\"RS20859_160812_BallroomDancers_bhs06-qut\" width=\"1279\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut.jpg 1279w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-800x1201.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-1180x1771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/RS20859_160812_BallroomDancers_bhs06-qut-960x1441.jpg 960w\" sizes=\"(max-width: 1279px) 100vw, 1279px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Klets and Bumchin Tegshjargal go through their routines during a recent practice at Top Dance Ballroom in San Jose, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The International Grand Ball is a three-day event that attracts dancers of every age and skill level. Proud families are coming up and down the escalator. That’s where I meet Bumchin’s grandmother, Margaret LeWright.\u003c/p>\n\u003cp>LeWright has been coming to this competition for years, so she knows all the parents. “I cheer for their kids, they cheer for mine,” she says.\u003c/p>\n\u003cp>The families here come from all over. “If you hang out long enough you might learn a foreign language!” says LeWright.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The teachers could be Italian or Spanish or Lithuanian. A lot of the dancers, including Michelle, come from Russian families.\u003c/p>\n\u003cp>Bumchin grew up in Mongolia and moved to Oakland when he was 11. Now he spends all his time dancing. It’s a passion that takes both time and money.\u003c/p>\n\u003cp>\"I would say we've all made some sacrifices,” says LeWright. “I needed a new car ... well, it can wait.\"\u003c/p>\n\u003cp>Bumchin and Michelle compete about once a month. They consider this a smaller local event. But the judges here will score them in other competitions. So they have to make a good impression.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LeWright and I walk into the grand ballroom. Along one side of the dance floor stand the judges, watching every move and making marks in little notebooks. All the dancers’ work and preparation comes down to this moment.\u003c/p>\n\u003cp>A Latin dance competition covers five standard dances: cha-cha, samba, rumba, Paso Doble and jive. They get just a minute and a half for each dance.\u003c/p>\n\u003cp>The jive -- the fastest, most energetic dance -- is saved for last. It’s based on West Coast swing. Bumchin and Michelle must be exhausted by now, but they're grinning. It’s really fun to watch.\u003c/p>\n\u003cp>“The audience loves it,” says LeWright, fawning over her grandson. “He connects with the audience, he connects with his partner.”\u003c/p>\n\u003cp>And then it’s over. They’re on the floor for less time than it takes to boil an egg. Bumchin bows; Michelle curtseys. They join hands and walk off.\u003c/p>\n\u003cp>A few minutes later come the results: Michelle and Bumchin won first place in all five dances.\u003c/p>\n\u003cp>Honestly, they kind of knew they would.\u003c/p>\n\u003cp>“Well, it's always nice to win ...,” says Michelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, she says, this one was just practice. The big test comes in December. They’re going to Paris, to compete at the\u003ca href=\"http://Open%20World%20Championships\"> Open World Championships\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Recreating the Ethiopian Flavors You Grew Up With -- and Starting a Farm in the Process",
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"content": "\u003cp>Menkir Tamrat first came to the U.S. from Ethiopia to pursue a career in tech. But now he’s forging a connection to his childhood home through farming specialty Ethiopian chili peppers outside of Fremont in the East Bay.\u003c/p>\n\u003cp>At his farm, he walks down a row of leaf-green pepper plants to a shady arbor in back. The peppers are ripening to vibrant reds and chocolatey browns. In the coming weeks, Menkir will dry them, crush them and make them into spice blends essential to Ethiopian cuisine.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/282221350\" 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>\"Imagine, there's the berbere, the chili, first,” Menkir explains. “And then 12- or 11-plus additions of seasonings and spices and herbs. So it's a sum of all these different things.”\u003c/p>\n\u003cp>Menkir wasn’t always a farmer. He grew up in the countryside of Ethiopia in the 1960s. He watched farmers working in the fields and selling their vegetables at the market.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the early 1980s, Menkir got his MBA and came to the Bay Area to start a career in high-tech management. The food from his homeland was never far from his heart. But when he tried to recreate it with local California ingredients, something was missing.\u003c/p>\n\u003cp>So he went to Ethiopia and brought back the seeds he needed to start a garden. At his home in Fremont, he filled his yard with Ethiopian herbs and vegetables -- like the ripening \u003ca href=\"https://ethiopianfood.wordpress.com/2015/06/01/berbere-mitmita-liking-it-hot/\">berbere peppers \u003c/a>that are a central ingredient in a rich red stew called \u003ca href=\"http://www.saveur.com/article/Recipes/Classic-Ethiopian-Chicken-Stew\">wot\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11081851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/GreenPepper-800x525.jpg\" alt=\"A green berbere pepper in Menkir Tamrat's farm.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11081851\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-400x263.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-1180x775.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A green berbere pepper in Menkir Tamrat's farm. \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decades, Menkir’s garden was just a passion project. But when his tech company downsized in 2009, he took the opportunity to grow these Ethiopian flavors on a larger scale. He connected with a local farm, and by that summer he had 5,000 pepper plants taking root in California soil.\u003c/p>\n\u003cp>His goal was to recreate the spice mixes from his homeland. Menkir poured over books and articles and recipes searching for the perfect balance of spices -- but he realized he was missing a major secret ingredient: the mom touch.\u003c/p>\n\u003cp>“Ethiopian cuisine is like so-and-so's mom is known for her such-and-such,” Menkir says. “And she may have one little secret thing that she adds in it. So you never get the same thing from two families making the same stew. I couldn't create the chili powder from off-the-shelf chilies. It's a hit and miss. How do you know which one might be the closest?”\u003c/p>\n\u003cfigure id=\"attachment_11081855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/SpiceJars-800x459.jpg\" alt=\"Tamrat holds Ethiopian spice mixes: berbere and mitmita.\" width=\"800\" height=\"459\" class=\"size-medium wp-image-11081855\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-800x459.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-400x229.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-1180x677.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-960x551.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamrat holds Ethiopian spice mixes: berbere and mitmita. \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Menkir turned to his mother’s friend, who lived in Oakland, and he’d follow his mother-in-law around the kitchen with a notebook when she came to visit from Ethiopia.\u003c/p>\n\u003cp>“They kind of have a sense of feel,” Menkir says admiringly. “The good chefs, they don't measure anything.”\u003c/p>\n\u003cp>Through trial and error, Menkir finally perfected the spice blends he had dreamed about when he first started his garden.\u003c/p>\n\u003cp>“I even took some samples to a restaurant in Ethiopia,” Menkir brags. “Just to show off, I said 'Why don't you guys taste this?' And the lady just could not believe it that I brought this from America and a man made it.”\u003c/p>\n\u003cfigure id=\"attachment_11081858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/EthiopianPlate-800x450.jpg\" alt=\"An Ethiopian dinner with lamb wot in the center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11081858\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Ethiopian dinner with lamb wot in the center.\u003cbr> \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Menkir’s company sells his spices mainly to Ethiopian restaurants in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He divides his time between California and Ethiopia -- where he just started a new farm that grows crops like Swiss chard and Tuscan kale for high-end Western restaurants in the capital, Addis Ababa.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Menkir Tamrat first came to the U.S. from Ethiopia to pursue a career in tech. But now he’s forging a connection to his childhood home through farming specialty Ethiopian chili peppers outside of Fremont in the East Bay.\u003c/p>\n\u003cp>At his farm, he walks down a row of leaf-green pepper plants to a shady arbor in back. The peppers are ripening to vibrant reds and chocolatey browns. In the coming weeks, Menkir will dry them, crush them and make them into spice blends essential to Ethiopian cuisine.\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/282221350&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/282221350'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"Imagine, there's the berbere, the chili, first,” Menkir explains. “And then 12- or 11-plus additions of seasonings and spices and herbs. So it's a sum of all these different things.”\u003c/p>\n\u003cp>Menkir wasn’t always a farmer. He grew up in the countryside of Ethiopia in the 1960s. He watched farmers working in the fields and selling their vegetables at the market.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the early 1980s, Menkir got his MBA and came to the Bay Area to start a career in high-tech management. The food from his homeland was never far from his heart. But when he tried to recreate it with local California ingredients, something was missing.\u003c/p>\n\u003cp>So he went to Ethiopia and brought back the seeds he needed to start a garden. At his home in Fremont, he filled his yard with Ethiopian herbs and vegetables -- like the ripening \u003ca href=\"https://ethiopianfood.wordpress.com/2015/06/01/berbere-mitmita-liking-it-hot/\">berbere peppers \u003c/a>that are a central ingredient in a rich red stew called \u003ca href=\"http://www.saveur.com/article/Recipes/Classic-Ethiopian-Chicken-Stew\">wot\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11081851\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/GreenPepper-800x525.jpg\" alt=\"A green berbere pepper in Menkir Tamrat's farm.\" width=\"800\" height=\"525\" class=\"size-medium wp-image-11081851\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-400x263.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-1180x775.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/GreenPepper-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A green berbere pepper in Menkir Tamrat's farm. \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For decades, Menkir’s garden was just a passion project. But when his tech company downsized in 2009, he took the opportunity to grow these Ethiopian flavors on a larger scale. He connected with a local farm, and by that summer he had 5,000 pepper plants taking root in California soil.\u003c/p>\n\u003cp>His goal was to recreate the spice mixes from his homeland. Menkir poured over books and articles and recipes searching for the perfect balance of spices -- but he realized he was missing a major secret ingredient: the mom touch.\u003c/p>\n\u003cp>“Ethiopian cuisine is like so-and-so's mom is known for her such-and-such,” Menkir says. “And she may have one little secret thing that she adds in it. So you never get the same thing from two families making the same stew. I couldn't create the chili powder from off-the-shelf chilies. It's a hit and miss. How do you know which one might be the closest?”\u003c/p>\n\u003cfigure id=\"attachment_11081855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/SpiceJars-800x459.jpg\" alt=\"Tamrat holds Ethiopian spice mixes: berbere and mitmita.\" width=\"800\" height=\"459\" class=\"size-medium wp-image-11081855\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-800x459.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-400x229.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-1180x677.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/SpiceJars-960x551.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamrat holds Ethiopian spice mixes: berbere and mitmita. \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So Menkir turned to his mother’s friend, who lived in Oakland, and he’d follow his mother-in-law around the kitchen with a notebook when she came to visit from Ethiopia.\u003c/p>\n\u003cp>“They kind of have a sense of feel,” Menkir says admiringly. “The good chefs, they don't measure anything.”\u003c/p>\n\u003cp>Through trial and error, Menkir finally perfected the spice blends he had dreamed about when he first started his garden.\u003c/p>\n\u003cp>“I even took some samples to a restaurant in Ethiopia,” Menkir brags. “Just to show off, I said 'Why don't you guys taste this?' And the lady just could not believe it that I brought this from America and a man made it.”\u003c/p>\n\u003cfigure id=\"attachment_11081858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/EthiopianPlate-800x450.jpg\" alt=\"An Ethiopian dinner with lamb wot in the center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11081858\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/EthiopianPlate-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An Ethiopian dinner with lamb wot in the center.\u003cbr> \u003ccite>(Meradith Hoddinott/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Menkir’s company sells his spices mainly to Ethiopian restaurants in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He divides his time between California and Ethiopia -- where he just started a new farm that grows crops like Swiss chard and Tuscan kale for high-end Western restaurants in the capital, Addis Ababa.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "One Year Out of Prison, Actor Takes on 'Othello'",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/281146281\" 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>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\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>A new production of \u003ci>\u003cspan style=\"font-weight: 400\">Othello \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">opened this weekend at Northern California’s \u003ca href=\"http://marinshakespeare.org/\">Marin Shakespeare Company\u003c/a>. The lead actor, Dameion Brown, has never appeared on a professional stage before. In fact, just last year, he was paroled after spending 23 years in California state prison. Now he’s tackling one of Shakespeare’s most difficult characters.\u003c/span>\u003c/p>\n\u003cp>Othello is a controversial play, dealing with race, love and violence. In case you need the Cliffs Notes: After he’s convinced that his wife is deceiving him, Othello, a Moorish general, kills his fair-skinned Venetian wife, Desdemona.\u003c/p>\n\u003cp>I spoke with Dameion Brown at KQED’s studio in San Francisco.\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/281146281&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/281146281'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>What is it about Othello that drew you to that role?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>DAMEION BROWN:\u003c/strong> One of the main things is the fact that I had won that lead in junior high. And that production never went on. You’re looking at a 14-year-old black boy with a 14-year-old white girl, in the South. There were strong feelings from the parents -- the African-American parents and the white parents -- of how they wanted their children to interact in a play such as that. So that performance never took place. And it was something that stuck in my mind a long time.\u003c/p>\n\u003cp>\u003cb>So, now you're getting a chance to play Othello, finally. How do you establish an emotional connection to this character, from a play written almost 400 years ago?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> That is the easiest part. Life experiences prepare you for the ebbs and flows of emotion. I understand betrayal. I understand confusion. I understand jealousy. I understand the pain of harming someone you love. I don't have to dig deep to get in touch with those things, because they make up who I am. Had it been a comedy, that would have required a lot more work from me!\u003c/p>\n\u003cp>\u003cb>You mention understanding the pain of harming someone you love. I know that you were sentenced to life, basically for being physically abusive to your own kids.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes. And it is indeed a fact: I believed in corporal punishment. And I did inflict corporal punishment. It’s also a fact that I was charged with certain things, and I was convicted of certain things. But it is also a fact that the things which I did have not been presented in the right way. What was true was that I was very physical with my children, because I understood that to be the way that a parent reared a child -- with the switch, with the belt -- because this is what I knew, coming from the South. Over time, I learned better.\u003c/p>\n\u003cp>\u003cb>You were charged with harming your 3-year-old daughter, and leaving her disfigured. Those are pretty serious charges.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Very serious charges. And it was a very real conviction. And it was a very real 23 years that I spent. But a very inaccurate story of what occurred.\u003c/p>\n\u003cp>\u003cb>So what did occur?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> It was neglect. Trying to do all these things at once. Trying to prepare for a job interview, trying to answer the door, trying to feed some of the children, trying to bathe some of the children, trying to get a bottle into the bedroom with my newborn with my wife. And forgetting I had a child in the bathtub. When these accidents occur, and someone looks and says, \"Well, you switch your children, you whip your children, you leave marks on your children,\" you lose all benefit of the doubt that an accident could occur.\u003c/p>\n\u003cp>\u003cb>You were paroled after 23 years, and the parole board eventually did agree that you were reformed. And the arts were a part of that, right? You participated in a Shakespeare production while you were serving time.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> \u003cem>Macbeth.\u003c/em> And it was a very good thing. I learned a lot. Sometimes, through an examination of another life -- even if it be a fictitious character -- it is impossible that at 2 in the morning when you're in the solitude of your own thoughts, you can’t identify with the parallel that exists within yourself.\u003c/p>\n\u003cp>\u003cb>Outside of acting, you have a job \u003ca href=\"http://communityworkswest.org/about-us/\">mentoring young people\u003c/a> who are at risk. Are any of them going to see you in \u003cem>Othello\u003c/em>?\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Definitely. They have all expressed great interest in coming to see it. I want them to see that someone who did 23 years in prison, who is still sometimes thought of as some of the Venetians thought of the Moor, can achieve this. And let them know it’s OK to try something different. You don’t have to cuss all day. I can say “thee,” “thou” and “thither.” Broaden your horizon.\u003c/p>\n\u003cp>\u003cb>Your own life has had some Shakespearean twists. You're now out on parole. I understand you're married now, to a woman who was a former guard at Soledad. It's all kind of Shakespearean.\u003c/b>\u003c/p>\n\u003cp>\u003cstrong>BROWN:\u003c/strong> Yes, we live these comedies and these tragedies, and they are the ebbs and flows of life. There was a time when I thought that I would never be out of prison. There was a time when I thought that I would never be married. But none of those things have lasted. And Shakespeare allows me to remember, and to be OK with, the ins and the outs. The rises and the falls of things.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "150 Years of Slinging Drinks: A Visit to the Iron Door Saloon",
"title": "150 Years of Slinging Drinks: A Visit to the Iron Door Saloon",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Just miles down the road from Yosemite, \u003ca href=\"http://www.iron-door-saloon.com/\">the Iron Door Saloon\u003c/a> in Groveland claims to be California’s oldest continuously operating bar.\u003c/p>\n\u003cp>It has served gold prospectors, loggers and workers coming to the Sierra Nevada for more than 150 years. Just like a majestic waterfall or granite peak, it’s a sight to behold.\u003c/p>\n\u003cp>The saloon is dark and cavernous, with the original granite walls from the 1850s. Two swinging cast-iron doors, shipped over from England, gave the bar its name. They also have protected it from forest fires over the years, allowing it to survive longer than other bars.\u003c/p>\n\u003cp>“The story was, when a fire raged through town, you just closed your doors and your stuff would be safe,” says owner Chris Loh.\u003c/p>\n\u003cp>Huge elk heads hang from the walls and stare longingly at a mix of locals and tourists eating burgers and drinking beer. In one corner (which I call the corner of death), a giant saw and other old mining equipment hangs precariously over bar patrons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most defining feature is the ceiling, which is completely covered in wadded-up dollar bills. Sitting at the bar, regular John Strusinski tells me the dollars were an insurance policy for miners going out to look for gold. “They wrote their name on [a bill] and they tacked it up on the ceiling, so when they came back, whether they had money or not, they were sure they had money for their first drink.”\u003c/p>\n\u003cp>Now, people willingly throw their money up on the ceiling to join the tradition.\u003c/p>\n\u003cfigure id=\"attachment_11071098\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071098\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg\" alt=\"The Iron Door Saloon's ceiling, covered in dollar bills.\" width=\"800\" height=\"1124\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-400x562.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-1180x1658.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-960x1349.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Iron Door Saloon's ceiling, covered once again with dollar bills. \u003ccite>(David Fulmer/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we’re looking at the ceiling, Loh points out a few bullet holes. I ask when they’re from: perhaps a Gold Rush-era shootout?\u003c/p>\n\u003cp>Nah, Loh explains. They're from 1987.\u003c/p>\n\u003cp>Yikes. Apparently, it was a rough-and-tumble biker bar in the '80s until it got a new owner, Pete Barsotti. He was the artistic director and right-hand man to legendary rock-and-roll promoter Bill Graham.\u003c/p>\n\u003cp>Barsotti’s daughter, Corinna Loh, co-owns the bar with husband Chris. She says her dad was famous for designing crazy stunts at concerts.\u003c/p>\n\u003cp>“He thought it would be great to get a bunch of pingpong balls stamped with the Rolling Stones tongue, and then a bunch of blow-up dolls dropped out of an airplane over the stadium.”\u003c/p>\n\u003cp>Barsotti brought his creative flair to the Iron Door. It was his idea to bring back the dollars on the ceiling. He also made the bar a venue for live music, including Thursday night karaoke.\u003c/p>\n\u003cp>I graced the stage many times during my stint as a summer camp counselor near Yosemite during college. In fact, I even got kicked out once for dropping the mic. They take karaoke \u003cem>very\u003c/em> seriously here.\u003c/p>\n\u003cp>But what about the question of whether this bar is California’s oldest? Kathy Brown, from the \u003ca href=\"http://www.grovelandmuseum.com/\">Groveland Historical Museum\u003c/a>, says the original building from 1852 was definitely a supply shop for gold miners.\u003c/p>\n\u003cp>Brown says the legend is the store also had a makeshift bar. ”That would just be set up with a plank of wood over flour barrels, and they would serve whiskey to miners.” Brown explained. \"They probably would get pretty drunk. They worked hard, and that was their fluid intake.\"\u003c/p>\n\u003cfigure id=\"attachment_11071105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071105\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg\" alt=\"A photo of the Iron Door Saloon in Groveland, circa 1920. \" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-960x593.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the Iron Door Saloon in Groveland, circa 1920. \u003ccite>(Matt Beagle/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the original mercantile shop did start serving drinks in the 1850s, Brown says it’s almost impossible to prove whether it’s the oldest saloon still in operation in California. There were no liquor licenses back then, so you can't check that way. The Iron Door doesn’t show up on the Tuolumne County tax rolls until 1896.\u003c/p>\n\u003cp>Brown says another reason why the claim is questionable is because the building served as an official U.S. Post Office for about 25 years. Apparently, you can’t serve alcohol in a post office.\u003c/p>\n\u003cp>You also couldn’t sell booze during Prohibition, but the Door claims it did -- by calling itself a soft-drink establishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, is the Iron Door the oldest continuously operating saloon in California? A few \u003ca href=\"http://smileyssaloon.com/\">other bars\u003c/a> around the state make similar claims that are similarly hard to prove. All we know for sure is that the Iron Door is old, and it’s still serving drinks. But a bar that’s been influenced by the Gold Rush, Yosemite National Park and rock 'n' roll is certainly unique to California.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just miles down the road from Yosemite, \u003ca href=\"http://www.iron-door-saloon.com/\">the Iron Door Saloon\u003c/a> in Groveland claims to be California’s oldest continuously operating bar.\u003c/p>\n\u003cp>It has served gold prospectors, loggers and workers coming to the Sierra Nevada for more than 150 years. Just like a majestic waterfall or granite peak, it’s a sight to behold.\u003c/p>\n\u003cp>The saloon is dark and cavernous, with the original granite walls from the 1850s. Two swinging cast-iron doors, shipped over from England, gave the bar its name. They also have protected it from forest fires over the years, allowing it to survive longer than other bars.\u003c/p>\n\u003cp>“The story was, when a fire raged through town, you just closed your doors and your stuff would be safe,” says owner Chris Loh.\u003c/p>\n\u003cp>Huge elk heads hang from the walls and stare longingly at a mix of locals and tourists eating burgers and drinking beer. In one corner (which I call the corner of death), a giant saw and other old mining equipment hangs precariously over bar patrons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most defining feature is the ceiling, which is completely covered in wadded-up dollar bills. Sitting at the bar, regular John Strusinski tells me the dollars were an insurance policy for miners going out to look for gold. “They wrote their name on [a bill] and they tacked it up on the ceiling, so when they came back, whether they had money or not, they were sure they had money for their first drink.”\u003c/p>\n\u003cp>Now, people willingly throw their money up on the ceiling to join the tradition.\u003c/p>\n\u003cfigure id=\"attachment_11071098\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071098\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg\" alt=\"The Iron Door Saloon's ceiling, covered in dollar bills.\" width=\"800\" height=\"1124\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-800x1124.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-400x562.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-1180x1658.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorCeiling-960x1349.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Iron Door Saloon's ceiling, covered once again with dollar bills. \u003ccite>(David Fulmer/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While we’re looking at the ceiling, Loh points out a few bullet holes. I ask when they’re from: perhaps a Gold Rush-era shootout?\u003c/p>\n\u003cp>Nah, Loh explains. They're from 1987.\u003c/p>\n\u003cp>Yikes. Apparently, it was a rough-and-tumble biker bar in the '80s until it got a new owner, Pete Barsotti. He was the artistic director and right-hand man to legendary rock-and-roll promoter Bill Graham.\u003c/p>\n\u003cp>Barsotti’s daughter, Corinna Loh, co-owns the bar with husband Chris. She says her dad was famous for designing crazy stunts at concerts.\u003c/p>\n\u003cp>“He thought it would be great to get a bunch of pingpong balls stamped with the Rolling Stones tongue, and then a bunch of blow-up dolls dropped out of an airplane over the stadium.”\u003c/p>\n\u003cp>Barsotti brought his creative flair to the Iron Door. It was his idea to bring back the dollars on the ceiling. He also made the bar a venue for live music, including Thursday night karaoke.\u003c/p>\n\u003cp>I graced the stage many times during my stint as a summer camp counselor near Yosemite during college. In fact, I even got kicked out once for dropping the mic. They take karaoke \u003cem>very\u003c/em> seriously here.\u003c/p>\n\u003cp>But what about the question of whether this bar is California’s oldest? Kathy Brown, from the \u003ca href=\"http://www.grovelandmuseum.com/\">Groveland Historical Museum\u003c/a>, says the original building from 1852 was definitely a supply shop for gold miners.\u003c/p>\n\u003cp>Brown says the legend is the store also had a makeshift bar. ”That would just be set up with a plank of wood over flour barrels, and they would serve whiskey to miners.” Brown explained. \"They probably would get pretty drunk. They worked hard, and that was their fluid intake.\"\u003c/p>\n\u003cfigure id=\"attachment_11071105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11071105\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg\" alt=\"A photo of the Iron Door Saloon in Groveland, circa 1920. \" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/09/IronDoorHistory-960x593.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo of the Iron Door Saloon in Groveland, circa 1920. \u003ccite>(Matt Beagle/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even if the original mercantile shop did start serving drinks in the 1850s, Brown says it’s almost impossible to prove whether it’s the oldest saloon still in operation in California. There were no liquor licenses back then, so you can't check that way. The Iron Door doesn’t show up on the Tuolumne County tax rolls until 1896.\u003c/p>\n\u003cp>Brown says another reason why the claim is questionable is because the building served as an official U.S. Post Office for about 25 years. Apparently, you can’t serve alcohol in a post office.\u003c/p>\n\u003cp>You also couldn’t sell booze during Prohibition, but the Door claims it did -- by calling itself a soft-drink establishment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, is the Iron Door the oldest continuously operating saloon in California? A few \u003ca href=\"http://smileyssaloon.com/\">other bars\u003c/a> around the state make similar claims that are similarly hard to prove. All we know for sure is that the Iron Door is old, and it’s still serving drinks. But a bar that’s been influenced by the Gold Rush, Yosemite National Park and rock 'n' roll is certainly unique to California.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Dear Burning Man, It's Not You, It's Me",
"title": "Dear Burning Man, It's Not You, It's Me",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>As I sit down to write this, my husband is hunched over a huge swatch of white fur, wielding a razor blade. The end goal: a knee-length white fur coat that he can wear while riding our friend’s polar-bear art car.\u003c/p>\n\u003cp>The rest of our apartment is besieged by Burning Man preparations. Dusty bins full of batteries, baby wipes and silver jumpsuits are scattered everywhere. Somehow we will cram them all into a four-door sedan and make the seven-hour journey to the desert.\u003c/p>\n\u003cp>If I don’t sound excited, it’s because I’m not. This will be my 15\u003csup>th\u003c/sup> year at Burning Man, and to be honest, I’m over it.\u003c/p>\n\u003cp>So many things about the event that used to fill me with delight have just become part of the backdrop. The mini mobile cupcake cars, the fire-breathing octopus? Seen 'em. The women’s topless bike ride? Done it. Playing Beethoven with a \u003ca href=\"https://ww2.kqed.org/arts/2014/09/05/getting-classical-in-the-playa-burning-man-diversifies-its-musical-offerings/\">full symphony orchestra\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=C4Dn5BmSeso\">200 kazoos\u003c/a>? Do I really need to do that twice?\u003c/p>\n\u003cp>What was once wild and crazy isn’t wild and crazy anymore. It’s normal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/280102722\" 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>There’s something terribly sad and embarrassingly bougie about this. My sense of adventure has become inflated. I’ve built up a tolerance to the extraordinary. And no matter how bizarre or weird it gets out there, it’s impossible to impress me.\u003c/p>\n\u003cp>But then I think, there’s something pretty amazing about crazy becoming normal. I was talking to a friend about this, and she said, “Isn’t that the point?” Isn’t Burning Man about experimenting with radical self-expression, then finding ways to incorporate that into your everyday life?\u003c/p>\n\u003cp>I was 23 when I first went to Burning Man and I would describe my experience as nothing less than life-changing. Black Rock City was the opposite of the conservative suburban town I grew up in. Fit in and “be conventional” was basically the town motto. At Black Rock City, it’s more like “be a radical nonconformist.”\u003c/p>\n\u003cp>My first year there, I experienced acceptance, and lack of judgment, in a way I never had before. And that made me confront the judgments I was holding onto. The event shattered so many preconceived notions I had about people and beauty and relationships.\u003c/p>\n\u003cp>I discovered a whole new way of looking at the world. At myself. At my relationships. At my creative path. It’s impossible for me to parse out every Burning Man revelation I’ve had over the last 15 years from who I’ve become today. But I can say, the friends I spend time with, the guy I married, the career I’ve chosen -- it all has roots in this social experiment in the desert. I’ve woven the wild and crazy into my life.\u003c/p>\n\u003cfigure id=\"attachment_11062398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062398\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/OldSchoolBM-800x482.jpg\" alt=\"Dancers at 1998's Burning Man festival create patterns with fireworks.\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-400x241.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-1180x711.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at 1998's Burning Man festival create patterns with fireworks. \u003ccite>(MIKE NELSON/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, when I look at that white fur and the bins scattered around my apartment, I’m filled with dread. It’s so much work to go to Burning Man, and this year I’m just not feeling the impending payoff.\u003c/p>\n\u003cp>And this is how I know that I need to take a break from Burning Man. I need to revive my sense of wonder at this place. Because I don’t want to lose it completely.\u003c/p>\n\u003cp>This advice comes from, among many others, my friend Jack Thorpe.\u003c/p>\n\u003cp>“There’s the very first time that a burner jumps on their bike or an art car, at night, and they ride out to darkness of playa. And there’s lasers and distant thumping of dance domes,” he says. “That first time you do it, is like seeing New York for the first time. It’s like going to the Grand Canyon. You’re never going to see it again.\u003c/p>\n\u003cp>“The second time – it’s still incredible.\u003c/p>\n\u003cp>\"For me, the third time, I remember riding out into the darkness and looking back at the skyline of Black Rock City and sort of having that feeling like, ‘Eeeeeeh, you know, I've seen this before,'\" he says. “That emotional jolt -- of this is something I’ve never seen before and is blowing me away -- is gone.”\u003c/p>\n\u003cp>After taking a year off, he came back with a new approach. Some of our friends shifted to become more involved in the event, becoming rangers or going early to help build art sculptures. What Jack did was refocus his attention back to our camp and our friends. We have a tight crew of about 30 people that camp together every year. For many of us, Burning Man has become a family reunion more than anything else.\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s on each of us to find new meaning year to year. And when it’s not there, the responsibility is on us to find it again, or take a step back.\u003c/aside>\n\u003cp>It’s a time to see friends I see only once a year, or a time to see friends who live 10 miles away, but we find a depth and intimacy in the desert that’s hard to access in the nonstop pace of the city. But is that still enough after 15 years?\u003c/p>\n\u003cp>Jack says: “I think the conundrum is -- and you could apply this to anything in your life -- how do you maintain a freshness and a sense of innocence and discovery for something when you’re doing it over and over and over again?\u003c/p>\n\u003cp>This immediately makes me think of another institution that can sometimes use a revived sense of freshness.\u003c/p>\n\u003cp>“That sounds like marriage,” I say to Jack.\u003c/p>\n\u003cp>“Ohhh yes,” he laughs, nervously. “Yes. ... And ...”\u003c/p>\n\u003cp>I didn’t mean to go there. But now I can’t help asking.\u003c/p>\n\u003cp>“Do you, do you feel like you’ve applied that, or tried to apply that, or found a way to apply that?\" I ask.\u003c/p>\n\u003cp>“To my marriage?” Jack sighs. “Dangerous question. I, you know, I ...”\u003c/p>\n\u003cp>OK, he’s not saying take a break from your marriage to keep it fresh. But he is saying this idea of shaking things up and reinvesting yourself in Burning Man to keep it meaningful has a lot in common with the way you keep relationships vibrant.\u003c/p>\n\u003cp>“There’s that argument that the love goes a little deeper, the love goes a little bit underground. And you get connected on a level which isn’t so much about infatuation and the sexiness of it,” he says. “And it’s about these long-term relationships you’re building, with the event and with the people in the camp. And it’s more about feeling satisfied on what is really an emotionally deeper level than just that, ‘Oh my God, it blew me away!'\"\u003c/p>\n\u003cfigure id=\"attachment_11062408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062408\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/BurningUFO-800x425.jpg\" alt=\"The UFO at Burning Man 2013 goes up in flames.\" width=\"800\" height=\"425\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-800x425.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-400x212.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-1180x626.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-960x510.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-280x150.jpg 280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UFO at Burning Man 2013 goes up in flames. \u003ccite>(Courtesy Eric Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot of people have been writing in recent years about how Burning Man has jumped the shark, lost its meaning. With nearly 70,000 attending, longtime attendees complain that it’s gotten too big, and the people who come now are too mainstream, too entitled. Whatever parts of this may be true, I don’t think it’s had an impact on the core values of the event. Burning Man is still Burning Man. I’ve seen plenty of people go for the first time in the last year or two, and they had an equally intense and paradigm-shifting experience as anyone else had 15 years ago.\u003c/p>\n\u003cp>People who say Burning Man has lost its way, I contend, have lost their own way. It’s on each one of us to find new meaning year to year. And when it’s not there, the responsibility is on us to find it again, or take a step back.\u003c/p>\n\u003cp>My husband and I have been together for 15 years -- as long as we’ve been going to Burning Man. It’s a very special place for us. But, after this year, we’re in agreement, it’s time to take a break.\u003c/p>\n\u003cp>“And if we stop, we’re going to take the spirit of Burning Man with us,” my husband, Alex, says. “I don’t think we would do this, but not let that mean we’re just going to stay home and watch TV. We're going to go off and do some different adventure that also instills us with a sense of awe and wonder and excitement.”\u003c/p>\n\u003cp>“In a way, you could think of Burning Man as almost school,” Jack says. “To learn how to be that way in the world. And then you take that learning, and at a certain point, you don't need to go to Burning Man anymore.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, I decided to buy a white fur coat, to match Alex’s. We’ll ride the polar-bear car together and cruise the Black Rock City skyline, possibly one last time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I sit down to write this, my husband is hunched over a huge swatch of white fur, wielding a razor blade. The end goal: a knee-length white fur coat that he can wear while riding our friend’s polar-bear art car.\u003c/p>\n\u003cp>The rest of our apartment is besieged by Burning Man preparations. Dusty bins full of batteries, baby wipes and silver jumpsuits are scattered everywhere. Somehow we will cram them all into a four-door sedan and make the seven-hour journey to the desert.\u003c/p>\n\u003cp>If I don’t sound excited, it’s because I’m not. This will be my 15\u003csup>th\u003c/sup> year at Burning Man, and to be honest, I’m over it.\u003c/p>\n\u003cp>So many things about the event that used to fill me with delight have just become part of the backdrop. The mini mobile cupcake cars, the fire-breathing octopus? Seen 'em. The women’s topless bike ride? Done it. Playing Beethoven with a \u003ca href=\"https://ww2.kqed.org/arts/2014/09/05/getting-classical-in-the-playa-burning-man-diversifies-its-musical-offerings/\">full symphony orchestra\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=C4Dn5BmSeso\">200 kazoos\u003c/a>? Do I really need to do that twice?\u003c/p>\n\u003cp>What was once wild and crazy isn’t wild and crazy anymore. It’s normal.\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/280102722&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/280102722'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There’s something terribly sad and embarrassingly bougie about this. My sense of adventure has become inflated. I’ve built up a tolerance to the extraordinary. And no matter how bizarre or weird it gets out there, it’s impossible to impress me.\u003c/p>\n\u003cp>But then I think, there’s something pretty amazing about crazy becoming normal. I was talking to a friend about this, and she said, “Isn’t that the point?” Isn’t Burning Man about experimenting with radical self-expression, then finding ways to incorporate that into your everyday life?\u003c/p>\n\u003cp>I was 23 when I first went to Burning Man and I would describe my experience as nothing less than life-changing. Black Rock City was the opposite of the conservative suburban town I grew up in. Fit in and “be conventional” was basically the town motto. At Black Rock City, it’s more like “be a radical nonconformist.”\u003c/p>\n\u003cp>My first year there, I experienced acceptance, and lack of judgment, in a way I never had before. And that made me confront the judgments I was holding onto. The event shattered so many preconceived notions I had about people and beauty and relationships.\u003c/p>\n\u003cp>I discovered a whole new way of looking at the world. At myself. At my relationships. At my creative path. It’s impossible for me to parse out every Burning Man revelation I’ve had over the last 15 years from who I’ve become today. But I can say, the friends I spend time with, the guy I married, the career I’ve chosen -- it all has roots in this social experiment in the desert. I’ve woven the wild and crazy into my life.\u003c/p>\n\u003cfigure id=\"attachment_11062398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062398\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/OldSchoolBM-800x482.jpg\" alt=\"Dancers at 1998's Burning Man festival create patterns with fireworks.\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-400x241.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-1180x711.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/OldSchoolBM-960x579.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at 1998's Burning Man festival create patterns with fireworks. \u003ccite>(MIKE NELSON/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, when I look at that white fur and the bins scattered around my apartment, I’m filled with dread. It’s so much work to go to Burning Man, and this year I’m just not feeling the impending payoff.\u003c/p>\n\u003cp>And this is how I know that I need to take a break from Burning Man. I need to revive my sense of wonder at this place. Because I don’t want to lose it completely.\u003c/p>\n\u003cp>This advice comes from, among many others, my friend Jack Thorpe.\u003c/p>\n\u003cp>“There’s the very first time that a burner jumps on their bike or an art car, at night, and they ride out to darkness of playa. And there’s lasers and distant thumping of dance domes,” he says. “That first time you do it, is like seeing New York for the first time. It’s like going to the Grand Canyon. You’re never going to see it again.\u003c/p>\n\u003cp>“The second time – it’s still incredible.\u003c/p>\n\u003cp>\"For me, the third time, I remember riding out into the darkness and looking back at the skyline of Black Rock City and sort of having that feeling like, ‘Eeeeeeh, you know, I've seen this before,'\" he says. “That emotional jolt -- of this is something I’ve never seen before and is blowing me away -- is gone.”\u003c/p>\n\u003cp>After taking a year off, he came back with a new approach. Some of our friends shifted to become more involved in the event, becoming rangers or going early to help build art sculptures. What Jack did was refocus his attention back to our camp and our friends. We have a tight crew of about 30 people that camp together every year. For many of us, Burning Man has become a family reunion more than anything else.\u003c/p>\n\u003caside class=\"pullquote alignright\">It’s on each of us to find new meaning year to year. And when it’s not there, the responsibility is on us to find it again, or take a step back.\u003c/aside>\n\u003cp>It’s a time to see friends I see only once a year, or a time to see friends who live 10 miles away, but we find a depth and intimacy in the desert that’s hard to access in the nonstop pace of the city. But is that still enough after 15 years?\u003c/p>\n\u003cp>Jack says: “I think the conundrum is -- and you could apply this to anything in your life -- how do you maintain a freshness and a sense of innocence and discovery for something when you’re doing it over and over and over again?\u003c/p>\n\u003cp>This immediately makes me think of another institution that can sometimes use a revived sense of freshness.\u003c/p>\n\u003cp>“That sounds like marriage,” I say to Jack.\u003c/p>\n\u003cp>“Ohhh yes,” he laughs, nervously. “Yes. ... And ...”\u003c/p>\n\u003cp>I didn’t mean to go there. But now I can’t help asking.\u003c/p>\n\u003cp>“Do you, do you feel like you’ve applied that, or tried to apply that, or found a way to apply that?\" I ask.\u003c/p>\n\u003cp>“To my marriage?” Jack sighs. “Dangerous question. I, you know, I ...”\u003c/p>\n\u003cp>OK, he’s not saying take a break from your marriage to keep it fresh. But he is saying this idea of shaking things up and reinvesting yourself in Burning Man to keep it meaningful has a lot in common with the way you keep relationships vibrant.\u003c/p>\n\u003cp>“There’s that argument that the love goes a little deeper, the love goes a little bit underground. And you get connected on a level which isn’t so much about infatuation and the sexiness of it,” he says. “And it’s about these long-term relationships you’re building, with the event and with the people in the camp. And it’s more about feeling satisfied on what is really an emotionally deeper level than just that, ‘Oh my God, it blew me away!'\"\u003c/p>\n\u003cfigure id=\"attachment_11062408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062408\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/BurningUFO-800x425.jpg\" alt=\"The UFO at Burning Man 2013 goes up in flames.\" width=\"800\" height=\"425\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-800x425.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-400x212.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-1180x626.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-960x510.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/BurningUFO-280x150.jpg 280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The UFO at Burning Man 2013 goes up in flames. \u003ccite>(Courtesy Eric Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A lot of people have been writing in recent years about how Burning Man has jumped the shark, lost its meaning. With nearly 70,000 attending, longtime attendees complain that it’s gotten too big, and the people who come now are too mainstream, too entitled. Whatever parts of this may be true, I don’t think it’s had an impact on the core values of the event. Burning Man is still Burning Man. I’ve seen plenty of people go for the first time in the last year or two, and they had an equally intense and paradigm-shifting experience as anyone else had 15 years ago.\u003c/p>\n\u003cp>People who say Burning Man has lost its way, I contend, have lost their own way. It’s on each one of us to find new meaning year to year. And when it’s not there, the responsibility is on us to find it again, or take a step back.\u003c/p>\n\u003cp>My husband and I have been together for 15 years -- as long as we’ve been going to Burning Man. It’s a very special place for us. But, after this year, we’re in agreement, it’s time to take a break.\u003c/p>\n\u003cp>“And if we stop, we’re going to take the spirit of Burning Man with us,” my husband, Alex, says. “I don’t think we would do this, but not let that mean we’re just going to stay home and watch TV. We're going to go off and do some different adventure that also instills us with a sense of awe and wonder and excitement.”\u003c/p>\n\u003cp>“In a way, you could think of Burning Man as almost school,” Jack says. “To learn how to be that way in the world. And then you take that learning, and at a certain point, you don't need to go to Burning Man anymore.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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