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"disqusTitle": "New Pop Music, Couples Edition: Johnnyswim, Nataly Dawn and Hope Sandoval",
"title": "New Pop Music, Couples Edition: Johnnyswim, Nataly Dawn and Hope Sandoval",
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"content": "\u003cp>\u003cem>A married pair explore their relationship's dynamics. A singer takes a solo sojourn from the band she formed with her husband. And Hope Sandoval and Kurt Vile get together for an unexpectedly delightful duet.\u003c/em>\u003c/p>\n\u003ch2>Johnnyswim\u003c/h2>\n\u003cp>You know how in old movies some kid would be spying on a young couple smooching and then scrunch up his face in disgust and say, “Oooh, mush?”\u003c/p>\n\u003cp>That kid would have a tough time with \"Georgica Pond,\" the new album from \u003cstrong>\u003ca href=\"http://www.johnnyswim.com/home\">Johnnyswim\u003c/a>\u003c/strong>, the unabashedly romantic married duo of Amanda Sudano and Abner Ramirez. In the dreamy “In My Arms,” he sings to her, “I’m gonna love you like nobody will, under the rainbow and over the hill.” And she replies, “ 'Cause money can buy me a diamond that fades, but ours is a love story for every age, I’ll be the writer if you’ll be my page …” Later he sings, cooingly, in French!\u003c/p>\n\u003cp>Oooh, mush. Wonderful, wonderful mush. Duets in which they pledge devotion, examine their life together, the magic still there, even after a decade together. Even after writing and recording and touring together. Even after each experienced the death of a parent. Even after having had their first child last year.\u003c/p>\n\u003cp>That’s impressive enough. But what’s \u003ci>really\u003c/i> impressive is that as mushy as it may be, it never gets gloppy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg\" alt=\"johnnyswim_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover.jpg 1500w\" sizes=\"(max-width: 294px) 100vw, 294px\">Well, they do have some good role models. Marvin and Tammi. Peaches and Herb. Heck, even some Johnny and June or Sonny and Cher. They’re here in spirit, if not always specific sounds. \"Georgica Pond\" expands and extends the folk-soul-gospel blends of their 2014 full-album debut, \"Diamonds,\" and nearly captures the magnetic chemistry known to anyone who has seen them in concert. There’s a naturalness to their interplay, equal parts spontaneous spark and confident craft.\u003c/p>\n\u003cp>Oh, and another role-model pair: The late \u003ca href=\"http://www.nytimes.com/2012/05/18/arts/music/donna-summer-queen-of-disco-dies-at-63.html\">Donna Summer\u003c/a> and her husband, songwriter and musician Bruce Sudano — Amanda’s parents. Again, nothing here sounds like “Bad Girls,” let alone “I Feel Love.” But growing up with parents who had a collaborative musical marriage was clearly an inspiration to the daughter. And yeah, now and then you can hear some vocal similarities to her mother.\u003c/p>\n\u003cp>Like her folks, younger Sudano and Ramirez began their relationship with music, when she attended a songwriting workshop he ran in 2005 in Nashville, where they both lived. Romance came a little later. They married in 2009 and relocated to Los Angeles, where they made this album in the intimate setting of their home studio.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J92sLFG9-3A\u003c/p>\n\u003cp>Johnnyswim (the name coming from how she as a child implored her late goldfish not to be dead) is not all valentines and roses: “My love can’t rescue you, the way you want it to,” she sings in “Rescue You.” There’s an ache to that admission, though, as there is in the desolation of “Lonely Night in Georgia,” a gospel/country-style duet, with Vince Gill (who co-wrote the song with them) on guitar and a full choir backing them up. Even “Drunks,” with its Lumineers-ish everyone-join-in chorus and its aspirational bent — “I want to write a song drunks all sing, and the sober sing along” — comes down to the core hope that it will be “our song,” the two of them.\u003c/p>\n\u003cp>Oh, and \"Georgica Pond\"? That, they have explained, is a place on Long Island where they stayed sometimes with Sudano’s mom, and where, now a few years since Summer’s death, the couple took their kid to visit. “One day when I’m gone, scatter my ashes on Georgica Pond,” Sudano sings. Mush. And much more.\u003c/p>\n\u003ch2>Nataly Dawn\u003c/h2>\n\u003cp>We’ve got another collaborative married couple now. Well, half of one.\u003c/p>\n\u003cp>\"I’m walking around in a haze and I feel you falling away from me,” sings \u003cstrong>\u003ca href=\"http://www.natalydawnmusic.com/\">Nataly Dawn\u003c/a>\u003c/strong> in the lush, descriptively named title song of her new solo album, \"Haze.\" Should we be concerned? She came to renown as half of \u003ca href=\"https://www.youtube.com/user/PomplamooseMusic\">Pomplamoose\u003c/a> with husband Jack Conte. The Bay Area duo found viral hitdom via some amusing and at times unlikely covers — from “My Favorite Things” to “Single Ladies” to the “Angry Birds” theme — presented in playful videos of them multitracking instruments and Dawn’s layered vocal harmonies, at once delightful and precious. Sometimes, perhaps, too precious.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg\" alt=\"nataly_dawn_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-150x150.jpg 150w\" sizes=\"(max-width: 294px) 100vw, 294px\">Not so here. \"Haze\" finds a smart balance of emotions (ruefulness and hope, for the most part) and sounds (the accomplished professionalism of Dawn’s 2013 album \"How I Knew Her\" and the DIY charm of \"Pomplamoose\"). Key is that where “How I Knew Her” was recorded in a full professional studio (with Conte producing) in a seemingly conscious step away from the \"Pomplamoose\" casualness. This one saw them (yes, he’s still around) back in the cozy comfort of home, freer to play around, and perhaps her feeling freer to explore her thoughts.\u003c/p>\n\u003cp>Opening song “I Could Lose” in its brief time moves from fragile, intimate acoustic guitar and voice to strings-enhanced confidence. “Orchid” touches on the pop playfulness that marks Pomplamoose’s covers, but with a dreamy cast. The home setting also, it seems, brought out an air of restless cabin fever, captured in what is the album’s killer song, “Waiting Room,” mixing a battle of anticipation and resignation.\u003c/p>\n\u003cp>“Every room,” Dawn sings, “is a waiting room.” Let’s hope we’re not meant to read too much into that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PeciLlwVFL8\u003c/p>\n\u003ch2>Hope Sandoval and the Warm Inventions\u003c/h2>\n\u003cp>OK, another couple to spotlight in our bonus tracks, but just a duet here, with \u003ca href=\"http://www.hopesandoval.com/home.shtml\">\u003cstrong>Hope Sandoval\u003c/strong> \u003c/a>(of \u003ca href=\"http://www.allmusic.com/artist/mazzy-star-mn0000401287/biography\">Mazzy Star\u003c/a> fame) teaming with \u003ca href=\"http://www.kurtvile.com/\">Kurt Vile\u003c/a> on “Let Me Get There,” from the former’s first album in seven years, \"Until the Hunter.\" It’s a song full of sweet affection, sounding like a bit of a cross between Seals & Croft and Buffalo Springfield, which may be a little surprise to those who know Sandoval only from Mazzy’s murky, moody mystique. Such little surprises are part and parcel to her recordings with the Warm Inventions (which really is just her and \u003ca href=\"https://www.mybloodyvalentine.org//home?hs=1\">My Bloody Valentine\u003c/a>’s Colm O’Coisog, making the ampersand a bit confusing).\u003c/p>\n\u003cp>\u003cimg class=\"alignleft size-full wp-image-11149844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg\" alt=\"hope-sandoval-until-the-hunter-album\" width=\"370\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg 370w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-150x150.jpg 150w\" sizes=\"(max-width: 370px) 100vw, 370px\">\u003c/p>\n\u003cp>Nice touches pop up throughout the album as the overall tone moves from intimate, dusky folk to expansive desert psychedelia. The most delightful may be the simplest of them all: the hand claps that provide light percussion in the song “I Took a Slip.”\u003c/p>\n\u003cp>Not that she and he (and a few other friends who join in) have turned into the Angels or the early Beatles or anything. But those basic little, understated clapped beats put a joy into the song, even more so for being wrapped in strummed guitar, some space noises and desolate slide wails, not as contrasting juxtaposition or pop irony, but as spirited propulsion. Were they premeditated calculation or spontaneous exclamation? Doesn’t really matter, though it feels like the latter. Regardless, it’s a perfect and perfectly human touch.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pyRJYnAndT0\u003c/p>\n\n",
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"title": "New Pop Music, Couples Edition: Johnnyswim, Nataly Dawn and Hope Sandoval | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>A married pair explore their relationship's dynamics. A singer takes a solo sojourn from the band she formed with her husband. And Hope Sandoval and Kurt Vile get together for an unexpectedly delightful duet.\u003c/em>\u003c/p>\n\u003ch2>Johnnyswim\u003c/h2>\n\u003cp>You know how in old movies some kid would be spying on a young couple smooching and then scrunch up his face in disgust and say, “Oooh, mush?”\u003c/p>\n\u003cp>That kid would have a tough time with \"Georgica Pond,\" the new album from \u003cstrong>\u003ca href=\"http://www.johnnyswim.com/home\">Johnnyswim\u003c/a>\u003c/strong>, the unabashedly romantic married duo of Amanda Sudano and Abner Ramirez. In the dreamy “In My Arms,” he sings to her, “I’m gonna love you like nobody will, under the rainbow and over the hill.” And she replies, “ 'Cause money can buy me a diamond that fades, but ours is a love story for every age, I’ll be the writer if you’ll be my page …” Later he sings, cooingly, in French!\u003c/p>\n\u003cp>Oooh, mush. Wonderful, wonderful mush. Duets in which they pledge devotion, examine their life together, the magic still there, even after a decade together. Even after writing and recording and touring together. Even after each experienced the death of a parent. Even after having had their first child last year.\u003c/p>\n\u003cp>That’s impressive enough. But what’s \u003ci>really\u003c/i> impressive is that as mushy as it may be, it never gets gloppy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg\" alt=\"johnnyswim_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/johnnyswim_cover.jpg 1500w\" sizes=\"(max-width: 294px) 100vw, 294px\">Well, they do have some good role models. Marvin and Tammi. Peaches and Herb. Heck, even some Johnny and June or Sonny and Cher. They’re here in spirit, if not always specific sounds. \"Georgica Pond\" expands and extends the folk-soul-gospel blends of their 2014 full-album debut, \"Diamonds,\" and nearly captures the magnetic chemistry known to anyone who has seen them in concert. There’s a naturalness to their interplay, equal parts spontaneous spark and confident craft.\u003c/p>\n\u003cp>Oh, and another role-model pair: The late \u003ca href=\"http://www.nytimes.com/2012/05/18/arts/music/donna-summer-queen-of-disco-dies-at-63.html\">Donna Summer\u003c/a> and her husband, songwriter and musician Bruce Sudano — Amanda’s parents. Again, nothing here sounds like “Bad Girls,” let alone “I Feel Love.” But growing up with parents who had a collaborative musical marriage was clearly an inspiration to the daughter. And yeah, now and then you can hear some vocal similarities to her mother.\u003c/p>\n\u003cp>Like her folks, younger Sudano and Ramirez began their relationship with music, when she attended a songwriting workshop he ran in 2005 in Nashville, where they both lived. Romance came a little later. They married in 2009 and relocated to Los Angeles, where they made this album in the intimate setting of their home studio.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J92sLFG9-3A'\n title='//www.youtube.com/embed/J92sLFG9-3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Johnnyswim (the name coming from how she as a child implored her late goldfish not to be dead) is not all valentines and roses: “My love can’t rescue you, the way you want it to,” she sings in “Rescue You.” There’s an ache to that admission, though, as there is in the desolation of “Lonely Night in Georgia,” a gospel/country-style duet, with Vince Gill (who co-wrote the song with them) on guitar and a full choir backing them up. Even “Drunks,” with its Lumineers-ish everyone-join-in chorus and its aspirational bent — “I want to write a song drunks all sing, and the sober sing along” — comes down to the core hope that it will be “our song,” the two of them.\u003c/p>\n\u003cp>Oh, and \"Georgica Pond\"? That, they have explained, is a place on Long Island where they stayed sometimes with Sudano’s mom, and where, now a few years since Summer’s death, the couple took their kid to visit. “One day when I’m gone, scatter my ashes on Georgica Pond,” Sudano sings. Mush. And much more.\u003c/p>\n\u003ch2>Nataly Dawn\u003c/h2>\n\u003cp>We’ve got another collaborative married couple now. Well, half of one.\u003c/p>\n\u003cp>\"I’m walking around in a haze and I feel you falling away from me,” sings \u003cstrong>\u003ca href=\"http://www.natalydawnmusic.com/\">Nataly Dawn\u003c/a>\u003c/strong> in the lush, descriptively named title song of her new solo album, \"Haze.\" Should we be concerned? She came to renown as half of \u003ca href=\"https://www.youtube.com/user/PomplamooseMusic\">Pomplamoose\u003c/a> with husband Jack Conte. The Bay Area duo found viral hitdom via some amusing and at times unlikely covers — from “My Favorite Things” to “Single Ladies” to the “Angry Birds” theme — presented in playful videos of them multitracking instruments and Dawn’s layered vocal harmonies, at once delightful and precious. Sometimes, perhaps, too precious.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11149842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg\" alt=\"nataly_dawn_cover\" width=\"294\" height=\"294\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/nataly_dawn_cover-150x150.jpg 150w\" sizes=\"(max-width: 294px) 100vw, 294px\">Not so here. \"Haze\" finds a smart balance of emotions (ruefulness and hope, for the most part) and sounds (the accomplished professionalism of Dawn’s 2013 album \"How I Knew Her\" and the DIY charm of \"Pomplamoose\"). Key is that where “How I Knew Her” was recorded in a full professional studio (with Conte producing) in a seemingly conscious step away from the \"Pomplamoose\" casualness. This one saw them (yes, he’s still around) back in the cozy comfort of home, freer to play around, and perhaps her feeling freer to explore her thoughts.\u003c/p>\n\u003cp>Opening song “I Could Lose” in its brief time moves from fragile, intimate acoustic guitar and voice to strings-enhanced confidence. “Orchid” touches on the pop playfulness that marks Pomplamoose’s covers, but with a dreamy cast. The home setting also, it seems, brought out an air of restless cabin fever, captured in what is the album’s killer song, “Waiting Room,” mixing a battle of anticipation and resignation.\u003c/p>\n\u003cp>“Every room,” Dawn sings, “is a waiting room.” Let’s hope we’re not meant to read too much into that.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PeciLlwVFL8'\n title='//www.youtube.com/embed/PeciLlwVFL8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Hope Sandoval and the Warm Inventions\u003c/h2>\n\u003cp>OK, another couple to spotlight in our bonus tracks, but just a duet here, with \u003ca href=\"http://www.hopesandoval.com/home.shtml\">\u003cstrong>Hope Sandoval\u003c/strong> \u003c/a>(of \u003ca href=\"http://www.allmusic.com/artist/mazzy-star-mn0000401287/biography\">Mazzy Star\u003c/a> fame) teaming with \u003ca href=\"http://www.kurtvile.com/\">Kurt Vile\u003c/a> on “Let Me Get There,” from the former’s first album in seven years, \"Until the Hunter.\" It’s a song full of sweet affection, sounding like a bit of a cross between Seals & Croft and Buffalo Springfield, which may be a little surprise to those who know Sandoval only from Mazzy’s murky, moody mystique. Such little surprises are part and parcel to her recordings with the Warm Inventions (which really is just her and \u003ca href=\"https://www.mybloodyvalentine.org//home?hs=1\">My Bloody Valentine\u003c/a>’s Colm O’Coisog, making the ampersand a bit confusing).\u003c/p>\n\u003cp>\u003cimg class=\"alignleft size-full wp-image-11149844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg\" alt=\"hope-sandoval-until-the-hunter-album\" width=\"370\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album.jpg 370w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/hope-sandoval-until-the-hunter-album-150x150.jpg 150w\" sizes=\"(max-width: 370px) 100vw, 370px\">\u003c/p>\n\u003cp>Nice touches pop up throughout the album as the overall tone moves from intimate, dusky folk to expansive desert psychedelia. The most delightful may be the simplest of them all: the hand claps that provide light percussion in the song “I Took a Slip.”\u003c/p>\n\u003cp>Not that she and he (and a few other friends who join in) have turned into the Angels or the early Beatles or anything. But those basic little, understated clapped beats put a joy into the song, even more so for being wrapped in strummed guitar, some space noises and desolate slide wails, not as contrasting juxtaposition or pop irony, but as spirited propulsion. Were they premeditated calculation or spontaneous exclamation? Doesn’t really matter, though it feels like the latter. Regardless, it’s a perfect and perfectly human touch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Let’s Get Metaphysical: Meet the Gym Owner Who’ll Give You an Exorcism",
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"content": "\u003cp>At first glance, you probably wouldn’t guess that Adam Higgs is an exorcist. Of course, he claims other titles as well: clairvoyant, psychic, medium, healer, channeler of spirits from beyond the grave. And, according to his website, he’s a metaphysical master.\u003c/p>\n\u003cp>But, sitting behind the desk at the SHED Health Center -- the small gym he runs in Meiners Oaks, a few miles from Ventura -- Higgs looks a lot more like the London bouncer that he once was. Muscular, cut, 6 feet tall and 208 pounds of pure power-lifting bloke, as it were. Oh yeah, he used to be a competitive power lifter, too.\u003c/p>\n\u003cp>All in all, seemingly a man more likely to deliver a swift head butt than to thoughtfully read your palm. Yet that’s exactly what I was to experience, despite the fact that I went to his gym only to get in a quick workout.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/290478682\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>We ended up talking about his occult work. And yes, performing exorcisms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, you probably wouldn’t guess that Adam Higgs is an exorcist. Of course, he claims other titles as well: clairvoyant, psychic, medium, healer, channeler of spirits from beyond the grave. And, according to his website, he’s a metaphysical master.\u003c/p>\n\u003cp>But, sitting behind the desk at the SHED Health Center -- the small gym he runs in Meiners Oaks, a few miles from Ventura -- Higgs looks a lot more like the London bouncer that he once was. Muscular, cut, 6 feet tall and 208 pounds of pure power-lifting bloke, as it were. Oh yeah, he used to be a competitive power lifter, too.\u003c/p>\n\u003cp>All in all, seemingly a man more likely to deliver a swift head butt than to thoughtfully read your palm. Yet that’s exactly what I was to experience, despite the fact that I went to his gym only to get in a quick workout.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/290478682&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/290478682'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We ended up talking about his occult work. And yes, performing exorcisms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oh yeah, done that,” says Higgs, with the same bored nonchalance you might expect from someone talking about getting their car washed. “It's a very simple procedure,” he says of demon banishment. “If you've got the balls to do it.”\u003c/p>\n\u003cp>To whatever degree you subscribe to the trappings of the metaphysical world, Higgs pretty much radiates balls. Hard to argue that.\u003c/p>\n\u003cp>“I tell the blatant, hard-hitting truth,” he says in a blatant, hard-hitting manner. “Whether it’s the truth about the future, the truth about their bodies, the truth about their diets, it all comes down to the basic concept of most people are doing it wrong.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I’m a last resort. So most people ... when they’ve been to everybody else, they usually come to me.'\u003c/aside>\n\u003cp>So there. It’s that attitude that’s earned him steadfast clients, he says, around the globe. Particularly in Ireland and Hong Kong, where he travels regularly to provide readings and healing sessions.\u003c/p>\n\u003cp>Higgs was raised just outside London. His father owned a garage, his mother raised Dobermans. His life was “pretty normal. I didn't have any interest in metaphysics,” he says. At age 30 (he’s 53 now), his life began a new course. “I'd just broken up with my girlfriend and my mother took me for a reading.” The medium suggested that Higgs take a class from her, and he discovered he had an aptitude for clairvoyance.\u003c/p>\n\u003cp>“I gave it a go,” he says. “I'm not really trying the first week, second week it’s quite interesting. The third week I was trying really hard and got the old gold arrow shot across, went straight into my third eye. And then it really opened up for me.”\u003c/p>\n\u003cp>The instructor asked if he’d like to try trance mediumship, “where the spirit comes into you and your voice changes and your body changes and your face changes and everything,” Higgs says. “The first time I did that, I went straight in. That was great, that hooked me. That was better than sex and weightlifting put together.”\u003c/p>\n\u003cfigure id=\"attachment_11149860\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11149860\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg\" alt=\"Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks.\" width=\"800\" height=\"1079\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-800x1079.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1020x1375.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-1180x1591.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-960x1295.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/10/AdamInGym-520x701.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Higgs, psychic, medium and owner of the SHED Health Center in Meiners Oaks. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there he went to the Arthur Findlay College in Essex, England, an establishment that specializes in educating believers in the metaphysical arts. After graduating he plied his trade in Ireland, moving to the States in 2005 (citizenship was no problem, his father was a Detroit native) and setting up shop in Meiners Oaks.\u003c/p>\n\u003cp>He has a small farm nearby where he lives with his wife and daughter. He raises his own fruit, vegetables and meat. He has a goat. He drinks its milk. He hasn’t had a drop of booze since he was 22. “I was not a good drinker,” Higgs explains. These days he’s all about health and the spirit world.\u003c/p>\n\u003cp>“I don’t have any problem with people who go to church,” he says. “If it brings them comfort that’s great. People come to me who've lost their sons or daughters and want to know they’re fine. That’s great, too, and that’s a service I offer.”\u003c/p>\n\u003cp>What if those non-terra firma souls aren’t great?\u003c/p>\n\u003cp>“Never had that experience,” Higgs states. “I'm a last resort. So most people — especially when I work in Ireland and Hong Kong — when they've been to everybody else, they usually come to me.”\u003c/p>\n\u003cp>I’m not looking for a last resort, but let’s be honest. I’ve been to church, I’ve spent time in bars, I’ve read \"The Power of Now.\" And still, dollars to doughnuts, I’m often a quivering mass of existential confusion. I ask him for a reading.\u003c/p>\n\u003cp>And so it is that I find myself in the patio of his gym, bright and early one morning. Higgs is energized. He’s just finished eating sprouted bread with raw cheese and homemade sauerkraut. The man doesn’t drink coffee — “the Tibetans say it carries disease.” We sit across from each other, knees almost touching. I extend my hands, palms up, as if awaiting the medium to slap me five.\u003c/p>\n\u003cp>But instead of that, he concentrates, exhales, and begins poking and prodding my palms. And the revelations begin.\u003c/p>\n\u003cp>“You've got soft hands. You're nice, you’re kind, you're soft, you’re gentle. Too nice, too kind, too soft, too gentle. You can get slaughtered sometimes. You got a nice fate line here,” he says. “You have the potential to live a long time, but you should also take some fish oil as well.”\u003c/p>\n\u003cp>Dry skin?\u003c/p>\n\u003cp>“No. See how that line dissipates? Dissipation at the end. That’s always indicative of Alzheimer’s or senile dementia.”\u003c/p>\n\u003cp>Good to know.\u003c/p>\n\u003cp>“There's an option to write a book here as well, but not necessarily a fiction book, maybe a manual or a treatise. Have a dog, do you?”\u003c/p>\n\u003cp>I do.\u003c/p>\n\u003cp>“You've just got to love your girlfriend like you love your dog.”\u003c/p>\n\u003cp>Well, I love them both in their respective ways, I tell him.\u003c/p>\n\u003cp>“But you give your dog unconditional love. If you give your girlfriend exactly the same, she’ll be happy.” I make note of this. Higgs continues.\u003c/p>\n\u003cp>“Have a young woman you’re close to? Blond hair?”\u003c/p>\n\u003cp>Not really.\u003c/p>\n\u003cp>“There's a young woman to come into your life. She could prove to be quite useful.” I suggest this might not seem so useful to my girlfriend, who is not blond, but he doesn’t miss a beat.\u003c/p>\n\u003cp>“I didn’t say it was romantic. I mean in a professional sense.”\u003c/p>\n\u003cp>“Have you been to Europe? I can see Rome and Paris for you, and South America. And the option for a trip East.” Not the most specific of predictions, but I’m fine with any or all of that.\u003c/p>\n\u003cp>Then I have a question. Does this tell you how bad things will get? Higgs ponders my left palm and exhales heavily.\u003c/p>\n\u003cp>“With your hands the option for things getting that bad is not that great. You just fade away into the middle distance.”\u003c/p>\n\u003cp>Certainly a fate more terrifying than anything Halloween can conjure up. But then, of course, Higgs had warned me. He tells the blatant, hard-hitting truth. A lot more was revealed. Some things seemed accurate, some general. Sometimes both at once.\u003c/p>\n\u003cp>I didn’t come to judge, but what did it all mean? Some might find it helpful, insightful, wondrous. Others may laugh it all off as a parlor trick. I can tell you this: Someday, I’ll be in Rome, loving my dog and my girlfriend unconditionally, writing a treatise, sipping fish oil. Avoiding the middle distance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Chris Ballew for contributing his original music to the radio version of this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the greatest songs ever written were inspired by the pain and anger of a failed romance (Bob Dylan’s Nobel-enshrined songbook positively brims with bitter kiss-offs). Los Angeles producer, multi-instrumentalist and sound sculptor\u003ca href=\"http://www.tconley.com\"> MAST\u003c/a> (aka Tim Conley) adds an ambitious and deeply engaging chapter to the annals of breakup albums with \u003cem>Love and War_ \u003c/em>(Alpha Pup).\u003c/p>\n\u003cp>The project evolved out of a two-year relationship that didn’t end well. The album unfolds in three acts, the titular “Love,” “War” and concluding “Transcendence.” Maybe I’m perverse, but my favorite section is the angst-ridden middle act when everything falls apart, and the plot line keeps taking left turns, like on the darkly hilarious dating dystopia “Should’ve Swiped Left” featuring rapper \u003ca href=\"https://thekoreatownoddity.bandcamp.com/\">The Koreatown Oddity\u003c/a>.\u003c/p>\n\u003cp>Steeped in jazz, MAST draws on a sonic sensibility drawn from L.A.’s long-running Low End Theory, a weekly club night in Lincoln Heights co-launched by Daddy Kev, who mixed and mastered \u003cem>Love and War_.\u003c/em> The majority of the album’s 17 tracks are instrumental, but MAST brings in a host of special guests, like the brilliant L.A. saxophonist Gavin Templeton, who adds a feral edge to the hi-hat propelled “On the Prawl Again, Again.” There are several seductive musical themes that surface and sublimate over and over, creating a cohesive sonic narrative amid the various beats and textures. I didn’t love every track, but many stand on their own, like “The Breakup,” which features haunting vocals from\u003ca href=\"http://www.brainfeedersite.com/2012/06/04/ryat-totem/\"> Ryat\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-11140755\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg\" alt=\"HCSF\" width=\"800\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-800x711.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-160x142.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1020x907.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1920x1707.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-1180x1049.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-960x853.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-240x213.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-375x333.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/10/HCSF-520x462.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While MAST reinvents the breakup album, the \u003ca href=\"http://www.hotclubsf.com\">Hot Club of\u003c/a> \u003ca href=\"http://www.hotclubsf.com\">San Francisco\u003c/a> transforms The Beatles songbook with a dose of Gypsy jazz on \u003cem>John, Paul, George, and Django\u003c/em> (Hot Club Records). Led by guitarist Paul Mehling, the Hot Club spearheaded the Gypsy swing revival in the United States some three decades ago. Over the years the group has featured a bevy of excellent musicians, but the present lineup is one of the strongest, starting with violinist Evan Price, a pithy Stephane Grappelli to Mehling’s mellower take on Django Reinhardt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mehling has been laying the groundwork for \u003cem>John, Paul, George, and Django \u003c/em>for years, dating back at least to \u003cem>Quintet of the Hot Club of San Francisco\u003c/em>, the 1994 album featuring “And I Love Her.” He found another effective vehicle on 1997’s \u003cem>Swing This\u003c/em> with a gorgeous arrangement of “While My Guitar Gently Weeps.”\u003c/p>\n\u003cp>In the same way, what makes this new project work is the arrangements, which honor and reference the original recordings, while always offering something new. The concept can be as simple as the lovely version of “Because” that opens at the song’s original ballad tempo and then accelerates to a brisk swing. I love the trance-like 5/4 groove on “Fool On the Hill” and the interaction between Price’s violin and rhythm guitarist Isabelle Fontaine’s vocals on “For No One.” She provides another highlight on “If I Needed Someone,” where her delivery of her translated lyrics turn the tune into a Gallic torch song.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than another album of Beatles covers, \u003cem>John, Paul, George, and Django\u003c/em> expands the Gypsy jazz repertoire, suggesting brave new worlds for exploration by Djangologists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
"title": "L.A. Philharmonic’s Gustavo Dudamel on Connecting Kids to Classical Music",
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"content": "\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289389916\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FveDFyqznG8\u003c/p>\n\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. Because in this moment that people are trying to create more borders, between us, between human beings, we have to build more bridges. I’m looking at a map right now, of America, of all of America. We are one America, and we have to unite our vision. We can’t agree on everything, but from disagreement, we can build beautiful things. This is maybe a very utopic way to think, but I believe we can build a better world building bridges.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.laphil.com/philpedia/gustavo-dudamel\" target=\"_blank\">Gustavo Dudamel\u003c/a> is the artistic director and conductor of the Los Angeles Philharmonic, known for his wild curly hair and his passionate conducting style. We caught up with Dudamel to talk about his youth orchestra's first-ever statewide tour, which runs Oct. 23-30, with stops in Southern California, the Central Valley and the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/289389916&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/289389916'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Welcome to the show, Maestro. Is that what to call you?\u003c/strong>\u003c/p>\n\u003cp>Yes, but I prefer that you call me Gustavo.\u003c/p>\n\u003cp>\u003cstrong>You founded the \u003ca href=\"http://www.laphil.com/education/yola\">Youth Orchestra Los Angeles (YOLA)\u003c/a>, which is celebrating its 10th anniversary. It’s a music education program that provides instruments and training for about 800 kids from underserved communities in Los Angeles. Tell me about the kids in YOLA.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s inspired by El Sistema, a program that we have in Venezuela. I’m a result of this beautiful, beautiful musical, artistic social program. For 10 years, [YOLA has] developed many things, especially the personality of these children, their belief in life. This is the beautiful thing that music gives to them. We are very happy we are doing our first tour, after 10 years. It’s a good way to celebrate.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FveDFyqznG8'\n title='//www.youtube.com/embed/FveDFyqznG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You still direct an orchestra in Venezuela, although you’ve shied away from weighing in on the current political crisis there. Until recently when you made some \u003ca href=\"http://files.constantcontact.com/d3003c0e401/82558dde-3e34-497b-adb9-01f7ae362ec8.pdf\">comments\u003c/a> at a White House ceremony. Tell us what you said.\u003c/strong>\u003c/p>\n\u003cp>Normally, in times of crisis, the first thing people cut is art, music, cultural things for children. People don’t understand that art is a very important element of human beings. It’s beauty, it’s creativity. Of course, we are living in very difficult times in the world. In my country, it’s a very difficult economic and political time. But we have to keep working, and I think El Sistema is a symbol of this hope of the country. And I’m sure things will get better, but we have to keep playing, in our case, with our instruments, building our country, building a better world.\u003c/p>\n\u003cp>\u003cstrong>Your comments generated a lot of \u003ca href=\"http://www.camelloparlante.com/2016/09/29/la-dura-respuesta-de-gabriela-montero-al-discurso-de-dudamel/\">criticism\u003c/a> on Twitter and elsewhere from people who thought you were being too insensitive to the fact that many people in Venezuela are having trouble getting food and meeting basic needs.\u003c/strong>\u003c/p>\n\u003cp>Absolutely. You know, I have family living there. They are suffering the same things. But the thing is, you have to keep working. I’m a person that works. I don’t like to talk. I prefer to work and build things. I’m not a politician, my dear, I’m a musician, I’m an artist. Of course, I’m a citizen. But what I can do is spread the message of music and art as a very important element of humanity. This is the thing that I do. I’m with my country, with all the people that are suffering. But what I can say is that we will get out of this difficult moment. But keep working and keep dreaming, because nobody can kill our dreams.\u003c/p>\n\u003cp>\u003cstrong>Part of your dream here in California is to make classical music more accessible. How do you do that?\u003c/strong>\u003c/p>\n\u003cp>We are an orchestra that has two great venues, Disney Hall and the Hollywood Bowl. At the Bowl, we can have 18,000 people every night. So it’s beautiful, the amount of people that have access to classical music. Tickets are less expensive, some of them only a dollar. And with all the programs we have here for young people, for children, for new music, I think our doors are really open to new audiences.\u003c/p>\n\u003cp>\u003cstrong>You recently got to conduct part of John Williams' soundtrack for the latest \"Star Wars\" movie, \"The Force Awakens.\" What was that like?\u003c/strong>\u003c/p>\n\u003cp>Well, amazing. Imagine, knowing the film and this music since I was a child. By the way, my son is a big admirer of \"Star Wars,\" so I took him to the session. It was amazing. I’m so thankful and grateful to have John Williams as a friend. When he called me, I was like, ‘Are you sure John, you are not joking?’ He said, ‘No, I would love to give a surprise to the orchestra.' It was a great experience. I’d love to repeat it again someday.\u003c/p>\n\u003cp>\u003cstrong>You mentioned your 5-year-old son, Martin. You travel around the world, you’ve got this grueling schedule. How do you juggle it all and make time for him?\u003c/strong>\u003c/p>\n\u003cp>I open time. I try to be a good father. When I’m here in Los Angeles, I take him every morning to school. He comes on tour with me sometimes. He goes to Venezuela with his mom, with me, we have all the family there. It’s not the amount of time you spend with them. It’s the quality of the time you give to your children.\u003c/p>\n\u003cp>\u003cstrong>I’ve got to ask you about \u003ca href=\"https://www.amazon.com/Mozart-Jungle-Season-1/dp/B00I3MNGCG\">\"Mozart in the Jungle,\" \u003c/a>the Netflix show about a young Latin American conductor that comes to the U.S. It's loosely based on your story, although the character in that show has a hot temper, a womanizer!\u003c/strong>\u003c/p>\n\u003cp>I’m not that. Yes, the show is inspired by my beginning as a musician, arriving here to L.A. But the character, we are completely different. Yes, we are very inspired about what we do. But I’m not as crazy as Rodrigo. But I have fun watching the TV series, because it’s a good way to get people connected to classical music.\u003c/p>\n\u003cp>\u003cstrong>Does Los Angeles feel like home for you now?\u003c/strong>\u003c/p>\n\u003cp>Yes, completely. I feel so beautiful. Every day I try to make more connections between my country and Los Angeles. Because in this moment that people are trying to create more borders, between us, between human beings, we have to build more bridges. I’m looking at a map right now, of America, of all of America. We are one America, and we have to unite our vision. We can’t agree on everything, but from disagreement, we can build beautiful things. This is maybe a very utopic way to think, but I believe we can build a better world building bridges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/289753182\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hayden, a radical activist and advocate for progressive causes, died Sunday at the age of 76.\u003c/p>\n\u003cp>In the \u003ca href=\"http://tomhayden.com/biography/\">early 1960s\u003c/a>, Hayden was a freedom rider in the South and a community organizer in Newark. He was a civil rights activist who became famous for his anti-war efforts and made several high-profile (and later controversial) trips to Vietnam. He was a founding member of the Students for a Democratic Society and wrote the first draft of the influential activist group's manifesto, the Port Huron Statement.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/289753182&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/289753182'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After helping organize protests at the 1968 Democratic National Convention in Chicago, he was prosecuted in the \"Chicago Seven\" conspiracy trial for allegedly inciting a riot. Hayden was convicted, but the charge was later overturned.\u003c/p>\n\u003cp>Hayden was married several times. Most famously, he was married to Jane Fonda — whom he met through their shared anti-war activism — for 17 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An icon of the anti-establishment protest movement for years, Hayden later became a politician. He made an unsuccessful bid for a Senate seat in 1976, and was later elected to the California state Legislature, where he served for 18 years. He was also an author, publishing books about the Chicago Seven (originally the Chicago Eight, until one defendant had his trial severed) as well as political manifestos and memoirs.\u003c/p>\n\u003cp>In 1993, Hayden spoke to NPR about the tensions on the streets of Chicago in 1968, and the violence between police and protesters at the Democratic National Convention that led to his trial.\u003c/p>\n\u003cp>\"By 1968, the Vietnam War was claiming tens of thousands of lives, Indo-Chinese and American,\" he said in that interview. \"The Democratic Party was running the country, and so you had a bipartisan Democratic and Republican war policy that seemed to be escalating without end ... the Democratic Party was controlled from the top by traditional bosses who chose their nominees and their parties platforms in smoke-filled rooms. And so the goal of the protest was not only to protest the war, but to protest the disenfranchisement that was so deep. Here we were, if you were 18, you could be drafted and sent to war, but you couldn't vote for Eugene McCarthy.\"\u003c/p>\n\u003cp>He said some things had improved in America over the course of 25 years, but that the country had far to go:\u003c/p>\n\u003cblockquote>\u003cp>\"I would hope that we learned something about how to deal with dissent and protest — that having an inclusive process where you open the doors is a lot better than sending in the police. ... What was not learned, however, is the lesson that prevention and getting ahead of our problems is uppermost.\u003c/p>\n\u003cp>\"We still disenfranchise racial minorities in economic terms. Young people still feel they're not listened to. ... I think the environmental issue has begun to eclipse everything else because our population has doubled and the resources of the world have been cut in half since I was born and there's very little focus on those issues on the political agenda.\u003c/p>\n\u003cp>\"So I don't know on the balance sheet whether to mark myself as an optimist or pessimist, but we've got to go on.\"\u003c/p>\u003c/blockquote>\n\u003cp>Go on he did — serving several more years in office and writing more than a dozen other books. He faced censure from some on the left who accused him of joining the same establishment he once criticized, as well as those on the right who objected to his protests in the '60s.\u003c/p>\n\u003cp>But as the decades passed, Hayden remained a prominent voice on progressive causes, including environmental issues, economic policy and continued anti-war efforts.\u003c/p>\n\u003cp>More recently, he surprised some in progressive circles by supporting Hillary Clinton over Bernie Sanders in this year's Democratic primary.\u003c/p>\n\u003cp>\"Bernie and I only have one thing in common you need to know: We're both politicians, so we make decisions based on what's possible,\" he \u003ca href=\"http://www.wbur.org/hereandnow/2016/07/28/tom-hayden-dnc\">told NPR this summer\u003c/a>. \"I've really been trying to work towards a goal that seems to be getting realized, and that's a serious united front against Trump.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new room has been discovered and is open to the public at San Jose's Winchester Mystery House, a Victorian mansion that was home to a widow of the Winchester rifle fortune.\u003c/p>\n\u003cp>The home's preservation team recently opened the new room, which is an attic space that has been boarded up since Sarah Winchester died in 1922.\u003c/p>\n\u003cp>Winchester boarded up the room after the 1906 earthquake because she was trapped in the room and she thought evil spirits were responsible for the quake.\u003c/p>\n\u003cp>The preservation team found numerous items in the room, including a pump organ, Victorian couch, dress form, sewing machine and paintings.\u003c/p>\n\u003cp>The new room means 161 rooms have been found in the mansion that is a California state landmark, San Jose landmark and is listed on the National Register of Historic Places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"slug": "at-lgbtq-focused-convention-gaming-is-for-everyone",
"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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"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",
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"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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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