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"content": "\u003cp>\u003ca href=\"http://www.geraldhaslam.com/\">Gerald Haslam\u003c/a> met Merle Haggard in elementary school. They both grew up in the tiny Kern County town of Oildale, which was mostly settled by Dust Bowl migrants.\u003c/p>\n\u003cp>“By the time we got to fourth or fifth grade, he was just one of those kids who seemed to be a little bit different, a little more assertive, a little more creative,\" recalls Haslam. \"Sort of an adventurer. A Huckleberry Finn type.”\u003c/p>\n\u003cp>Haslam has authored some 20 books about California, including \"\u003ca href=\"http://www.ucpress.edu/book.php?isbn=9780520275058\">Working Man Blues: Country Music in California.\u003c/a>\" I asked him to share some of his childhood memories of Haggard, who died April 6, on his 79th birthday.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/258067386\" 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>Because their school was funded by oil companies, Haslam says, they were offered music and art classes, unlike kids at other nearby public schools. But Haslam says Merle Haggard never really stood out as a kid who was a particularly good singer or musician at school. By sixth grade, though, Haslam remembers Haggard playing a borrowed guitar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The neighborhood we lived in was full of people from the Southwest, and it was not uncommon for people to have guitars and fiddles. And on long summer evenings, no air-conditioning, of course, people would sit out on their porches and play music and sing,” Haslam recalls. “He was one of the young fellows who could do that kind of thing.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'He was a real free thinker. A song like ‘Okie from Muskogee’ might make someone think he was a reactionary. Quite the opposite.'\u003c/aside>\n\u003cp>Haggard grew up in a converted boxcar, which Gerald Haslam later raised money to help \u003ca href=\"http://www.sacbee.com/opinion/california-forum/article29919502.html\">preserve as a historical site.\u003c/a>\u003c/p>\n\u003cp>“It was actually one of the nicer houses in the neighborhood,” explained Haslam, who grew up four blocks away. “His dad was a carpenter for the railroad, and somehow Mr. Haggard obtained the boxcar, and he converted it. He did a very nice job.”\u003c/p>\n\u003cp>When Haslam and other friends of Haggard's arranged to move the boxcar to a museum last year, they found a family still living in it, explains Haslam. “It stood up after all these years.”\u003c/p>\n\u003cp>I ask Haslam what he thinks some of Merle Haggard’s fans might find most surprising about the man who released more than three dozen hit songs over a long and illustrious career.\u003c/p>\n\u003cp>[contextly_sidebar id=\"HK1NkkFmlN5jqSmBr6YAsjWkD8MWpd08\"]\u003c/p>\n\u003cp>“People who know him only through his commercial successes don’t understand what an open-minded man he was,\" says Haslam. \"He was a real free thinker. A song like 'Okie from Muskogee' might make someone think he was a reactionary. Quite the opposite. He and I could talk about politics. I’m on the left, and we would be right on the money with one another.\"\u003c/p>\n\u003cp>Haggard, in fact, was vehemently against the Iraq War, a sentiment he put to music with his song “America First.”\u003c/p>\n\u003cp>\u003cem>\"Why don’t we liberate these United States. We’re the ones who need it the worst\u003c/em>,” he crooned. \u003cem>“Let’s get out of Iraq, get back on track, and rebuild America first…”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10924191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg\" alt='Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-10924191\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was also open-minded musically, so it shouldn’t have been surprising,” says Haslam. “He would perform Dixieland, or Norteño, or just plain West Coast jazz, along with more conventional forms of country music.”\u003c/p>\n\u003cp>But for all Haggard's creativity and originality, Haslam laments that he didn’t have more of an impact on how people look at the Central Valley.\u003c/p>\n\u003cp>“Unfortunately, I think there are still people who think of the valley as being something between uncivilized and primitive,\" he says. \"Merle is a good example of the open-mindedness and sophistication that’s possible, and that manifests itself there. He also illustrates the complexity of politics and philosophy. He wasn’t just a left-winger or a right-winger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope more people will understand that he wasn’t just a country singer, he was a singer. He wasn’t just a country songwriter, he was a songwriter. His musicality came to us at a very high level indeed.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The neighborhood we lived in was full of people from the Southwest, and it was not uncommon for people to have guitars and fiddles. And on long summer evenings, no air-conditioning, of course, people would sit out on their porches and play music and sing,” Haslam recalls. “He was one of the young fellows who could do that kind of thing.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'He was a real free thinker. A song like ‘Okie from Muskogee’ might make someone think he was a reactionary. Quite the opposite.'\u003c/aside>\n\u003cp>Haggard grew up in a converted boxcar, which Gerald Haslam later raised money to help \u003ca href=\"http://www.sacbee.com/opinion/california-forum/article29919502.html\">preserve as a historical site.\u003c/a>\u003c/p>\n\u003cp>“It was actually one of the nicer houses in the neighborhood,” explained Haslam, who grew up four blocks away. “His dad was a carpenter for the railroad, and somehow Mr. Haggard obtained the boxcar, and he converted it. He did a very nice job.”\u003c/p>\n\u003cp>When Haslam and other friends of Haggard's arranged to move the boxcar to a museum last year, they found a family still living in it, explains Haslam. “It stood up after all these years.”\u003c/p>\n\u003cp>I ask Haslam what he thinks some of Merle Haggard’s fans might find most surprising about the man who released more than three dozen hit songs over a long and illustrious career.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“People who know him only through his commercial successes don’t understand what an open-minded man he was,\" says Haslam. \"He was a real free thinker. A song like 'Okie from Muskogee' might make someone think he was a reactionary. Quite the opposite. He and I could talk about politics. I’m on the left, and we would be right on the money with one another.\"\u003c/p>\n\u003cp>Haggard, in fact, was vehemently against the Iraq War, a sentiment he put to music with his song “America First.”\u003c/p>\n\u003cp>\u003cem>\"Why don’t we liberate these United States. We’re the ones who need it the worst\u003c/em>,” he crooned. \u003cem>“Let’s get out of Iraq, get back on track, and rebuild America first…”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10924191\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg\" alt='Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" ' width=\"800\" height=\"600\" class=\"size-medium wp-image-10924191\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/Merle-Haggard-accepts-his-Honorary-Doctorate.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merle Haggard accepts his honorary doctorate at Cal State Bakersfield in 2013. His childhood friend, author Gerald Haslam, watched him accept the honor of becoming \"Dr. Haggard.\" \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was also open-minded musically, so it shouldn’t have been surprising,” says Haslam. “He would perform Dixieland, or Norteño, or just plain West Coast jazz, along with more conventional forms of country music.”\u003c/p>\n\u003cp>But for all Haggard's creativity and originality, Haslam laments that he didn’t have more of an impact on how people look at the Central Valley.\u003c/p>\n\u003cp>“Unfortunately, I think there are still people who think of the valley as being something between uncivilized and primitive,\" he says. \"Merle is a good example of the open-mindedness and sophistication that’s possible, and that manifests itself there. He also illustrates the complexity of politics and philosophy. He wasn’t just a left-winger or a right-winger.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I hope more people will understand that he wasn’t just a country singer, he was a singer. He wasn’t just a country songwriter, he was a songwriter. His musicality came to us at a very high level indeed.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lasagna & Kleenex: Reaching Out Online in the Face of Death",
"title": "Lasagna & Kleenex: Reaching Out Online in the Face of Death",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>UPDATE: Steve Julian died on April 24, 2016. KPCC published a lovely tribute \u003ca href=\"http://www.scpr.org/news/2016/04/24/58999/steve-julian-longtime-voice-of-kpcc-s-morning-edit/\">here\u003c/a>. His wife, Felicia Friesema, wrote on the blog she's been maintaining during his last months, \"He left this world surrounded by love, in the comfort of the home we made together, in his own bed.\" Our hearts go out to Felicia in this time of grief. We trust this story provided some measure of comfort for her when it first went up on April 1, 2016. We hope that others who encounter this story now, after Steve's death, share our profound love and compassion for those who suffer from devastating diseases, as well as those who care for them, all the way through to the end.\u003c/p>\n\u003cp>\u003cem>\"My experience on social media is that it has always been a connecting fiber. I think that, like anything, you get out of it what you put into it.\" -- Felicia Friesema\u003c/em>\u003c/p>\n\u003cp>Felicia had seen the signs of brain cancer before. Her husband Steve Julian wasn't just forgetting his keys on the kitchen counter or having another of the myriad brain farts we often associate with middle age. He'd stop in the middle of a sentence, like he'd just hit a brick wall, and that was that.\u003c/p>\n\u003cp>\"It wasn’t that kind of gradual onset that Alzheimer’s is. It didn’t sound or feel like dementia. This was so sudden -- and it was very eerily similar to what happened to my aunt, my tia Gloria,\" Felicia says.\u003c/p>\n\u003cp>This time, it was her husband.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the years, they've built a cozy life together in a sweet, spacious home overlooking the 110 freeway in Highland Park. She's head of marketing for \u003ca href=\"http://foothilltransit.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Foothill Transit\u003c/a>. Steve Julian is one of a handful of trusted voices helping Angelenos navigate the freeways every day, as morning anchor for KPCC-FM. In his off hours, he writes \u003ca href=\"https://stevejulian.wordpress.com/resume/\" target=\"_blank\" rel=\"noopener noreferrer\">plays\u003c/a>.\u003c/p>\n\u003cp>Now, he was having trouble navigating his way through a sentence.\u003c/p>\n\u003cp>\"Technically, all tumors are operable,\" Felicia explains. \"The question that comes into play is: What are you willing to sacrifice in order to get it out? The position and location of his tumor is such that you would have to completely destroy a lot of healthy brain tissue in order to remove it. You would be creating a situation of paralysis, major cognitive dysfunction, irreversible brain damage, and ultimately for possibly very little reward. There’s no way of skirting around it: I was looking at his death.\"\u003c/p>\n\u003cfigure id=\"attachment_10916469\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003cimg class=\"size-full wp-image-10916469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut.jpg\" alt=\"Steve Julian and Felicia Friesema in happier times.\" width=\"526\" height=\"394\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut.jpg 526w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut-400x300.jpg 400w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">Steve Julian and Felicia Friesema in happier times. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around Thanksgiving last year, Steve was diagnosed with terminal brain cancer at the age of 57. They decided not to try to stretch his last months with chemo and radiation therapy. Steve has less time than he might have, but he can eat what he wants, sleep with their dogs, and squeeze the last juice out of the days that remain with Felicia.\u003c/p>\n\u003cp>She's taking time off from work, thanks to a compassionate boss. In the 20 or more hours a day that Steve now sleeps, Felicia takes care of everything else: the meals, the housekeeping, the medicine, insurance and the emotional management.\u003c/p>\n\u003cp>Of course, friends and family are helping. Larry Mantle, Steve's dearest pal, comes over for company and a wee dram of whiskey. Friends have delivered dozens of lasagnas to the doorstep and whipped out their credit cards to cover what insurance doesn't. But at the end of the day, Felicia is alone. And every morning, there's a little bit less of Steve.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003ch3>Reaching Out Online\u003c/h3>\n\u003cp>It was a few months in when I noticed Felicia's journal on \u003ca href=\"http://www.caringbridge.org/visit/stevejulian/journal/view/id/56f6a61ba689b47372c967f7\" target=\"_blank\" rel=\"noopener noreferrer\">Caring Bridge\u003c/a>. She had me at \"\u003ca href=\"http://www.caringbridge.org/visit/stevejulian/journal/view/id/565ec52eab28b93a26d70415\" target=\"_blank\" rel=\"noopener noreferrer\">hello\u003c/a>.\" The same was true for my \"Love in the Digital Age\" co-producer Polly Stryker.\u003c/p>\n\u003cp>We recognized a kindred spirit: someone else in the special club of those who have lost or who are losing a close loved one. We had to fly down to Los Angeles and meet this woman who wrote so deeply, thoughtfully, and with such compassion, about a journey no one chooses.\u003c/p>\n\u003cblockquote>\u003cp>I know that this is treacherous ground we walk on and that time is of the essence. We wake up to the juxtaposition of joy in another day together and terror at what may come.\u003c/p>\n\u003cp>There is no detailed prognosis yet. But we do know that there is no outcome we like. And I have never been so scared. But I have also never been so completely full of love for him.\u003c/p>\u003c/blockquote>\n\u003cp>That was Dec. 2, 2015. At that point, Steve could still help Felicia craft a communique to friends.\u003c/p>\n\u003cblockquote>\u003cp>I miss being at work and in the studio. I miss being with all the people I love at KPCC. I’m still good at traffic. We chose UCLA for the surgery and treatment and navigating to the westside can be tricky. The tumor can take away what I had for dinner, but not my memory of the traffic jams I've sat in.\u003c/p>\n\u003cp>I am sad. I feel the unfairness of all of this. But I also feel the love for my wife, which grows every day as she balances the technical work of our affairs with the emotional work of our daily life. Like making sure I eat three solid meals. And I mean really solid. Four, sometimes. She tells me I'm loved about a hundred times a day -- I remember a few of them. Larry [Mantle, host of \u003ca href=\"http://www.scpr.org/programs/airtalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Air Talk\u003c/a>], my brother in all but blood, is a rock for both of us and has been by our side from diagnosis until now.\u003c/p>\u003c/blockquote>\n\u003cp>Many people facing down the gun barrel of something this awful retreat into family. But Felicia reached out from the beginning to friends online.\u003c/p>\n\u003cp>\"We kind of had to,\" she explains. \"We’ve kind of got a unique and peculiar situation. I mean, Steve’s a very popular radio host in a very large market. He’s also incredibly involved in the theater community here. He also used to be a cop. So, you have these seemingly disparate communities that he’s connected to. That’s thousands of people: his most intimate friends all the way down to the casual listener.\"\u003c/p>\n\u003cp>From the peace and quiet of their home on the hill, when Steve is sleeping, Felicia can write about all the medical details it would be exhausting to repeat to people in one individual conversation after another.\u003c/p>\n\u003cp>Felicia is also using the blog to process what's happening in her world, \"to take this jumbled puzzle piece of post-it notes and ideas and thoughts and put them together into something that is like 'Oh! Okay.' Usually, I don’t know when I’m going to conclude until I start writing, and by the end of it, I’m like, 'Oh, that’s my “aha” moment. Okay. Alright.'\"\u003c/p>\n\u003cp>On Facebook, for a smaller, closer audience, Felicia shares bite-sized missives from her daily journey: proof the bees in the backyard are making \"So. Much. Honey.\"; the desperate wish MRI machines played Brian Eno instead of frightening clicks and buzzing; rage against the insurance company; pride in yet another crazy beautiful meal made for Steve.\u003c/p>\n\u003cfigure id=\"attachment_10916471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-800x1067.jpg\" alt=\"Felicia's not your regular home cook. She studied at the Ecole de Cuisine in Pasadena. A friend did a story on Munchies about the food she makes for Steve.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut.jpg 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia's not your regular home cook. She studied at the Ecole de Cuisine in Pasadena. A friend did a story on \u003ca href=\"https://munchies.vice.com/en/articles/how-to-enjoy-every-bite-with-stage-four-brain-cancer\" target=\"_blank\" rel=\"noopener noreferrer\">Munchies \u003c/a>about the food she makes for Steve. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there are the jokes. If anything, staring down death has heightened their sense of humor.\u003c/p>\n\u003cblockquote>\u003cp>Fun with brain cancer:\u003c/p>\n\u003cp>Steve: Jen!\u003cbr>\nMe: Yeah babe (knowing full well he was calling for me)\u003cbr>\nSteve: Oh I'm sorry. I just called you Jen.\u003cspan class=\"text_exposed_show\">\u003cbr>\nMe: Yeah I know babe. It's ok. What's up?\u003cbr>\nSteve: (tells me some stuff he needs)\u003cbr>\nMe: No problem. By the way, (smiling) I'd like to know who the hell Jen is.\u003cbr>\nSteve: (chuckles) So would I!\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>The love has come pouring in from a wide variety of corners. By Jan. 4, Felicia reported that more than 100 people had made deliveries, run errands or have completed tasks around the house.\u003c/p>\n\u003cp>Steve’s had a\u003ca href=\"http://www.scpr.org/programs/offramp/2015/12/17/45619/help-kpcc-s-steve-julian-by-eating-a-sandwich/\" target=\"_blank\" rel=\"noopener noreferrer\"> sandwich named after him\u003c/a> at \u003ca href=\"https://www.facebook.com/waxpaperco/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Paper\u003c/a>, a local sandwich shop with a thing for public radio. Friends have \u003ca href=\"http://theworthyadversary.com/3933-dying-and-living\" target=\"_blank\" rel=\"noopener noreferrer\">blogged about Steve\u003c/a>. Local Morning Edition hosts across the country recorded their \u003ca href=\"https://www.youtube.com/watch?v=Q2_kbXF8hqc\" target=\"_blank\" rel=\"noopener noreferrer\">well wishes\u003c/a> on YouTube.\u003c/p>\n\u003cp>People, Felicia says, \"are grateful for being included, or grateful just to know that Steve’s okay for now. Or they’re grateful for an opportunity to help. I’d been crying so hard just a few days ago. I just couldn’t stop. I was so sad and so dejected. And at the end of the day, my status update on Facebook was, 'There just aren’t enough tissues in the box.' So, the next day, what arrives on my doorstep, but a case of Kleenex? And the message was, 'We know that this isn’t enough, but hopefully it helps.'\"\u003c/p>\n\u003cfigure id=\"attachment_10916518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916518\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-800x800.jpg\" alt=\"Steve Julian of KPCC in Los Angeles gets a studio named after him, and a great, big hug from President and CEO Bill Davis.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Julian of KPCC in Los Angeles gets a studio named after him, and a great, big hug from President and CEO Bill Davis. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"One of the things we’ve been focusing on,\" Felicia says, \"is making sure that every day is about some kind of pleasure; some kind of happy moment, some laugh, something in there that actually makes the day not a routine of care-giving.\"\u003c/p>\n\u003cp>Felicia sighs. \"You know, something that reminds us that there are all these wonderful pieces to life and that living it doesn’t stop with a cancer diagnosis.\"\u003c/p>\n\u003cp>What remains online from this journey is a whole lot more than the testament to the love people have for Steve and Felicia. It's a social network, in the best sense, that will be there for Felicia, waiting to engage and respond any time she wants.\u003c/p>\n\u003cfigure id=\"attachment_10916470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10916470 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"I’m very, very happy with the way that life has turned out. Where it would have gone, who knows?\" says Steve. \"I don’t care what we would have done together ...\" \"As long as we were together,\" says Felicia, finishing his sentence. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This podcast features music by Glenn Gould (Toccata in D Major), Windy & Carl (Balance (Trembling)), Labradford (Wien), Aix Em Klemm (3x2 (Exit)) and Yo La Tengo (Green Arrow). Special thanks to the California Report's LA Bureau Chief Steven Cuevas for his production support.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UPDATE: Steve Julian died on April 24, 2016. KPCC published a lovely tribute \u003ca href=\"http://www.scpr.org/news/2016/04/24/58999/steve-julian-longtime-voice-of-kpcc-s-morning-edit/\">here\u003c/a>. His wife, Felicia Friesema, wrote on the blog she's been maintaining during his last months, \"He left this world surrounded by love, in the comfort of the home we made together, in his own bed.\" Our hearts go out to Felicia in this time of grief. We trust this story provided some measure of comfort for her when it first went up on April 1, 2016. We hope that others who encounter this story now, after Steve's death, share our profound love and compassion for those who suffer from devastating diseases, as well as those who care for them, all the way through to the end.\u003c/p>\n\u003cp>\u003cem>\"My experience on social media is that it has always been a connecting fiber. I think that, like anything, you get out of it what you put into it.\" -- Felicia Friesema\u003c/em>\u003c/p>\n\u003cp>Felicia had seen the signs of brain cancer before. Her husband Steve Julian wasn't just forgetting his keys on the kitchen counter or having another of the myriad brain farts we often associate with middle age. He'd stop in the middle of a sentence, like he'd just hit a brick wall, and that was that.\u003c/p>\n\u003cp>\"It wasn’t that kind of gradual onset that Alzheimer’s is. It didn’t sound or feel like dementia. This was so sudden -- and it was very eerily similar to what happened to my aunt, my tia Gloria,\" Felicia says.\u003c/p>\n\u003cp>This time, it was her husband.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the years, they've built a cozy life together in a sweet, spacious home overlooking the 110 freeway in Highland Park. She's head of marketing for \u003ca href=\"http://foothilltransit.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Foothill Transit\u003c/a>. Steve Julian is one of a handful of trusted voices helping Angelenos navigate the freeways every day, as morning anchor for KPCC-FM. In his off hours, he writes \u003ca href=\"https://stevejulian.wordpress.com/resume/\" target=\"_blank\" rel=\"noopener noreferrer\">plays\u003c/a>.\u003c/p>\n\u003cp>Now, he was having trouble navigating his way through a sentence.\u003c/p>\n\u003cp>\"Technically, all tumors are operable,\" Felicia explains. \"The question that comes into play is: What are you willing to sacrifice in order to get it out? The position and location of his tumor is such that you would have to completely destroy a lot of healthy brain tissue in order to remove it. You would be creating a situation of paralysis, major cognitive dysfunction, irreversible brain damage, and ultimately for possibly very little reward. There’s no way of skirting around it: I was looking at his death.\"\u003c/p>\n\u003cfigure id=\"attachment_10916469\" class=\"wp-caption aligncenter\" style=\"max-width: 526px\">\u003cimg class=\"size-full wp-image-10916469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut.jpg\" alt=\"Steve Julian and Felicia Friesema in happier times.\" width=\"526\" height=\"394\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut.jpg 526w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18926_28415_1471890202083_544618_n-qut-400x300.jpg 400w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003cfigcaption class=\"wp-caption-text\">Steve Julian and Felicia Friesema in happier times. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around Thanksgiving last year, Steve was diagnosed with terminal brain cancer at the age of 57. They decided not to try to stretch his last months with chemo and radiation therapy. Steve has less time than he might have, but he can eat what he wants, sleep with their dogs, and squeeze the last juice out of the days that remain with Felicia.\u003c/p>\n\u003cp>She's taking time off from work, thanks to a compassionate boss. In the 20 or more hours a day that Steve now sleeps, Felicia takes care of everything else: the meals, the housekeeping, the medicine, insurance and the emotional management.\u003c/p>\n\u003cp>Of course, friends and family are helping. Larry Mantle, Steve's dearest pal, comes over for company and a wee dram of whiskey. Friends have delivered dozens of lasagnas to the doorstep and whipped out their credit cards to cover what insurance doesn't. But at the end of the day, Felicia is alone. And every morning, there's a little bit less of Steve.\u003c/p>\n\u003cdiv class=\"callout alignright\">\n\u003cp>\u003cimg class=\"alignleft\" src=\"http://u.s.kqed.net/2015/09/14/LITDApodcastlogo.jpg\" alt=\"\">\u003c/p>\n\u003ch3>\u003ca href=\"https://itunes.apple.com/us/podcast/love-in-the-digital-age/id1037051180?mt=2\">Subscribe in iTunes\u003c/a>\u003c/h3>\n\u003cp>Don't miss an episode of 'Love in the Digital Age'\u003c/p>\n\u003c/div>\n\u003ch3>Reaching Out Online\u003c/h3>\n\u003cp>It was a few months in when I noticed Felicia's journal on \u003ca href=\"http://www.caringbridge.org/visit/stevejulian/journal/view/id/56f6a61ba689b47372c967f7\" target=\"_blank\" rel=\"noopener noreferrer\">Caring Bridge\u003c/a>. She had me at \"\u003ca href=\"http://www.caringbridge.org/visit/stevejulian/journal/view/id/565ec52eab28b93a26d70415\" target=\"_blank\" rel=\"noopener noreferrer\">hello\u003c/a>.\" The same was true for my \"Love in the Digital Age\" co-producer Polly Stryker.\u003c/p>\n\u003cp>We recognized a kindred spirit: someone else in the special club of those who have lost or who are losing a close loved one. We had to fly down to Los Angeles and meet this woman who wrote so deeply, thoughtfully, and with such compassion, about a journey no one chooses.\u003c/p>\n\u003cblockquote>\u003cp>I know that this is treacherous ground we walk on and that time is of the essence. We wake up to the juxtaposition of joy in another day together and terror at what may come.\u003c/p>\n\u003cp>There is no detailed prognosis yet. But we do know that there is no outcome we like. And I have never been so scared. But I have also never been so completely full of love for him.\u003c/p>\u003c/blockquote>\n\u003cp>That was Dec. 2, 2015. At that point, Steve could still help Felicia craft a communique to friends.\u003c/p>\n\u003cblockquote>\u003cp>I miss being at work and in the studio. I miss being with all the people I love at KPCC. I’m still good at traffic. We chose UCLA for the surgery and treatment and navigating to the westside can be tricky. The tumor can take away what I had for dinner, but not my memory of the traffic jams I've sat in.\u003c/p>\n\u003cp>I am sad. I feel the unfairness of all of this. But I also feel the love for my wife, which grows every day as she balances the technical work of our affairs with the emotional work of our daily life. Like making sure I eat three solid meals. And I mean really solid. Four, sometimes. She tells me I'm loved about a hundred times a day -- I remember a few of them. Larry [Mantle, host of \u003ca href=\"http://www.scpr.org/programs/airtalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Air Talk\u003c/a>], my brother in all but blood, is a rock for both of us and has been by our side from diagnosis until now.\u003c/p>\u003c/blockquote>\n\u003cp>Many people facing down the gun barrel of something this awful retreat into family. But Felicia reached out from the beginning to friends online.\u003c/p>\n\u003cp>\"We kind of had to,\" she explains. \"We’ve kind of got a unique and peculiar situation. I mean, Steve’s a very popular radio host in a very large market. He’s also incredibly involved in the theater community here. He also used to be a cop. So, you have these seemingly disparate communities that he’s connected to. That’s thousands of people: his most intimate friends all the way down to the casual listener.\"\u003c/p>\n\u003cp>From the peace and quiet of their home on the hill, when Steve is sleeping, Felicia can write about all the medical details it would be exhausting to repeat to people in one individual conversation after another.\u003c/p>\n\u003cp>Felicia is also using the blog to process what's happening in her world, \"to take this jumbled puzzle piece of post-it notes and ideas and thoughts and put them together into something that is like 'Oh! Okay.' Usually, I don’t know when I’m going to conclude until I start writing, and by the end of it, I’m like, 'Oh, that’s my “aha” moment. Okay. Alright.'\"\u003c/p>\n\u003cp>On Facebook, for a smaller, closer audience, Felicia shares bite-sized missives from her daily journey: proof the bees in the backyard are making \"So. Much. Honey.\"; the desperate wish MRI machines played Brian Eno instead of frightening clicks and buzzing; rage against the insurance company; pride in yet another crazy beautiful meal made for Steve.\u003c/p>\n\u003cfigure id=\"attachment_10916471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-800x1067.jpg\" alt=\"Felicia's not your regular home cook. She studied at the Ecole de Cuisine in Pasadena. A friend did a story on Munchies about the food she makes for Steve.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18924_12915065_10209620722699730_2121111238_o-qut.jpg 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia's not your regular home cook. She studied at the Ecole de Cuisine in Pasadena. A friend did a story on \u003ca href=\"https://munchies.vice.com/en/articles/how-to-enjoy-every-bite-with-stage-four-brain-cancer\" target=\"_blank\" rel=\"noopener noreferrer\">Munchies \u003c/a>about the food she makes for Steve. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there are the jokes. If anything, staring down death has heightened their sense of humor.\u003c/p>\n\u003cblockquote>\u003cp>Fun with brain cancer:\u003c/p>\n\u003cp>Steve: Jen!\u003cbr>\nMe: Yeah babe (knowing full well he was calling for me)\u003cbr>\nSteve: Oh I'm sorry. I just called you Jen.\u003cspan class=\"text_exposed_show\">\u003cbr>\nMe: Yeah I know babe. It's ok. What's up?\u003cbr>\nSteve: (tells me some stuff he needs)\u003cbr>\nMe: No problem. By the way, (smiling) I'd like to know who the hell Jen is.\u003cbr>\nSteve: (chuckles) So would I!\u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>The love has come pouring in from a wide variety of corners. By Jan. 4, Felicia reported that more than 100 people had made deliveries, run errands or have completed tasks around the house.\u003c/p>\n\u003cp>Steve’s had a\u003ca href=\"http://www.scpr.org/programs/offramp/2015/12/17/45619/help-kpcc-s-steve-julian-by-eating-a-sandwich/\" target=\"_blank\" rel=\"noopener noreferrer\"> sandwich named after him\u003c/a> at \u003ca href=\"https://www.facebook.com/waxpaperco/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Paper\u003c/a>, a local sandwich shop with a thing for public radio. Friends have \u003ca href=\"http://theworthyadversary.com/3933-dying-and-living\" target=\"_blank\" rel=\"noopener noreferrer\">blogged about Steve\u003c/a>. Local Morning Edition hosts across the country recorded their \u003ca href=\"https://www.youtube.com/watch?v=Q2_kbXF8hqc\" target=\"_blank\" rel=\"noopener noreferrer\">well wishes\u003c/a> on YouTube.\u003c/p>\n\u003cp>People, Felicia says, \"are grateful for being included, or grateful just to know that Steve’s okay for now. Or they’re grateful for an opportunity to help. I’d been crying so hard just a few days ago. I just couldn’t stop. I was so sad and so dejected. And at the end of the day, my status update on Facebook was, 'There just aren’t enough tissues in the box.' So, the next day, what arrives on my doorstep, but a case of Kleenex? And the message was, 'We know that this isn’t enough, but hopefully it helps.'\"\u003c/p>\n\u003cfigure id=\"attachment_10916518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916518\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-800x800.jpg\" alt=\"Steve Julian of KPCC in Los Angeles gets a studio named after him, and a great, big hug from President and CEO Bill Davis.\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18951_12509907_10209043469708766_6711914423749049661_n-qut-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Julian of KPCC in Los Angeles gets a studio named after him, and a great, big hug from President and CEO Bill Davis. \u003ccite>(Courtesy of Felicia Friesema)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"One of the things we’ve been focusing on,\" Felicia says, \"is making sure that every day is about some kind of pleasure; some kind of happy moment, some laugh, something in there that actually makes the day not a routine of care-giving.\"\u003c/p>\n\u003cp>Felicia sighs. \"You know, something that reminds us that there are all these wonderful pieces to life and that living it doesn’t stop with a cancer diagnosis.\"\u003c/p>\n\u003cp>What remains online from this journey is a whole lot more than the testament to the love people have for Steve and Felicia. It's a social network, in the best sense, that will be there for Felicia, waiting to engage and respond any time she wants.\u003c/p>\n\u003cfigure id=\"attachment_10916470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10916470 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/RS18925_IMG_6925-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"I’m very, very happy with the way that life has turned out. Where it would have gone, who knows?\" says Steve. \"I don’t care what we would have done together ...\" \"As long as we were together,\" says Felicia, finishing his sentence. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This podcast features music by Glenn Gould (Toccata in D Major), Windy & Carl (Balance (Trembling)), Labradford (Wien), Aix Em Klemm (3x2 (Exit)) and Yo La Tengo (Green Arrow). Special thanks to the California Report's LA Bureau Chief Steven Cuevas for his production support.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "FLAX Art Supply Opens a New Store and a New Era With Move to Oakland",
"title": "FLAX Art Supply Opens a New Store and a New Era With Move to Oakland",
"headTitle": "Priced Out | News Fix | KQED News",
"content": "\u003cp>FLAX art & design, a venerable establishment displaced from Market Street in San Francisco by yet another condo project, has found new life in Oakland, with Thursday's opening of a spacious and light-drenched store.\u003c/p>\n\u003cp>\"It's just another sign that people are recognizing the incredible value, vitality and hotness of this city,\" Oakland Mayor Libby Schaaf told KQED's Tara Siler at the opening-day celebration. \"And FLAX is really meant for Oakland ... this is a family-owned business ... so it's perfect to place this in a city with so much artistic energy and legacy -- so close to public transportation and in the center of the Bay Area, where all artistic souls can get here conveniently.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/256668780\" 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>The store's third-generation owner, Howard Flax, said: \"This is definitely an underserved market and the more that we talk to different people in the community, and the more that we get to know Oakland and the greater East Bay, there are a lot of pockets of artists here. And we just look forward to connecting with each and every one of them, and partnering and collaborating to grow the arts in the East Bay.\"\u003c/p>\n\u003cfigure id=\"attachment_10916515\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916515\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/flaxboy-800x1067.jpg\" alt=\"Seth Rench, who lives in the Oakland neighborhood where FLAX has relocated, makes his first purchase.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seth Rench, who lives in the Oakland neighborhood where FLAX has relocated, makes his first purchase. \u003ccite>(Tara Siler/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beloved family-owned business has been around for almost 100 years, starting out in New York City in 1918. Its first San Francisco shop opened in 1938 on Kearny Street. A few incarnations later, it moved to Market Street in 1981, but \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/where-have-all-the-art-stores-gone/\" target=\"_blank\">its lease expired\u003c/a> last year. A Fort Mason store debuted in November. The 15,000-square-foot Oakland location, a former auto repair shop at 15th Street and Martin Luther King Jr. Way, offers storage, a back parking lot and proximity to public transit -- all things that Flax was looking for.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"We were displaced from Market Street and here we are -- and there's no going back,\" Flax said. \"There's no bittersweet feelings on my part. It's the end of an era. ... We attained that iconic status in San Francisco and that's what we plan on building here in Oakland as well.\"\u003c/p>\n\u003cp>Schaaf said the opening is a \"happy story\" for the city in all respects.\u003c/p>\n\u003cp>\"We cannot have new people come here at the expense of our longtime businesses, artists, residents,\" she said. \"But we also have to make sure that we build places for them to come to. One of the things that's exciting about this store is it is in a new part of town. It did not displace another small business.\"\u003c/p>\n\u003cp>Devin Katayama, who covers Oakland for KQED, said the move by FLAX is symbolic of a massive shift of art and artists in the Bay Area. Many have been priced out of San Francisco, and now Oakland is also becoming unaffordable.\u003c/p>\n\u003cp>Katayama interviewed Chloe Veltman, senior arts editor at KQED, for her take on the departure of FLAX, which had searched for sites to relocate in San Francisco but couldn't find anything.\u003c/p>\n\u003cp>Describing FLAX as a true \"gem\" in the art-supply world, she said, \"It wasn’t the cheapest place to buy supplies in town, but nevertheless the community supported it and loved it because it wasn’t a chain and had been around for so long.\"\u003c/p>\n\u003cfigure id=\"attachment_10915748\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10915748\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/flax-owner-400x300.jpg\" alt=\"Howard Flax, owner of the beloved art supply store that bears his name, and Oakland Mayor Libby Schaaf celebrate at the grand opening of FLAX on March 31, 2016.\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Howard Flax, owner of the beloved art supply store that bears his name, and Oakland Mayor Libby Schaaf celebrate at the grand opening of FLAX on March 31, 2016. \u003ccite>(Tara Siler/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For starters, it means fewer places in the city to buy art supplies. Beyond that, it's a sign of the \"relentless displacement\" of San Francisco's arts community.\u003c/p>\n\u003cp>\"On the one hand, we’re seeing a lot of exciting movement in some ways, like the development of Minnesota Street Projects -- a facility in Dogpatch which houses many cutting-edge studios and galleries,\" Veltman said. \"And, of course, big, flashy, attention-grabby things like the reopening of SFMOMA, the rebooting of the Bay Lights. But, on the other hand, it continues to be extremely difficult for local artists and organizations to thrive in this climate.\"\u003c/p>\n\u003cp>For example, the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=49a70a90b48a422dbd8b9df49b70afa4&URL=http%3a%2f%2fwww.sfartscommission.org%2f\" target=\"_blank\">San Francisco Arts Commission\u003c/a> heard from nearly 600 artists last summer that either live or recently resided in San Francisco, Veltman said. The survey found that over 70 percent of the respondents had been, or were being, displaced from their workplace, home or both.\u003c/p>\n\u003cp>\"Libby Schaaf spoke of the hotness and vitality of Oakland,\" Veltman said. \"Well, artists have played an immense role in making Oakland vital and hot -- look at the gallery and theater and music clubs and restaurant scene, the thriving First Fridays, etc. And now everyone wants to live there.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED's Tara Siler, Chloe Veltman and Devin Katayama contributed to this post.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>FLAX art & design, a venerable establishment displaced from Market Street in San Francisco by yet another condo project, has found new life in Oakland, with Thursday's opening of a spacious and light-drenched store.\u003c/p>\n\u003cp>\"It's just another sign that people are recognizing the incredible value, vitality and hotness of this city,\" Oakland Mayor Libby Schaaf told KQED's Tara Siler at the opening-day celebration. \"And FLAX is really meant for Oakland ... this is a family-owned business ... so it's perfect to place this in a city with so much artistic energy and legacy -- so close to public transportation and in the center of the Bay Area, where all artistic souls can get here conveniently.\"\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/256668780&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/256668780'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The store's third-generation owner, Howard Flax, said: \"This is definitely an underserved market and the more that we talk to different people in the community, and the more that we get to know Oakland and the greater East Bay, there are a lot of pockets of artists here. And we just look forward to connecting with each and every one of them, and partnering and collaborating to grow the arts in the East Bay.\"\u003c/p>\n\u003cfigure id=\"attachment_10916515\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10916515\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/flaxboy-800x1067.jpg\" alt=\"Seth Rench, who lives in the Oakland neighborhood where FLAX has relocated, makes his first purchase.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/04/flaxboy.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seth Rench, who lives in the Oakland neighborhood where FLAX has relocated, makes his first purchase. \u003ccite>(Tara Siler/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beloved family-owned business has been around for almost 100 years, starting out in New York City in 1918. Its first San Francisco shop opened in 1938 on Kearny Street. A few incarnations later, it moved to Market Street in 1981, but \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/where-have-all-the-art-stores-gone/\" target=\"_blank\">its lease expired\u003c/a> last year. A Fort Mason store debuted in November. The 15,000-square-foot Oakland location, a former auto repair shop at 15th Street and Martin Luther King Jr. Way, offers storage, a back parking lot and proximity to public transit -- all things that Flax was looking for.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"We were displaced from Market Street and here we are -- and there's no going back,\" Flax said. \"There's no bittersweet feelings on my part. It's the end of an era. ... We attained that iconic status in San Francisco and that's what we plan on building here in Oakland as well.\"\u003c/p>\n\u003cp>Schaaf said the opening is a \"happy story\" for the city in all respects.\u003c/p>\n\u003cp>\"We cannot have new people come here at the expense of our longtime businesses, artists, residents,\" she said. \"But we also have to make sure that we build places for them to come to. One of the things that's exciting about this store is it is in a new part of town. It did not displace another small business.\"\u003c/p>\n\u003cp>Devin Katayama, who covers Oakland for KQED, said the move by FLAX is symbolic of a massive shift of art and artists in the Bay Area. Many have been priced out of San Francisco, and now Oakland is also becoming unaffordable.\u003c/p>\n\u003cp>Katayama interviewed Chloe Veltman, senior arts editor at KQED, for her take on the departure of FLAX, which had searched for sites to relocate in San Francisco but couldn't find anything.\u003c/p>\n\u003cp>Describing FLAX as a true \"gem\" in the art-supply world, she said, \"It wasn’t the cheapest place to buy supplies in town, but nevertheless the community supported it and loved it because it wasn’t a chain and had been around for so long.\"\u003c/p>\n\u003cfigure id=\"attachment_10915748\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10915748\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/flax-owner-400x300.jpg\" alt=\"Howard Flax, owner of the beloved art supply store that bears his name, and Oakland Mayor Libby Schaaf celebrate at the grand opening of FLAX on March 31, 2016.\" width=\"400\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Howard Flax, owner of the beloved art supply store that bears his name, and Oakland Mayor Libby Schaaf celebrate at the grand opening of FLAX on March 31, 2016. \u003ccite>(Tara Siler/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For starters, it means fewer places in the city to buy art supplies. Beyond that, it's a sign of the \"relentless displacement\" of San Francisco's arts community.\u003c/p>\n\u003cp>\"On the one hand, we’re seeing a lot of exciting movement in some ways, like the development of Minnesota Street Projects -- a facility in Dogpatch which houses many cutting-edge studios and galleries,\" Veltman said. \"And, of course, big, flashy, attention-grabby things like the reopening of SFMOMA, the rebooting of the Bay Lights. But, on the other hand, it continues to be extremely difficult for local artists and organizations to thrive in this climate.\"\u003c/p>\n\u003cp>For example, the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=49a70a90b48a422dbd8b9df49b70afa4&URL=http%3a%2f%2fwww.sfartscommission.org%2f\" target=\"_blank\">San Francisco Arts Commission\u003c/a> heard from nearly 600 artists last summer that either live or recently resided in San Francisco, Veltman said. The survey found that over 70 percent of the respondents had been, or were being, displaced from their workplace, home or both.\u003c/p>\n\u003cp>\"Libby Schaaf spoke of the hotness and vitality of Oakland,\" Veltman said. \"Well, artists have played an immense role in making Oakland vital and hot -- look at the gallery and theater and music clubs and restaurant scene, the thriving First Fridays, etc. And now everyone wants to live there.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED's Tara Siler, Chloe Veltman and Devin Katayama contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLxVisyR0o4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4pQ8nBZ2QQ8\u003c/p>\n\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\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/4pQ8nBZ2QQ8'\n title='//www.youtube.com/embed/4pQ8nBZ2QQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Growing up, Jennifer Villamin looked for Filipino food wherever she went.\u003c/p>\n\u003cp>Villamin, who was born in the United States and identifies as Filipina-American, moved around a lot as a kid. She wondered how it was possible for her family to always somehow find the Filipino community, but not Filipino food.\u003c/p>\n\u003cp>“That left a mark on me,” Villamin said. “There's so many Filipinos out there, but they're not cooking their own food. I was like, huh? There’s a conflict here. It was an identity thing. Like is there something wrong with our food?”\u003c/p>\n\u003cp>For many Filipinos, this question stems from many Americans' first exposure to Filipino food. It was at the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1909651\">1904 World’s Fair\u003c/a> in St. Louis, during which fairgoers watched as Filipino villagers were fed dog.\u003c/p>\n\u003cp>“We’re just showing them that Filipino cuisine is so much more than the stereotype that's been out there for the past few generations,” said Villamin, owner of \u003ca href=\"http://www.pampalasa.com/\" target=\"_blank\">Pampalasa\u003c/a>, a Filipino sit-down restaurant in San Francisco’s South of Market district where Filipinos gathered to host a pop-up dinner Sunday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We're part of a lost generation,\" Villamin said. \"So many of us now are born here in the United States and almost none of us know the language, so we hold onto our culture through food,” she said.\u003c/p>\n\u003cp>The pop-up dinner was presented by \u003ca href=\"http://filipino.kitchen/#connect-with-your-filipino-heritage-bite-by-bite\" target=\"_blank\">Chicago-based Filipino Kitchen\u003c/a>, a traveling organization set on connecting Filipinos everywhere to their culture with food.\u003c/p>\n\u003cp>“In thinking about my childhood, all the pivotal moments in my life have been around a kitchen or around food,” said Natalia Roxas, co-founder of Filipino Kitchen. “We use Filipino food as a catalyst for history, culture, community and conversation.”\u003c/p>\n\u003cfigure id=\"attachment_10903939\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10903939 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4127-e1458586844748-400x285.jpg\" alt=\"0M6A4127\" width=\"400\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-1920x1369.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-960x685.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Natalia Roxas, co-founder of Filipino Kitchen, preps drinks in the kitchen of San Francisco's newest Filipino restaurant. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The food, prepared by\u003ca href=\"https://twitter.com/chefsharwin?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\"> chef Sharwin Tee\u003c/a>, host of Lifestyle TV's & Lifestyle Network Global's \"Curiosity Got the Chef,\" takes guests through the day of a regular Filipino worker. The menu was titled “Isang Araw” or “one day.”\u003c/p>\n\u003cp>Tee sought to feature his own version of less well-known Filipino foods such as lomi, a Chinese-influenced soup, and pares, a braised beef dish.\u003c/p>\n\u003cp>Tee says pop-up dinners like this one are meant to gather the Filipino-American community while pushing Filipino food into the mainstream.\u003c/p>\n\u003cp>“Filipino food is getting popular,” Tee said. “We’re there. We’re basically knocking at the door and I feel it’s our responsibility to knock a little harder. Every family get-together is always about food. I like to think we’re gathering the Filipino-American family tonight.”\u003c/p>\n\u003cp>Filipino Kitchen hosts pop-up dinners across the country, taking Filipino cuisine to many Filipino-Americans who Roxas says miss the flavors of home. For her, hosting these pop-ups was a personal journey about reconnecting to something that was lost.\u003c/p>\n\u003cfigure id=\"attachment_10904009\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10904009 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4196-400x267.jpg\" alt=\"Chef Tee and Filipino Kitchen Project Manager Caitlin Preminger prepare meals for 30 guests. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sharwin Tee and Filipino Kitchen project manager Caitlin Preminger prepare meals for 30 guests. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went to a school that was primarily white and primarily boys. That was not good for a Filipino ego,” said Roxas, who was born in the Philippines and raised in the United States. “I had to fight. To a point where I got comfortable being called ‘the whitest Asian they’ve ever met.' And I kinda lost my identity.”\u003c/p>\n\u003cp>Roxas realized that she didn’t want anyone to think it was OK to feel that way. That’s one of the reasons why she co-founded Filipino Kitchen.\u003c/p>\n\u003cp>But sometimes, the food presented can be unrecognizable to some Filipinos. One of Tee’s menu items, “sige lang sige” or “keep on going,” featured shredded chicken adobo tacos with green mango salsa and roasted cherry tomato. Another, a twist on the traditional \"silog\" meal, featured bacon tocino, arugula, heirloom rice, strawberry dressing and egg.\u003c/p>\n\u003cp>Roxas says this is the kind of creativity that pop-up dinners allow chefs to leverage -- creativity showcasing the complexity of the Filipino and Filipino-American identity.\u003c/p>\n\u003cfigure id=\"attachment_10903988\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10903988 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4233-400x267.jpg\" alt=\"About 30 guests attended Filipino Kitchen's San Francisco popup dinner.\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">About 30 guests attended Filipino Kitchen's San Francisco pop-up dinner. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people say it’s fusion, I’m like, no, it’s history on a plate,” said Roxas, who pointed to the different cultural influences in Filipino food as a result of colonization. “Pop-ups give you that leeway and that room to be creative when it comes to your food and how we really want to present ourselves as Filipino Americans. It's like the simplicity and the complexity of it is such a fine balance that, to me, is just so beautiful.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The money raised from the pop-up dinner will go to a public school library Tee hopes to build in the Philippines. The next pop-up dinner will take place in Chicago this month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, Jennifer Villamin looked for Filipino food wherever she went.\u003c/p>\n\u003cp>Villamin, who was born in the United States and identifies as Filipina-American, moved around a lot as a kid. She wondered how it was possible for her family to always somehow find the Filipino community, but not Filipino food.\u003c/p>\n\u003cp>“That left a mark on me,” Villamin said. “There's so many Filipinos out there, but they're not cooking their own food. I was like, huh? There’s a conflict here. It was an identity thing. Like is there something wrong with our food?”\u003c/p>\n\u003cp>For many Filipinos, this question stems from many Americans' first exposure to Filipino food. It was at the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1909651\">1904 World’s Fair\u003c/a> in St. Louis, during which fairgoers watched as Filipino villagers were fed dog.\u003c/p>\n\u003cp>“We’re just showing them that Filipino cuisine is so much more than the stereotype that's been out there for the past few generations,” said Villamin, owner of \u003ca href=\"http://www.pampalasa.com/\" target=\"_blank\">Pampalasa\u003c/a>, a Filipino sit-down restaurant in San Francisco’s South of Market district where Filipinos gathered to host a pop-up dinner Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We're part of a lost generation,\" Villamin said. \"So many of us now are born here in the United States and almost none of us know the language, so we hold onto our culture through food,” she said.\u003c/p>\n\u003cp>The pop-up dinner was presented by \u003ca href=\"http://filipino.kitchen/#connect-with-your-filipino-heritage-bite-by-bite\" target=\"_blank\">Chicago-based Filipino Kitchen\u003c/a>, a traveling organization set on connecting Filipinos everywhere to their culture with food.\u003c/p>\n\u003cp>“In thinking about my childhood, all the pivotal moments in my life have been around a kitchen or around food,” said Natalia Roxas, co-founder of Filipino Kitchen. “We use Filipino food as a catalyst for history, culture, community and conversation.”\u003c/p>\n\u003cfigure id=\"attachment_10903939\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10903939 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4127-e1458586844748-400x285.jpg\" alt=\"0M6A4127\" width=\"400\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-1920x1369.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4127-e1458586844748-960x685.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Natalia Roxas, co-founder of Filipino Kitchen, preps drinks in the kitchen of San Francisco's newest Filipino restaurant. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The food, prepared by\u003ca href=\"https://twitter.com/chefsharwin?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\"> chef Sharwin Tee\u003c/a>, host of Lifestyle TV's & Lifestyle Network Global's \"Curiosity Got the Chef,\" takes guests through the day of a regular Filipino worker. The menu was titled “Isang Araw” or “one day.”\u003c/p>\n\u003cp>Tee sought to feature his own version of less well-known Filipino foods such as lomi, a Chinese-influenced soup, and pares, a braised beef dish.\u003c/p>\n\u003cp>Tee says pop-up dinners like this one are meant to gather the Filipino-American community while pushing Filipino food into the mainstream.\u003c/p>\n\u003cp>“Filipino food is getting popular,” Tee said. “We’re there. We’re basically knocking at the door and I feel it’s our responsibility to knock a little harder. Every family get-together is always about food. I like to think we’re gathering the Filipino-American family tonight.”\u003c/p>\n\u003cp>Filipino Kitchen hosts pop-up dinners across the country, taking Filipino cuisine to many Filipino-Americans who Roxas says miss the flavors of home. For her, hosting these pop-ups was a personal journey about reconnecting to something that was lost.\u003c/p>\n\u003cfigure id=\"attachment_10904009\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10904009 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4196-400x267.jpg\" alt=\"Chef Tee and Filipino Kitchen Project Manager Caitlin Preminger prepare meals for 30 guests. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4196-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sharwin Tee and Filipino Kitchen project manager Caitlin Preminger prepare meals for 30 guests. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went to a school that was primarily white and primarily boys. That was not good for a Filipino ego,” said Roxas, who was born in the Philippines and raised in the United States. “I had to fight. To a point where I got comfortable being called ‘the whitest Asian they’ve ever met.' And I kinda lost my identity.”\u003c/p>\n\u003cp>Roxas realized that she didn’t want anyone to think it was OK to feel that way. That’s one of the reasons why she co-founded Filipino Kitchen.\u003c/p>\n\u003cp>But sometimes, the food presented can be unrecognizable to some Filipinos. One of Tee’s menu items, “sige lang sige” or “keep on going,” featured shredded chicken adobo tacos with green mango salsa and roasted cherry tomato. Another, a twist on the traditional \"silog\" meal, featured bacon tocino, arugula, heirloom rice, strawberry dressing and egg.\u003c/p>\n\u003cp>Roxas says this is the kind of creativity that pop-up dinners allow chefs to leverage -- creativity showcasing the complexity of the Filipino and Filipino-American identity.\u003c/p>\n\u003cfigure id=\"attachment_10903988\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10903988 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/0M6A4233-400x267.jpg\" alt=\"About 30 guests attended Filipino Kitchen's San Francisco popup dinner.\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/0M6A4233-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">About 30 guests attended Filipino Kitchen's San Francisco pop-up dinner. \u003ccite>(Ericka Cruz Guevarra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people say it’s fusion, I’m like, no, it’s history on a plate,” said Roxas, who pointed to the different cultural influences in Filipino food as a result of colonization. “Pop-ups give you that leeway and that room to be creative when it comes to your food and how we really want to present ourselves as Filipino Americans. It's like the simplicity and the complexity of it is such a fine balance that, to me, is just so beautiful.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The money raised from the pop-up dinner will go to a public school library Tee hopes to build in the Philippines. The next pop-up dinner will take place in Chicago this month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Welcome to the Signal Room, Secret Venue for San Francisco’s Arts Underground",
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"content": "\u003cp>On a recent evening I joined a group of strangers on a twilight tour of San Francisco’s Yerba Buena Island. This wasn’t your typical urban outing. First, consider our guide, an artist named Eugene Ashton-Gonzalez. He’s wearing a tattered nautical jacket and a two-day beard. He’s confiscated our cellphones and placed them in a heavy briefcase.\u003c/p>\n\u003cp>Then there’s our stealthy, guerrilla-style approach. Ashton-Gonzalez leads us across a small beach, around a clump of trees and up a steep trail. As we pass rows of empty military homes, he orders us to take cover while a private security guard passes nearby. We’ve entered a restricted area that is scheduled for demolition.\u003c/p>\n\u003cp>“Step lightly,” he whispers.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252914190\" 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>At the top of the island we dart across a small parking lot to reach our destination -- a lonely wooden tower. Ashton-Gonzalez delivers us through a secret passage and up a darkened staircase to the top floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s when our collective jaws drop. It’s as if we’ve entered the bridge of a giant ship anchored grandly in the middle of the bay. Jutting \u003cem>beneath\u003c/em> us are the white towers of the Bay Bridge. And shimmering all around are the lights of San Francisco, Oakland, Berkeley and beyond.\u003c/p>\n\u003cfigure id=\"attachment_10900553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup.jpg\">\u003cimg class=\"wp-image-10900553 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup-800x533.jpg\" alt=\"Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \u003ccite>(Courtesy Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to the \u003ca href=\"https://www.facebook.com/thesignalroom/\">Signal Room\u003c/a>. It’s a rogue museum and a modern-day speakeasy, except that the illicit part of the experience is not what you drink, but how you get in.\u003c/p>\n\u003cp>Ashton-Gonzalez created the Signal Room last year after returning from a few years in New York City. He was moonlighting as an actor and storyteller, and conspiring with a group of urban explorers and trespassers. Their rogue pop-up projects included running a bar in an abandoned water tower in Manhattan.\u003c/p>\n\u003cp>Ashton-Gonzalez was looking to replicate his New York experiences back in his hometown. That’s when he discovered the abandoned radio tower on Yerba Buena Island and began researching its history. It was built by the military in 1917 to direct ships through San Francisco Bay. Later, it guided aircraft during World War II and served as an officers club. After the Loma Prieta earthquake struck in 1989, the building was sealed shut. Until Ashton-Gonzalez found a way to sneak inside.\u003c/p>\n\u003cfigure id=\"attachment_10900505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric.jpg\">\u003cimg class=\"wp-image-10900505 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg\" alt=\"Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec 27th, 1945. One of the towers of the Bay Bridge's western span is visible in the background.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec. 27, 1945. One of the towers of the Bay Bridge's western span is visible in the background. \u003ccite>(Save the Signal Tower/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with a small group of artists and urban explorers, he repaired and resupplied the tower. He installed tiny exhibits detailing the island’s history -- as an Indian burial site, as a smugglers’ haven and as a listening post for the military. He’s also staged dozens of secret events -- from small concerts and poetry readings to panel discussions and plotting sessions -- making this location the most exclusive (or certainly the most restricted) nighttime venue in the Bay Area.\u003c/p>\n\u003cp>Events here are free (unless food is being served) and typically involve 15 or 20 people who are invited by previous guests. Eugene says that protects against what he calls \"cool hunters.\" On my visit I nibbled on plates of smoked lamb, while a group of storytellers recounted old family yarns and Oakland-based musician Alycia Lang sang her tender songs.\u003c/p>\n\u003cp>Ashton-Gonzalez says the tower’s wooden construction, combined with traffic noise from the Bay Bridge, provides an acoustic camouflage that protects his events from the scrutiny of police and private security (so far not a single happening has been raided).\u003c/p>\n\u003cp>All this cultural commotion caught the eye of San Francisco writer Gary Kamiya, who \u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-unkillable-arts-underground\" target=\"_blank\">visited the tower earlier this year\u003c/a>.\u003c/p>\n\u003cp>“When you see a site like that, you cannot be intellectually prepared for it,” he says. “It’s so stunning.”\u003c/p>\n\u003cfigure id=\"attachment_10900551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView.jpg\">\u003cimg class=\"wp-image-10900551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView-800x519.jpg\" alt=\"The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco.\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-400x259.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco. \u003ccite>(Courtesy Eugene Ashton-Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamiya says the work of Ashton-Gonzalez and others is proof that an underground countercultural scene is still vibrant in San Francisco in spite of a tech boom that has driven many artists from the city. He says it’s a tradition that began decades ago with groups like the \u003ca href=\"http://www.suicideclub.com/\" target=\"_blank\">Suicide Club\u003c/a> and \u003ca href=\"http://www.cacophony.org/\" target=\"_blank\">Cacophony Society\u003c/a>. They used tunnels, bridges, sewers and civic buildings as a kind of illicit stage set.\u003c/p>\n\u003cp>“That’s why people like Eugene describe themselves as 'experience designers,' ” Kamiya says. “It's not that you're going to design a play or a piece of music. You're going to design an experience. And ideally it will be an intense experience. So when you go up into an abandoned old room with one of the greatest views in the world with a group of strangers, you've succeeded in doing that.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">If all of this is such a big secret, why talk about it to a reporter?\u003cbr>\n'I want to save the building,' he says.\u003c/aside>\n\u003cp>Another fan of the Signal Room is John Law. He joined the Cacophony Society in the 1980s and was a co-founder of Burning Man (he later broke with the festival).\u003c/p>\n\u003cp>“To me the whole thing about urban exploration -- and the best thing about it -- is that it's a connection with the past and it's really ephemeral,” Law says. “And Eugene, finding this space and understanding what it was and giving it a last breath of life, that's brilliant.”\u003c/p>\n\u003cp>At this point you’re probably wondering something. If all of this is such a big secret, why is Ashton-Gonzalez talking about it to a reporter?\u003c/p>\n\u003cp>“I want to save the building,” he says.\u003c/p>\n\u003cp>Preservation isn’t what motivated him at the beginning. He admits that when he first discovered the tower all he wanted to do was have a huge party. But he’s come to see the space as something more than a speakeasy on life support. It’s a San Francisco landmark, albeit a hidden one.\u003c/p>\n\u003cfigure id=\"attachment_10900627\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath.jpg\">\u003cimg class=\"wp-image-10900627 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath-800x493.jpg\" alt=\"“Experience designer” Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Experience designer' Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \u003ccite>(Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place seems so uniquely special,” he says. “Could you put a little museum up here? Could you put a little exhibition space for public art, street art, sculpture?\"\u003c/p>\n\u003cp>Recently, Ashton-Gonzalez assembled a team of architects and began a quiet lobbying effort to save the building.\u003c/p>\n\u003cp>“It’s sublime in the truest sense,” says Bruce Tomb, a San Francisco-based architect who helped transform a former Army outpost in Marin County into the Headlands Center for the Arts.\u003c/p>\n\u003cp>“The view is priceless. And to have an artifact in that location is an opportunity to talk about our heritage.”\u003c/p>\n\u003cp>Ashton-Gonzalez says he brought city officials to the tower but he declined to identify them.\u003c/p>\n\u003cp>“They were pretty much to a man and woman quite impressed,” he says, but “a little curious about the bureaucratic jumps and hoops that would be required” to save the tower.\u003c/p>\n\u003cfigure id=\"attachment_10900645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa.jpg\">\u003cimg class=\"wp-image-10900645 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa-800x533.jpg\" alt=\"The band Rupa & The April Fishes performs at the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band Rupa & the April Fishes performs at the Signal Room. \u003ccite>(Jason LeCras/San Francisco Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Officials from the Treasure Island Development Authority confirmed that the tower is slated for demolition in May as part of a plan to bring hotels and luxury condos to the twin islands. With that in mind, Ashton-Gonzalez is stepping into the spotlight, knowing that more publicity could bring an end to his secret gatherings.\u003c/p>\n\u003cp>But he doesn’t care. He says it’s time for all of San Francisco to share the story of the Signal Room.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Eugene Ashton-Gonzalez is a transmedia storytelling artist and director of \u003ca href=\"http://eatmyheartout.org\">Eat My Heart Out \u003c/a>[\u003ca href=\"http://eatmyheartout.org\">eatmyheartout.org\u003c/a>] , a private storytelling dinner party for KWMR community radio in West Marin.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening I joined a group of strangers on a twilight tour of San Francisco’s Yerba Buena Island. This wasn’t your typical urban outing. First, consider our guide, an artist named Eugene Ashton-Gonzalez. He’s wearing a tattered nautical jacket and a two-day beard. He’s confiscated our cellphones and placed them in a heavy briefcase.\u003c/p>\n\u003cp>Then there’s our stealthy, guerrilla-style approach. Ashton-Gonzalez leads us across a small beach, around a clump of trees and up a steep trail. As we pass rows of empty military homes, he orders us to take cover while a private security guard passes nearby. We’ve entered a restricted area that is scheduled for demolition.\u003c/p>\n\u003cp>“Step lightly,” he whispers.\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/252914190&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/252914190'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the top of the island we dart across a small parking lot to reach our destination -- a lonely wooden tower. Ashton-Gonzalez delivers us through a secret passage and up a darkened staircase to the top floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s when our collective jaws drop. It’s as if we’ve entered the bridge of a giant ship anchored grandly in the middle of the bay. Jutting \u003cem>beneath\u003c/em> us are the white towers of the Bay Bridge. And shimmering all around are the lights of San Francisco, Oakland, Berkeley and beyond.\u003c/p>\n\u003cfigure id=\"attachment_10900553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup.jpg\">\u003cimg class=\"wp-image-10900553 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalGroup-800x533.jpg\" alt=\"Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalGroup-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Events here are free unless food is served, and typically involve 15 or 20 people invited by previous guests. \u003ccite>(Courtesy Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Welcome to the \u003ca href=\"https://www.facebook.com/thesignalroom/\">Signal Room\u003c/a>. It’s a rogue museum and a modern-day speakeasy, except that the illicit part of the experience is not what you drink, but how you get in.\u003c/p>\n\u003cp>Ashton-Gonzalez created the Signal Room last year after returning from a few years in New York City. He was moonlighting as an actor and storyteller, and conspiring with a group of urban explorers and trespassers. Their rogue pop-up projects included running a bar in an abandoned water tower in Manhattan.\u003c/p>\n\u003cp>Ashton-Gonzalez was looking to replicate his New York experiences back in his hometown. That’s when he discovered the abandoned radio tower on Yerba Buena Island and began researching its history. It was built by the military in 1917 to direct ships through San Francisco Bay. Later, it guided aircraft during World War II and served as an officers club. After the Loma Prieta earthquake struck in 1989, the building was sealed shut. Until Ashton-Gonzalez found a way to sneak inside.\u003c/p>\n\u003cfigure id=\"attachment_10900505\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric.jpg\">\u003cimg class=\"wp-image-10900505 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg\" alt=\"Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec 27th, 1945. One of the towers of the Bay Bridge's western span is visible in the background.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalTowerHistoric-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Navy signal corpsman F.R. English at the berth board receiving instruction from Chief Signalman Stanley Jones. The operations of the signal tower were military secrets until Dec. 27, 1945. One of the towers of the Bay Bridge's western span is visible in the background. \u003ccite>(Save the Signal Tower/Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with a small group of artists and urban explorers, he repaired and resupplied the tower. He installed tiny exhibits detailing the island’s history -- as an Indian burial site, as a smugglers’ haven and as a listening post for the military. He’s also staged dozens of secret events -- from small concerts and poetry readings to panel discussions and plotting sessions -- making this location the most exclusive (or certainly the most restricted) nighttime venue in the Bay Area.\u003c/p>\n\u003cp>Events here are free (unless food is being served) and typically involve 15 or 20 people who are invited by previous guests. Eugene says that protects against what he calls \"cool hunters.\" On my visit I nibbled on plates of smoked lamb, while a group of storytellers recounted old family yarns and Oakland-based musician Alycia Lang sang her tender songs.\u003c/p>\n\u003cp>Ashton-Gonzalez says the tower’s wooden construction, combined with traffic noise from the Bay Bridge, provides an acoustic camouflage that protects his events from the scrutiny of police and private security (so far not a single happening has been raided).\u003c/p>\n\u003cp>All this cultural commotion caught the eye of San Francisco writer Gary Kamiya, who \u003ca href=\"http://www.modernluxury.com/san-francisco/story/the-unkillable-arts-underground\" target=\"_blank\">visited the tower earlier this year\u003c/a>.\u003c/p>\n\u003cp>“When you see a site like that, you cannot be intellectually prepared for it,” he says. “It’s so stunning.”\u003c/p>\n\u003cfigure id=\"attachment_10900551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView.jpg\">\u003cimg class=\"wp-image-10900551 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalView-800x519.jpg\" alt=\"The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco.\" width=\"800\" height=\"519\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-400x259.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-1180x765.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalView-960x623.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room looking across the western span of the Bay Bridge toward San Francisco. \u003ccite>(Courtesy Eugene Ashton-Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamiya says the work of Ashton-Gonzalez and others is proof that an underground countercultural scene is still vibrant in San Francisco in spite of a tech boom that has driven many artists from the city. He says it’s a tradition that began decades ago with groups like the \u003ca href=\"http://www.suicideclub.com/\" target=\"_blank\">Suicide Club\u003c/a> and \u003ca href=\"http://www.cacophony.org/\" target=\"_blank\">Cacophony Society\u003c/a>. They used tunnels, bridges, sewers and civic buildings as a kind of illicit stage set.\u003c/p>\n\u003cp>“That’s why people like Eugene describe themselves as 'experience designers,' ” Kamiya says. “It's not that you're going to design a play or a piece of music. You're going to design an experience. And ideally it will be an intense experience. So when you go up into an abandoned old room with one of the greatest views in the world with a group of strangers, you've succeeded in doing that.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">If all of this is such a big secret, why talk about it to a reporter?\u003cbr>\n'I want to save the building,' he says.\u003c/aside>\n\u003cp>Another fan of the Signal Room is John Law. He joined the Cacophony Society in the 1980s and was a co-founder of Burning Man (he later broke with the festival).\u003c/p>\n\u003cp>“To me the whole thing about urban exploration -- and the best thing about it -- is that it's a connection with the past and it's really ephemeral,” Law says. “And Eugene, finding this space and understanding what it was and giving it a last breath of life, that's brilliant.”\u003c/p>\n\u003cp>At this point you’re probably wondering something. If all of this is such a big secret, why is Ashton-Gonzalez talking about it to a reporter?\u003c/p>\n\u003cp>“I want to save the building,” he says.\u003c/p>\n\u003cp>Preservation isn’t what motivated him at the beginning. He admits that when he first discovered the tower all he wanted to do was have a huge party. But he’s come to see the space as something more than a speakeasy on life support. It’s a San Francisco landmark, albeit a hidden one.\u003c/p>\n\u003cfigure id=\"attachment_10900627\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath.jpg\">\u003cimg class=\"wp-image-10900627 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/SignalPath-800x493.jpg\" alt=\"“Experience designer” Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-400x247.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/SignalPath-960x592.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">'Experience designer' Eugene Ashton-Gonzalez leads guests along a trail to the Signal Room. \u003ccite>(Mona Caron)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This place seems so uniquely special,” he says. “Could you put a little museum up here? Could you put a little exhibition space for public art, street art, sculpture?\"\u003c/p>\n\u003cp>Recently, Ashton-Gonzalez assembled a team of architects and began a quiet lobbying effort to save the building.\u003c/p>\n\u003cp>“It’s sublime in the truest sense,” says Bruce Tomb, a San Francisco-based architect who helped transform a former Army outpost in Marin County into the Headlands Center for the Arts.\u003c/p>\n\u003cp>“The view is priceless. And to have an artifact in that location is an opportunity to talk about our heritage.”\u003c/p>\n\u003cp>Ashton-Gonzalez says he brought city officials to the tower but he declined to identify them.\u003c/p>\n\u003cp>“They were pretty much to a man and woman quite impressed,” he says, but “a little curious about the bureaucratic jumps and hoops that would be required” to save the tower.\u003c/p>\n\u003cfigure id=\"attachment_10900645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa.jpg\">\u003cimg class=\"wp-image-10900645 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Rupa-800x533.jpg\" alt=\"The band Rupa & The April Fishes performs at the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Rupa.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The band Rupa & the April Fishes performs at the Signal Room. \u003ccite>(Jason LeCras/San Francisco Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Officials from the Treasure Island Development Authority confirmed that the tower is slated for demolition in May as part of a plan to bring hotels and luxury condos to the twin islands. With that in mind, Ashton-Gonzalez is stepping into the spotlight, knowing that more publicity could bring an end to his secret gatherings.\u003c/p>\n\u003cp>But he doesn’t care. He says it’s time for all of San Francisco to share the story of the Signal Room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Eugene Ashton-Gonzalez is a transmedia storytelling artist and director of \u003ca href=\"http://eatmyheartout.org\">Eat My Heart Out \u003c/a>[\u003ca href=\"http://eatmyheartout.org\">eatmyheartout.org\u003c/a>] , a private storytelling dinner party for KWMR community radio in West Marin.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Who Is the Dancer on the Highway 101 Overpass?",
"title": "Who Is the Dancer on the Highway 101 Overpass?",
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"content": "\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>[dropcap]A[/dropcap]my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Book Explores Woody Guthrie's Formative L.A. Years",
"title": "New Book Explores Woody Guthrie's Formative L.A. Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The great American songwriter Woody Guthrie is usually associated with his home state of Oklahoma and the folk scene of New York City’s Greenwich Village. But it was his time in L.A. that helped define his politics. Those years are the subject of a new book, “\u003ca href=\"http://www.angelcitypress.com/products/guth\">Woody Guthrie L.A., 1937 to 1941\u003c/a>,” co-edited by historians Darryl Holter and William Deverell.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252910261\" 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>Guthrie came from a middle-class family in Okemah, Oklahoma. His mother had Huntington's disease, which he eventually succumbed to as well, and she was committed to a state hospital. \u003c/p>\n\u003cp>Guthrie was pretty much on his own after the age of 16. He learned to play guitar in high school and performed old-time music with friends in a group called “The Corncob Trio.” He learned hundreds of hillbilly and folk songs, and began writing his own compositions about the dust storms that were driving families from their land in the Great Plains.\u003c/p>\n\u003cp>After hopping freight trains and doing itinerant work in Pampa, Texas, the young musician landed in Los Angeles, along with tens of thousands of other Dust Bowl refugees. But he learned that living in L.A. isn’t cheap, as he explored in his song \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-qCpFn1iIqk\">\"Do Re Mi.\"\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>California is a garden of Eden, a paradise to live in or see;\u003cbr>\nBut believe it or not, you won't find it so hot\u003cbr>\nIf you ain't got the do re mi.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10900488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900488 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg\" alt=\"Woody Guthrie wrote, illustrated, and bound a pamphlet that included his eyewitness observations of Depression-era California.\" width=\"1920\" height=\"1504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-400x313.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-1180x924.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-960x752.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie wrote, illustrated and bound a pamphlet that included his eyewitness observations of Depression-era California. \u003ccite>(Woody Guthrie Archive/Woody Guthrie Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Woody was someone who read a lot of things and he was always interested in things, but his politics were relatively unformed when he came,” says Holter. “He came from places that were basically steeped in segregation. So it was a very different atmosphere, and he came to L.A. and a lot of his political views really changed. I describe him as a kind of a Dust Bowl populist.”\u003c/p>\n\u003cp>Guthrie never had a permanent address in Los Angeles. He crashed with friends in Echo Park and Glendale, and stayed in flophouses on Skid Row, where he also busked in cafes and bars and on streetcorners for spare change.\u003c/p>\n\u003cp>In the summer of 1937, Woody and his cousin, Leon “Oke” Guthrie, were hired to host the “Oklahoma and Woody Show” on L.A. radio station KFVD. A couple months later, Guthrie launched “The Woody and Lefty Lou Show” with Maxine Crissman, the daughter of a friend. He called her “Lefty Lou” because she was left-handed and because Lou rhymed with \"Missou,\" her home state of Missouri. They received nearly 500 fan letters within the show’s first month, and it became the highest-rated show on the station.\u003c/p>\n\u003cfigure id=\"attachment_10900481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900481 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg\" alt=\"Maxine “Lefty Lou” Crissman and Woody Guthrie promote their Woody and Lefty Lou radio show on Los Angeles’s KFVD, ca. 1937.\" width=\"1920\" height=\"1299\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-960x650.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maxine 'Lefty Lou' Crissman and Woody Guthrie promote their radio show on Los Angeles’s KFVD, ca. 1937.\u003c/figcaption>\u003c/figure>\n\u003cp>“The show became very popular, particularly among the Dust Bowl population that lived in L.A.,” Holter says. “Even if you were poor you could listen to the radio. And a lot of letters came in, and Guthrie became sort of a minor radio celebrity.”\u003c/p>\n\u003cp>In 1939, Woody met Ed Robbin, a fellow radio host at KFVD, who got him a gig singing at a Communist Party rally at the Embassy Auditorium in downtown L.A. Guthrie became a fixture among L.A.’s radical left and performed at many political and union events around Los Angeles. He also wrote a column for the Communist newspaper People’s Daily World. He called it “Woody Sez,” and wrote in a hillbilly style to seem more authentic.\u003c/p>\n\u003cp>“Woody Guthrie is a very shrewd political actor,” Deverell says. “On the one hand, we might assume -- and that could be right -- that he's surprised by his rising success and fame. On the other hand, it may be in part cultivated by his own sense of a persona. So he's very clever about identifying as just folks.”\u003c/p>\n\u003cp>Guthrie visited Dust Bowlers in their encampments, which were nicknamed \"Hoovervilles.\" For these migrants, the big city held plenty of danger.\u003c/p>\n\u003cp>“When they came to L.A., I mean this is a whole new experience. Not only was it big, noisy, full of cars, full of people, but also you could buy liquor all over, it wasn't dry. There were all kinds of temptations. You could buy your cars on credit. You could buy furniture on credit and lose it as well,” Holter says, citing Guthrie's song \u003cem>“\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=xqg6k1hVCFw\">\u003cem>Them Big City Ways.\u003c/em>\u003c/a>\u003cem>”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Brother John moved into town, rented him a flat and he settled down\u003cbr>\nLord lord, he’s getting them big city ways.\u003cbr>\nBrought his wife and kids along, but fifteen dollars didn’t last long\u003cbr>\nLord lord, he’s getting them big city ways.\u003c/em>\u003c/p>\n\u003cp>Guthrie also traveled around the Golden State. He performed political skits with actor Will Geer to support strikers in the cotton fields of Kern County and got arrested at the state capital in Sacramento. He performed for migrant farmworkers in the San Joaquin Valley. He met the writers John Steinbeck and Theodore Dreiser. Guthrie’s songs addressed issues of inequality that were amplified by the Depression, and are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_10900485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10900485\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg\" alt=\"Woody Guthrie singing at Shafter Labor Camp, 1941.\" width=\"1920\" height=\"1919\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie singing at Shafter Labor Camp, 1941. \u003ccite>(Seema Weatherwax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things like police-community relations. Things like unemployment. Things like poverty. Things like homelessness. Things like really heavy rainfalls and people getting swept away by the L.A. River,” Holter says. “Things about love, things about sex, the same kinds of things we talk about today. And it's a kind of timelessness to the themes of his songs.”\u003c/p>\n\u003cp>Song's like \u003cem> “\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=vXRT-5rL8z8\">\u003cem>Los Angeles New Year's Flood:\u003c/em>\u003c/a>\u003cem>” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Kind friend, do you remember?\u003cbr>\nOn that fatal New Year's night\u003cbr>\nThe lights of old Los Angeles\u003cbr>\nWas a flick'ring, Oh, so bright.\u003cbr>\nA cloud burst hit the mountains\u003cbr>\nIt swept away our homes;\u003cbr>\nAnd a hundred souls was taken\u003cbr>\nIn that fatal New Year's flood.\u003c/em>\u003c/p>\n\u003cp>“The L.A. River, in the early years of the Depression, it takes a heavy, heavy rainfall and it floods its banks. And many of those Okie and Arkie out-migrants from the Dust Bowl were living in encampments alongside the river. And they get washed away. Or at least their possessions get washed away,” Deverell says.\u003c/p>\n\u003cp>Woody Guthrie and his family left Los Angeles in 1939 and moved to New York, where he wrote “This Land Is Your Land” as a response to Kate Smith’s then-current hit “God Bless America.” The authors of the new book say Guthrie’s experiences in Los Angeles inspired what would become America’s “other” national anthem.\u003c/p>\n\u003cp>Guthrie eventually wrote some 3,000 songs, although we have the score for only about half of them. He’d revisit some songs and modify the lyrics, reflecting his own changing political ideas. For example, one stanza of “\u003ca href=\"https://www.youtube.com/watch?v=wxiMrvDbq3s\">\u003cem>This Land Is Your Land\u003c/em>\u003c/a>” often gets left out:\u003c/p>\n\u003cp>\u003cem>As I went walking I saw a sign there\u003cbr>\nAnd on the sign it said \"No Trespassing.\"\u003cbr>\nBut on the other side it didn't say nothing,\u003cbr>\nThat side was made for you and me.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wxiMrvDbq3s\u003c/p>\n\u003cp>Guthrie eventually became a hero to the burgeoning folk scene of the 1960s and a mentor to musicians like Pete Seeger, Phil Ochs, Ramblin' Jack Elliott and Bob Dylan.\u003c/p>\n\u003cp>Guthrie died in 1967. Interestingly, his ghost keeps popping up in the 2016 presidential election. When Democratic candidate Bernie Sanders campaigned in Oklahoma last month, he made sure to stop by the Woody Guthrie Center in downtown Tulsa. Sanders has been a longtime fan of Guthrie’s music, even covering “This Land Is Your Land” nearly 30 years ago. And at an Iowa rally earlier this year, he hummed along to the tune onstage with Vampire Weekend.\u003c/p>\n\u003cp>That’s not the only connection to the 2016 campaign. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Earlier this year, \u003ca href=\"http://www.nytimes.com/politics/first-draft/2016/01/25/woody-guthrie-sang-of-his-contempt-for-his-landlord-donald-trumps-father/\" target=\"_blank\">an archivist found in Guthrie’s notebooks some nasty things he’d written about Fred Trump\u003c/a>, the father of Republican front-runner Donald Trump. Guthrie rented an apartment in Brooklyn belonging to Trump for two years. And Guthrie wrote angrily about what he called racist housing practices by the real estate mogul, specifically about the lack of diversity among the residents of Trump’s Beach Haven apartments.\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"http://www.kcrw.com/people/avishay-artsy\">Avishay Artsy\u003c/a>\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The great American songwriter Woody Guthrie is usually associated with his home state of Oklahoma and the folk scene of New York City’s Greenwich Village. But it was his time in L.A. that helped define his politics. Those years are the subject of a new book, “\u003ca href=\"http://www.angelcitypress.com/products/guth\">Woody Guthrie L.A., 1937 to 1941\u003c/a>,” co-edited by historians Darryl Holter and William Deverell.\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/252910261&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/252910261'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Guthrie came from a middle-class family in Okemah, Oklahoma. His mother had Huntington's disease, which he eventually succumbed to as well, and she was committed to a state hospital. \u003c/p>\n\u003cp>Guthrie was pretty much on his own after the age of 16. He learned to play guitar in high school and performed old-time music with friends in a group called “The Corncob Trio.” He learned hundreds of hillbilly and folk songs, and began writing his own compositions about the dust storms that were driving families from their land in the Great Plains.\u003c/p>\n\u003cp>After hopping freight trains and doing itinerant work in Pampa, Texas, the young musician landed in Los Angeles, along with tens of thousands of other Dust Bowl refugees. But he learned that living in L.A. isn’t cheap, as he explored in his song \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=-qCpFn1iIqk\">\"Do Re Mi.\"\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>California is a garden of Eden, a paradise to live in or see;\u003cbr>\nBut believe it or not, you won't find it so hot\u003cbr>\nIf you ain't got the do re mi.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10900488\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900488 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg\" alt=\"Woody Guthrie wrote, illustrated, and bound a pamphlet that included his eyewitness observations of Depression-era California.\" width=\"1920\" height=\"1504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-400x313.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-800x627.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-1180x924.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18827_43051-SlowTrainThroughCA_WGdrawing-qut-960x752.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie wrote, illustrated and bound a pamphlet that included his eyewitness observations of Depression-era California. \u003ccite>(Woody Guthrie Archive/Woody Guthrie Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Woody was someone who read a lot of things and he was always interested in things, but his politics were relatively unformed when he came,” says Holter. “He came from places that were basically steeped in segregation. So it was a very different atmosphere, and he came to L.A. and a lot of his political views really changed. I describe him as a kind of a Dust Bowl populist.”\u003c/p>\n\u003cp>Guthrie never had a permanent address in Los Angeles. He crashed with friends in Echo Park and Glendale, and stayed in flophouses on Skid Row, where he also busked in cafes and bars and on streetcorners for spare change.\u003c/p>\n\u003cp>In the summer of 1937, Woody and his cousin, Leon “Oke” Guthrie, were hired to host the “Oklahoma and Woody Show” on L.A. radio station KFVD. A couple months later, Guthrie launched “The Woody and Lefty Lou Show” with Maxine Crissman, the daughter of a friend. He called her “Lefty Lou” because she was left-handed and because Lou rhymed with \"Missou,\" her home state of Missouri. They received nearly 500 fan letters within the show’s first month, and it became the highest-rated show on the station.\u003c/p>\n\u003cfigure id=\"attachment_10900481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10900481 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg\" alt=\"Maxine “Lefty Lou” Crissman and Woody Guthrie promote their Woody and Lefty Lou radio show on Los Angeles’s KFVD, ca. 1937.\" width=\"1920\" height=\"1299\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18825_47011-WoodyLeftyLou-qut-1-960x650.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Maxine 'Lefty Lou' Crissman and Woody Guthrie promote their radio show on Los Angeles’s KFVD, ca. 1937.\u003c/figcaption>\u003c/figure>\n\u003cp>“The show became very popular, particularly among the Dust Bowl population that lived in L.A.,” Holter says. “Even if you were poor you could listen to the radio. And a lot of letters came in, and Guthrie became sort of a minor radio celebrity.”\u003c/p>\n\u003cp>In 1939, Woody met Ed Robbin, a fellow radio host at KFVD, who got him a gig singing at a Communist Party rally at the Embassy Auditorium in downtown L.A. Guthrie became a fixture among L.A.’s radical left and performed at many political and union events around Los Angeles. He also wrote a column for the Communist newspaper People’s Daily World. He called it “Woody Sez,” and wrote in a hillbilly style to seem more authentic.\u003c/p>\n\u003cp>“Woody Guthrie is a very shrewd political actor,” Deverell says. “On the one hand, we might assume -- and that could be right -- that he's surprised by his rising success and fame. On the other hand, it may be in part cultivated by his own sense of a persona. So he's very clever about identifying as just folks.”\u003c/p>\n\u003cp>Guthrie visited Dust Bowlers in their encampments, which were nicknamed \"Hoovervilles.\" For these migrants, the big city held plenty of danger.\u003c/p>\n\u003cp>“When they came to L.A., I mean this is a whole new experience. Not only was it big, noisy, full of cars, full of people, but also you could buy liquor all over, it wasn't dry. There were all kinds of temptations. You could buy your cars on credit. You could buy furniture on credit and lose it as well,” Holter says, citing Guthrie's song \u003cem>“\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=xqg6k1hVCFw\">\u003cem>Them Big City Ways.\u003c/em>\u003c/a>\u003cem>”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Brother John moved into town, rented him a flat and he settled down\u003cbr>\nLord lord, he’s getting them big city ways.\u003cbr>\nBrought his wife and kids along, but fifteen dollars didn’t last long\u003cbr>\nLord lord, he’s getting them big city ways.\u003c/em>\u003c/p>\n\u003cp>Guthrie also traveled around the Golden State. He performed political skits with actor Will Geer to support strikers in the cotton fields of Kern County and got arrested at the state capital in Sacramento. He performed for migrant farmworkers in the San Joaquin Valley. He met the writers John Steinbeck and Theodore Dreiser. Guthrie’s songs addressed issues of inequality that were amplified by the Depression, and are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_10900485\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10900485\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg\" alt=\"Woody Guthrie singing at Shafter Labor Camp, 1941.\" width=\"1920\" height=\"1919\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/RS18826_43021-WoodyGuthrie_Singing_Shafter_FLCamp-qut-75x75.jpg 75w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woody Guthrie singing at Shafter Labor Camp, 1941. \u003ccite>(Seema Weatherwax)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Things like police-community relations. Things like unemployment. Things like poverty. Things like homelessness. Things like really heavy rainfalls and people getting swept away by the L.A. River,” Holter says. “Things about love, things about sex, the same kinds of things we talk about today. And it's a kind of timelessness to the themes of his songs.”\u003c/p>\n\u003cp>Song's like \u003cem> “\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=vXRT-5rL8z8\">\u003cem>Los Angeles New Year's Flood:\u003c/em>\u003c/a>\u003cem>” \u003c/em>\u003c/p>\n\u003cp>\u003cem>Kind friend, do you remember?\u003cbr>\nOn that fatal New Year's night\u003cbr>\nThe lights of old Los Angeles\u003cbr>\nWas a flick'ring, Oh, so bright.\u003cbr>\nA cloud burst hit the mountains\u003cbr>\nIt swept away our homes;\u003cbr>\nAnd a hundred souls was taken\u003cbr>\nIn that fatal New Year's flood.\u003c/em>\u003c/p>\n\u003cp>“The L.A. River, in the early years of the Depression, it takes a heavy, heavy rainfall and it floods its banks. And many of those Okie and Arkie out-migrants from the Dust Bowl were living in encampments alongside the river. And they get washed away. Or at least their possessions get washed away,” Deverell says.\u003c/p>\n\u003cp>Woody Guthrie and his family left Los Angeles in 1939 and moved to New York, where he wrote “This Land Is Your Land” as a response to Kate Smith’s then-current hit “God Bless America.” The authors of the new book say Guthrie’s experiences in Los Angeles inspired what would become America’s “other” national anthem.\u003c/p>\n\u003cp>Guthrie eventually wrote some 3,000 songs, although we have the score for only about half of them. He’d revisit some songs and modify the lyrics, reflecting his own changing political ideas. For example, one stanza of “\u003ca href=\"https://www.youtube.com/watch?v=wxiMrvDbq3s\">\u003cem>This Land Is Your Land\u003c/em>\u003c/a>” often gets left out:\u003c/p>\n\u003cp>\u003cem>As I went walking I saw a sign there\u003cbr>\nAnd on the sign it said \"No Trespassing.\"\u003cbr>\nBut on the other side it didn't say nothing,\u003cbr>\nThat side was made for you and me.\u003c/em>\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/wxiMrvDbq3s'\n title='//www.youtube.com/embed/wxiMrvDbq3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Guthrie eventually became a hero to the burgeoning folk scene of the 1960s and a mentor to musicians like Pete Seeger, Phil Ochs, Ramblin' Jack Elliott and Bob Dylan.\u003c/p>\n\u003cp>Guthrie died in 1967. Interestingly, his ghost keeps popping up in the 2016 presidential election. When Democratic candidate Bernie Sanders campaigned in Oklahoma last month, he made sure to stop by the Woody Guthrie Center in downtown Tulsa. Sanders has been a longtime fan of Guthrie’s music, even covering “This Land Is Your Land” nearly 30 years ago. And at an Iowa rally earlier this year, he hummed along to the tune onstage with Vampire Weekend.\u003c/p>\n\u003cp>That’s not the only connection to the 2016 campaign. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this year, \u003ca href=\"http://www.nytimes.com/politics/first-draft/2016/01/25/woody-guthrie-sang-of-his-contempt-for-his-landlord-donald-trumps-father/\" target=\"_blank\">an archivist found in Guthrie’s notebooks some nasty things he’d written about Fred Trump\u003c/a>, the father of Republican front-runner Donald Trump. Guthrie rented an apartment in Brooklyn belonging to Trump for two years. And Guthrie wrote angrily about what he called racist housing practices by the real estate mogul, specifically about the lack of diversity among the residents of Trump’s Beach Haven apartments.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
"title": "Will the Berkeley Flea Market Survive a Changing Neighborhood?",
"headTitle": "Boomtown | News Fix | KQED News",
"content": "\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/252024798?secret_token=s-KFtwH\" 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>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can hear the rumble of a drum circle from more than a block away, and it grows louder and louder as you approach Berkeley's Ashby BART Station. Every Saturday and Sunday -- except when it rains -- a freewheeling jam session brings together drummers and other musicians in the BART parking lot.\u003c/p>\n\u003cp>Guy Fuerte, who's been banging on his Cajon -- a large rectangular drum -- says he's been coming to play here for 20 years, and it's kept him from \"making bad decisions.\"\u003c/p>\n\u003cp>\"It just gave me a place to come to express myself freely,” says Fuerte, who is now friends with many other musicians who come to play. “I was intimidated by the playing, by the music. I didn’t know how it all came together. I didn’t know how to use my hands to create such rhythms, but they invited me into it and showed me how ... they were patient with me.\"\u003c/p>\n\u003cfigure id=\"attachment_10888778\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10888778 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg\" alt=\"The drum circle is an integral part of the flea market's culture\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/circle-dancer-from-above-1-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The drum circle is an integral part of the flea market's culture. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This drum circle is part of the \u003ca href=\"http://www.berkeleyfleamarket.com/\" target=\"_blank\">Berkeley Flea Market\u003c/a>, which has served as a gathering place for African-Americans and other local residents for decades. Now the city of Berkeley is planning improvements to the surrounding neighborhood, and many are concerned that will contribute to more displacement of longtime residents — and of this well-loved market.\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/252024798?secret_token=s-KFtwH&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/252024798?secret_token=s-KFtwH'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Walking the aisles, you can find everything from handmade soaps to used electronics and classic comic books. But one thing is impossible to miss: booths full of items celebrating or exploring black culture. At Pamela Jackson's booth you can find what she calls \"slave documents, mammy/pappy cookie jars, all that racist memorabilia.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I sell history, is what I sell,\" explains Jackson, who's been a vendor for five years. She's been coming to shop here since the Ashby BART Station opened in 1973.\u003c/p>\n\u003cfigure id=\"attachment_10854611\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10854611 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg\" alt=\"Many vendors sell items commemorating black history\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1440x811.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/black-history-photos-qut-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Many vendors sell items commemorating black history. \u003ccite>(Andrew Stelzer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BART originally didn’t run trains on the weekends, says Errol Davis, with Community Services United, a nonprofit group that sponsors the market. “The parking lot was empty, so people felt they had the right to go in and set up and sell.”\u003c/p>\n\u003cp>Davis says the market is now a vital community gathering spot and a source of income for vendors.\u003c/p>\n\u003cp>“It’s not just African-American. There’s people out here from India, Tibet, Africa, South America, I mean from all over the world,\" says Davis. \"To wipe it out, they wouldn’t be able to make the extra money it takes to put their kids through Cal or whatever they’re doing with their income from the flea market. It would be gone.”\u003c/p>\n\u003ch4>Planning For The Future\u003c/h4>\n\u003cp>In 2014, Berkeley \u003ca href=\"http://www.mercurynews.com/ci_25899895/berkeley-lands-750-000-adeline-district-revitalization-planning\" target=\"_blank\">received a $750,000 grant\u003c/a> from the Metropolitan Transportation Commission, and designated the \u003ca href=\"http://www.ci.berkeley.ca.us/AdelineCorridor/\" target=\"_blank\">Adeline corridor\u003c/a> a priority development area. The roughly 1-mile commercial strip stretches from the Oakland border to the intersection of Shattuck Avenue and Dwight Way.\u003c/p>\n\u003cp>The MTC money is funding dozens of community meetings to get input on the area's future.\u003c/p>\n\u003cp>“This is the last neighborhood in Berkeley that’s gotten this kind of attention,\" says City Councilman \u003ca href=\"http://www.ci.berkeley.ca.us/council3/\" target=\"_blank\">Max Anderson\u003c/a>, who represents District 3. \"We’ve got Solano, we’ve got Elmwood, we’ve got Shattuck, we’ve got Telegraph, and finally after 40 years, we’re gonna do something about South Berkeley.”\u003c/p>\n\u003cp>Anderson, who lives a block away from Adeline Street, says it used to be the heart of a thriving black neighborhood, before BART built the station and \"demolished that whole Adeline corridor.\"\u003c/p>\n\u003cfigure id=\"attachment_10888781\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10888781\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg\" alt=\"The flea market takes place every weekend in the Ashby BART station parking lot.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/market-BART-logo-and-stairs-960x541.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The flea market takes place every weekend in the Ashby BART station parking lot. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Forty-three homes were eminent-domained and the construction lasted four or five years. And so all of those businesses there that were largely African-American went under ... everything from eating establishments, to funeral homes to you name it,\" says Anderson.\u003c/p>\n\u003cp>\"So here we are in 2016, trying to undo something that happened 40 years ago.”\u003c/p>\n\u003cp>Affordable housing is something that many in this neighborhood would welcome, and that's under consideration. But it may be the very thing that ends up threatening the flea market. Alisa Shen, with Berkeley’s planning department, says the city is \"just trying to solicit ideas\" at this point, but the BART parking lot is one of the few available sites where new housing could be built.\u003c/p>\n\u003cp>\"We've heard the community wants more affordable housing, and typically you look at surface parking lots or vacant lots,” says Shen.\u003c/p>\n\u003ch4>Learning From The Past?\u003c/h4>\n\u003cp>In 2006, a proposal to build residential housing on the Ashby BART parking lot site \u003ca href=\"http://www.berkeleydailyplanet.com/issue/2006-01-20/article/23234?headline=Neighbors-Oppose-Ashby-BART-Project-By-RICHARD-BRENNEMAN&status=301\" target=\"_blank\">was beaten back by neighborhood residents\u003c/a>. But Shen says the city learned its lessons during similar revisioning initiatives for downtown and West Berkeley. Many felt that developers dominated those discussions and local residents were locked out.\u003c/p>\n\u003cp>This time around, the city is conducting a survey of the flea market vendors, and holding dozens of community meetings, where they’re hearing from a lot of skeptics. At a meeting with the Community Services United board of directors and other concerned citizens, \u003ca href=\"http://berkeleycopwatch.org/\" target=\"_blank\">Berkeley Copwatch\u003c/a>'s Andrea Prichett sounded off.\u003c/p>\n\u003cp>“I feel like what’s gonna end up is, you’re gonna be building expensive apartments for people who don’t live here yet, and that the people that do live here are gonna be forced out,\" Prichett told Shen. \"And then you’re gonna be able to say that the flea market was part of the process.\"\u003c/p>\n\u003cp>The market could be relocated onto Adeline Street, which would be closed to traffic in one direction on the weekends.\u003c/p>\n\u003cp>Pamela Jackson is trying to organize her fellow vendors to create their own vision for the future. They recently held their first meeting. Jackson, who was born and raised in San Francisco, says she doesn’t want to see history repeat itself, where neighborhood improvements have ended up displacing black residents.\u003c/p>\n\u003cp>\"My family was very prominent in the \u003ca href=\"http://www.pbs.org/kqed/fillmore/learning/story.html\" target=\"_blank\">Fillmore area\u003c/a> when redevelopment came through there, so that kinda tugs at my heartstrings. To remember what happened in San Francisco to the black community there, and then to hear the same rhetoric 40, 50 years later here in Berkeley now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The planning department hopes to have a proposal for the Adeline corridor by next year. The City Council will then have the final say.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SeaWorld to Stop Breeding Orcas, End Whale Shows",
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"content": "\u003cp>ORLANDO, Fla. — Bowing to years of public pressure, SeaWorld announced Thursday that it will immediately stop breeding killer whales and making them perform crowd-pleasing tricks at its theme parks in San Diego, San Antonio and Orlando.\u003c/p>\n\u003cp>SeaWorld’s remaining killer whales, or orcas, will still be on display, but in “new, inspiring natural orca encounters,” rather than theatrical programs, the company said.\u003c/p>\n\u003cp>Attendance at SeaWorld’s parks dropped after the 2013 release of the documentary “Blackfish,” which was highly critical of the orca program. SeaWorld reported a fourth-quarter loss of $11 million in February.\u003c/p>\n\u003cp>“Society’s attitudes have shifted,” said Joel Manby, president and chief executive officer of SeaWorld Entertainment Inc., during a telephone news conference. “It wasn’t worth fighting that. We needed to move to where society was moving. That’s why it’s now and not two years in the future.”\u003c/p>\n\u003cp>The new shows will begin next year at SeaWorld Entertainment Inc.’s San Diego park, before expanding to its San Antonio park and then to the Orlando, Florida, park in 2019.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Orcas have long been a centerpiece of the SeaWorld parks. Shows at the Shamu stadium in San Diego became the main draw in the 1970s and helped make SeaWorld a top tourist attraction. San Diego was the original home of Shamu, SeaWorld’s first orca.\u003c/p>\n\u003cp>[contextly_sidebar id=”EWbbi2UhHMS0H1TXKoqoFFRfmyv1hKtn”]\u003c/p>\n\u003cp>SeaWorld officials said they were also forming a partnership with the Humane Society to help educate guests on animal welfare and conservation issues through interpretive programs at the parks and by expanded advocacy for wild whales, seals and other marine creatures.\u003c/p>\n\u003cp>Humane Society CEO Wayne Pacelle said his organization and SeaWorld had been longtime foes, but he said it was time to turn criticism into collaboration.\u003c/p>\n\u003cp>“We don’t come to this discussion with any naivete about the operations at SeaWorld,” Pacelle said.\u003c/p>\n\u003cp>Criticism over keeping killer whales in captivity increased in 2010 after an orca named Tilikum grabbed trainer Dawn Brancheau after a “Dine with Shamu” show and pulled her into the pool, killing her. The death was highlighted in “Blackfish.” Tilikum, who was also involved in the deaths of two others, is now very sick. He has been at SeaWorld Orlando for 23 years.\u003c/p>\n\u003cp>Last month, SeaWorld acknowledged sending workers to infiltrate the animal rights group People for the Ethical Treatment of Animals. At the time, Manby said the employees had been sent to PETA to protect the safety of its employees and customers, but he vowed to end the practice.\u003c/p>\n\u003cp>PETA, which has been especially critical of SeaWorld, said the company needs to do more for the animals.\u003c/p>\n\u003cp>“SeaWorld must open its tanks to the oceans to allow the orcas it now holds captive to have some semblance of a life outside these prison tanks,” PETA spokeswoman Colleen O’Brien said in a statement.\u003c/p>\n\u003cp>By August 2014, SeaWorld said it would build new, larger environments for its marine mammals and fund additional research and conservation efforts. The project has yet to get off the ground.\u003c/p>\n\u003cp>Last October, the California Coastal Commission approved a $100 million expansion of SeaWorld’s tanks for its orcas in San Diego but also banned breeding of the captive animals. SeaWorld said it would end the orca shows in San Diego by 2017, and the company also filed a lawsuit saying the California commission had overreached when it banned breeding at that park.\u003c/p>\n\u003cp>SeaWorld hasn’t been alone in dealing with the public outrage that followed “Blackfish” and the 2009 documentary “The Cove,” which showed the killing of dolphins in Japan. The National Aquarium in Baltimore announced in 2014 that it would explore retiring its eight dolphins to an oceanside sanctuary, and elected officials in some California cities passed resolutions stating that whales and dolphins have the right to freedom from captivity.\u003c/p>\n\u003cp>Rep. Adam Schiff, a Democrat from Los Angeles County who introduced the Orca Responsibility and Care Advancement Act in 2015, applauded SeaWorld’s announcement Thursday.\u003c/p>\n\u003cp>“These changes are something that advocates have been urging for years, and I think SeaWorld will find that visitors will reward their actions with a renewed interest in the parks,” Schiff said in a statement Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Jennifer Kay in Miami contributed this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "After suffering financial losses, company concedes that public attitudes on treatment of the captive marine mammals have shifted.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ORLANDO, Fla. — Bowing to years of public pressure, SeaWorld announced Thursday that it will immediately stop breeding killer whales and making them perform crowd-pleasing tricks at its theme parks in San Diego, San Antonio and Orlando.\u003c/p>\n\u003cp>SeaWorld’s remaining killer whales, or orcas, will still be on display, but in “new, inspiring natural orca encounters,” rather than theatrical programs, the company said.\u003c/p>\n\u003cp>Attendance at SeaWorld’s parks dropped after the 2013 release of the documentary “Blackfish,” which was highly critical of the orca program. SeaWorld reported a fourth-quarter loss of $11 million in February.\u003c/p>\n\u003cp>“Society’s attitudes have shifted,” said Joel Manby, president and chief executive officer of SeaWorld Entertainment Inc., during a telephone news conference. “It wasn’t worth fighting that. We needed to move to where society was moving. That’s why it’s now and not two years in the future.”\u003c/p>\n\u003cp>The new shows will begin next year at SeaWorld Entertainment Inc.’s San Diego park, before expanding to its San Antonio park and then to the Orlando, Florida, park in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Orcas have long been a centerpiece of the SeaWorld parks. Shows at the Shamu stadium in San Diego became the main draw in the 1970s and helped make SeaWorld a top tourist attraction. San Diego was the original home of Shamu, SeaWorld’s first orca.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>SeaWorld officials said they were also forming a partnership with the Humane Society to help educate guests on animal welfare and conservation issues through interpretive programs at the parks and by expanded advocacy for wild whales, seals and other marine creatures.\u003c/p>\n\u003cp>Humane Society CEO Wayne Pacelle said his organization and SeaWorld had been longtime foes, but he said it was time to turn criticism into collaboration.\u003c/p>\n\u003cp>“We don’t come to this discussion with any naivete about the operations at SeaWorld,” Pacelle said.\u003c/p>\n\u003cp>Criticism over keeping killer whales in captivity increased in 2010 after an orca named Tilikum grabbed trainer Dawn Brancheau after a “Dine with Shamu” show and pulled her into the pool, killing her. The death was highlighted in “Blackfish.” Tilikum, who was also involved in the deaths of two others, is now very sick. He has been at SeaWorld Orlando for 23 years.\u003c/p>\n\u003cp>Last month, SeaWorld acknowledged sending workers to infiltrate the animal rights group People for the Ethical Treatment of Animals. At the time, Manby said the employees had been sent to PETA to protect the safety of its employees and customers, but he vowed to end the practice.\u003c/p>\n\u003cp>PETA, which has been especially critical of SeaWorld, said the company needs to do more for the animals.\u003c/p>\n\u003cp>“SeaWorld must open its tanks to the oceans to allow the orcas it now holds captive to have some semblance of a life outside these prison tanks,” PETA spokeswoman Colleen O’Brien said in a statement.\u003c/p>\n\u003cp>By August 2014, SeaWorld said it would build new, larger environments for its marine mammals and fund additional research and conservation efforts. The project has yet to get off the ground.\u003c/p>\n\u003cp>Last October, the California Coastal Commission approved a $100 million expansion of SeaWorld’s tanks for its orcas in San Diego but also banned breeding of the captive animals. SeaWorld said it would end the orca shows in San Diego by 2017, and the company also filed a lawsuit saying the California commission had overreached when it banned breeding at that park.\u003c/p>\n\u003cp>SeaWorld hasn’t been alone in dealing with the public outrage that followed “Blackfish” and the 2009 documentary “The Cove,” which showed the killing of dolphins in Japan. The National Aquarium in Baltimore announced in 2014 that it would explore retiring its eight dolphins to an oceanside sanctuary, and elected officials in some California cities passed resolutions stating that whales and dolphins have the right to freedom from captivity.\u003c/p>\n\u003cp>Rep. Adam Schiff, a Democrat from Los Angeles County who introduced the Orca Responsibility and Care Advancement Act in 2015, applauded SeaWorld’s announcement Thursday.\u003c/p>\n\u003cp>“These changes are something that advocates have been urging for years, and I think SeaWorld will find that visitors will reward their actions with a renewed interest in the parks,” Schiff said in a statement Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writer Jennifer Kay in Miami contributed this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "After 50 Years in L.A. Clubs, Singer Troy Walker Still Going Strong",
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"content": "\u003cp>It's the early '60s. It’s a Saturday night on the pre-hippie Sunset Strip. It’s a swinging scene, men in sharp suits, women in cocktail dresses. Everybody smokes. In a lounge called The Interlude, they’re squeezing in to see Troy Walker.\u003c/p>\n\u003cp>\"I’d never imagined myself even having that much talent,” admits Walker. “I was just a singer and I liked showing off.”\u003c/p>\n\u003cp>That inclination paid off for Walker, who was raised in Arizona. As a young boy, he first realized his divine gift of song during a Christmas worship service in his hometown of Phoenix.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Mommy wanted a girl, Daddy wanted a boy, now they’re both happy. I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.'\u003ccite>Troy Walker\u003c/cite>\u003c/aside>\n\u003cp>“I remember on a Christmas cantata in church, our choir director Mr. Beasley had me sing ‘O Holy Night,’” Walker says. “I had a very high soprano voice. I sang it and I looked at my mother and she was crying and Mr. Beasley stood up and said, ‘God has sent us an angel.'\"\u003c/p>\n\u003cp>He moved to Hollywood in 1958, “just to come out to Hollywood. I understood I could be a little freer, especially in my personal life, so I came out to Hollywood to see if that could happen.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I walked into a bar on Hollywood Boulevard, and the young man behind the piano asked me if I could sing. I’d sing in school, so I said, ‘Yep,’ and he gave me the microphone and I sang a song. I was only 19. And the owner came over and asked me if I could come in every night and sing a couple songs and he’d give me 10 bucks.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/251447759\" 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>“At the time I was downright broke, and I asked if I could get an advance because my rent was due. At that time it was nine bucks a week. He said, ‘Don’t try and con me, kid.’ I told him I’d be back the next night. That’s how it started, and it’s been that way ever since.”\u003c/p>\n\u003cp>Walker was, to put it mildly, a very pretty boy, something that he learned to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right.’ It just worked for me,” he says. “‘Mommy wanted a girl, Daddy wanted a boy, now they’re both happy.’ I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.”\u003c/p>\n\u003cp>Flamboyant young Walker developed a set of current hits and standards recorded by artists he admired like Judy Garland, Johnny Ray and Johnny Mathis. His chops were formidable; his ability to sell a song and give his all to the crowd was immense. He released his first album in 1962. His second -- and last -- record came out two years later, and while neither took off, his reputation as a must-see live act flourished.\u003c/p>\n\u003cfigure id=\"attachment_10896794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896794 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg\" alt=\"Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'" he says.\" width=\"800\" height=\"942\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-400x471.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-1180x1390.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-960x1131.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'\" he says. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was on fire, packing rooms and drawing names like Ricky Nelson, Natalie Wood, Ronald Reagan and Elvis himself. He shared the stage with everyone from Ella Fitzgerald to Pat Collins the Hip Hypnotist. He joked, he trash talked, he worked risque but never mean.\u003c/p>\n\u003cp>He was a dazzling, flamboyant attraction, meaning he was as openly gay as an act could be in those closeted times. But it wasn’t really camp, it was just who he was. And that was something that may have hindered his professional growth.\u003c/p>\n\u003cp>“I often wondered why the big [career] push wasn’t made and I just kind of decided, well, nobody wanted at that time to affiliate themselves with a somewhat effete, somewhat maybe feminine man. It was that age.”\u003c/p>\n\u003cp>Walker survived, playing all manner of nightspots. For years he was an attraction at the legendary Palomino Club in North Hollywood. “I became the headliner at the Palomino,” he states. “[Owner] Tommy Thomas called me and asked me to come and I said, ‘They’ll stone me,’ 'cause it was very country. But I wound up there for 17 years every Tuesday night.”\u003c/p>\n\u003cp>And so it was that five years ago he began singing at Cody Bryant’s Viva Cantina, a Mexican restaurant in Burbank that’s become the singer’s monthly gig, backed by guitarist Bryant’s house band for the last five years.\u003c/p>\n\u003cp>“So who does he draw?” asks Bryant. “For some people it’s a freak show, [there’s] some intelligentsia, some hipsters. He cuts a funny path across a lot of personality types. But he’s infinitely human, and that’s what translates to everybody.”\u003c/p>\n\u003cp>That includes people like Jan Damiano, who go way back with Walker.\u003c/p>\n\u003cp>“He taught me to do the twist on Sunset Strip at the Interlude,” she says after a recent Walker set at the Cantina. “My husband and I went there and we learned the twist, and we were twisting everywhere, Miami and everywhere, but I learned from him. It’s a long time ago! He loves his audience. And that’s why people come back.”\u003c/p>\n\u003cfigure id=\"attachment_10896853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad.jpg\">\u003cimg class=\"wp-image-10896853 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad-800x477.jpg\" alt=\"An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\" width=\"800\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad-400x239.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\u003c/figcaption>\u003c/figure>\n\u003cp>“I let them know I was there for them,” says Walker of his audience. “A lot of performers don’t project that. They don’t have that thing about letting them know you really are grateful they’re there, and that’s a feeling you have to have to be a good performer.”\u003c/p>\n\u003cp>Tom Kenny, the actor/comedian and voice of SpongeBob SquarePants, has been a Walker follower for years, catching him whenever he can. Like snowflakes and fingerprints, Walker’s sets are never the same.\u003c/p>\n\u003cp>“You really never know what you’re going to get with Troy,” offers Kenny. “A lot of it seems to depend on what mood he’s in and what he’s going through and what songs are resonating with him on a given night, so the shows are kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between. What’s not to like?”\u003c/p>\n\u003cp>Walker uses no set list, but moves from song to song seemingly on a whim, rarely finishing anything. You might hear a chorus, a couple verses, and then it’s on to something else.\u003c/p>\n\u003cp>“The music follows him,” says Damiano. “He goes where he wants, he segues on a word. He sails. He floats.”\u003c/p>\n\u003cp>“You have to kind of guess,” offers Bryant. “You have to listen, you have to make your ears go out 3 feet on the side of your head to figure out where in the hell he’s going to go. And to make him look good. You want him to look good.”\u003c/p>\n\u003cfigure id=\"attachment_10896846\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896846 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TomKenny-800x567.jpg\" alt='Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\"' width=\"800\" height=\"567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-800x567.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-1180x836.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-960x681.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years, calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\" \u003ccite>(Brad Barket/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And really, that’s the thing. Everybody’s rooting for Troy. He’s lovable. He’s impish. He’s a pussycat who’s had a lot of lives but no grand strategy for success. His 50-year career vision has never extended beyond the last set of the night.\u003c/p>\n\u003cp>“I can’t say that I had a real plan,” Walker admits. “I just came to Hollywood and people asked me what I did and I said, ‘I’m a singer.’”\u003c/p>\n\u003cp>And he does it all for the nice people out there in the dark who have been filling the seats—or most of them—for this unique act that never ends.\u003c/p>\n\u003cp>“They give a meaning to my life,” Walker says of his loyal followers. “They want me, even if nobody else does, and I guess that’s the way I qualify what I do. People have no idea, they lay things out like ego and selfishness, but it’s not that at all. If every night you get 20 or 30 minutes of this [he claps] and standing ovations periodically, and you say, “Wow. I’m worth something.' ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On this Wednesday night in Burbank, for a handful of hipsters, drinkers and gray-haired women he’s turned briefly back into 25-year-olds, he’s worth a lot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's the early '60s. It’s a Saturday night on the pre-hippie Sunset Strip. It’s a swinging scene, men in sharp suits, women in cocktail dresses. Everybody smokes. In a lounge called The Interlude, they’re squeezing in to see Troy Walker.\u003c/p>\n\u003cp>\"I’d never imagined myself even having that much talent,” admits Walker. “I was just a singer and I liked showing off.”\u003c/p>\n\u003cp>That inclination paid off for Walker, who was raised in Arizona. As a young boy, he first realized his divine gift of song during a Christmas worship service in his hometown of Phoenix.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Mommy wanted a girl, Daddy wanted a boy, now they’re both happy. I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.'\u003ccite>Troy Walker\u003c/cite>\u003c/aside>\n\u003cp>“I remember on a Christmas cantata in church, our choir director Mr. Beasley had me sing ‘O Holy Night,’” Walker says. “I had a very high soprano voice. I sang it and I looked at my mother and she was crying and Mr. Beasley stood up and said, ‘God has sent us an angel.'\"\u003c/p>\n\u003cp>He moved to Hollywood in 1958, “just to come out to Hollywood. I understood I could be a little freer, especially in my personal life, so I came out to Hollywood to see if that could happen.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I walked into a bar on Hollywood Boulevard, and the young man behind the piano asked me if I could sing. I’d sing in school, so I said, ‘Yep,’ and he gave me the microphone and I sang a song. I was only 19. And the owner came over and asked me if I could come in every night and sing a couple songs and he’d give me 10 bucks.\"\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/251447759&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/251447759'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“At the time I was downright broke, and I asked if I could get an advance because my rent was due. At that time it was nine bucks a week. He said, ‘Don’t try and con me, kid.’ I told him I’d be back the next night. That’s how it started, and it’s been that way ever since.”\u003c/p>\n\u003cp>Walker was, to put it mildly, a very pretty boy, something that he learned to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right.’ It just worked for me,” he says. “‘Mommy wanted a girl, Daddy wanted a boy, now they’re both happy.’ I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.”\u003c/p>\n\u003cp>Flamboyant young Walker developed a set of current hits and standards recorded by artists he admired like Judy Garland, Johnny Ray and Johnny Mathis. His chops were formidable; his ability to sell a song and give his all to the crowd was immense. He released his first album in 1962. His second -- and last -- record came out two years later, and while neither took off, his reputation as a must-see live act flourished.\u003c/p>\n\u003cfigure id=\"attachment_10896794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896794 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg\" alt=\"Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'" he says.\" width=\"800\" height=\"942\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-400x471.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-1180x1390.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-960x1131.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'\" he says. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was on fire, packing rooms and drawing names like Ricky Nelson, Natalie Wood, Ronald Reagan and Elvis himself. He shared the stage with everyone from Ella Fitzgerald to Pat Collins the Hip Hypnotist. He joked, he trash talked, he worked risque but never mean.\u003c/p>\n\u003cp>He was a dazzling, flamboyant attraction, meaning he was as openly gay as an act could be in those closeted times. But it wasn’t really camp, it was just who he was. And that was something that may have hindered his professional growth.\u003c/p>\n\u003cp>“I often wondered why the big [career] push wasn’t made and I just kind of decided, well, nobody wanted at that time to affiliate themselves with a somewhat effete, somewhat maybe feminine man. It was that age.”\u003c/p>\n\u003cp>Walker survived, playing all manner of nightspots. For years he was an attraction at the legendary Palomino Club in North Hollywood. “I became the headliner at the Palomino,” he states. “[Owner] Tommy Thomas called me and asked me to come and I said, ‘They’ll stone me,’ 'cause it was very country. But I wound up there for 17 years every Tuesday night.”\u003c/p>\n\u003cp>And so it was that five years ago he began singing at Cody Bryant’s Viva Cantina, a Mexican restaurant in Burbank that’s become the singer’s monthly gig, backed by guitarist Bryant’s house band for the last five years.\u003c/p>\n\u003cp>“So who does he draw?” asks Bryant. “For some people it’s a freak show, [there’s] some intelligentsia, some hipsters. He cuts a funny path across a lot of personality types. But he’s infinitely human, and that’s what translates to everybody.”\u003c/p>\n\u003cp>That includes people like Jan Damiano, who go way back with Walker.\u003c/p>\n\u003cp>“He taught me to do the twist on Sunset Strip at the Interlude,” she says after a recent Walker set at the Cantina. “My husband and I went there and we learned the twist, and we were twisting everywhere, Miami and everywhere, but I learned from him. It’s a long time ago! He loves his audience. And that’s why people come back.”\u003c/p>\n\u003cfigure id=\"attachment_10896853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad.jpg\">\u003cimg class=\"wp-image-10896853 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad-800x477.jpg\" alt=\"An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\" width=\"800\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad-400x239.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\u003c/figcaption>\u003c/figure>\n\u003cp>“I let them know I was there for them,” says Walker of his audience. “A lot of performers don’t project that. They don’t have that thing about letting them know you really are grateful they’re there, and that’s a feeling you have to have to be a good performer.”\u003c/p>\n\u003cp>Tom Kenny, the actor/comedian and voice of SpongeBob SquarePants, has been a Walker follower for years, catching him whenever he can. Like snowflakes and fingerprints, Walker’s sets are never the same.\u003c/p>\n\u003cp>“You really never know what you’re going to get with Troy,” offers Kenny. “A lot of it seems to depend on what mood he’s in and what he’s going through and what songs are resonating with him on a given night, so the shows are kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between. What’s not to like?”\u003c/p>\n\u003cp>Walker uses no set list, but moves from song to song seemingly on a whim, rarely finishing anything. You might hear a chorus, a couple verses, and then it’s on to something else.\u003c/p>\n\u003cp>“The music follows him,” says Damiano. “He goes where he wants, he segues on a word. He sails. He floats.”\u003c/p>\n\u003cp>“You have to kind of guess,” offers Bryant. “You have to listen, you have to make your ears go out 3 feet on the side of your head to figure out where in the hell he’s going to go. And to make him look good. You want him to look good.”\u003c/p>\n\u003cfigure id=\"attachment_10896846\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896846 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TomKenny-800x567.jpg\" alt='Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\"' width=\"800\" height=\"567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-800x567.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-1180x836.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-960x681.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years, calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\" \u003ccite>(Brad Barket/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And really, that’s the thing. Everybody’s rooting for Troy. He’s lovable. He’s impish. He’s a pussycat who’s had a lot of lives but no grand strategy for success. His 50-year career vision has never extended beyond the last set of the night.\u003c/p>\n\u003cp>“I can’t say that I had a real plan,” Walker admits. “I just came to Hollywood and people asked me what I did and I said, ‘I’m a singer.’”\u003c/p>\n\u003cp>And he does it all for the nice people out there in the dark who have been filling the seats—or most of them—for this unique act that never ends.\u003c/p>\n\u003cp>“They give a meaning to my life,” Walker says of his loyal followers. “They want me, even if nobody else does, and I guess that’s the way I qualify what I do. People have no idea, they lay things out like ego and selfishness, but it’s not that at all. If every night you get 20 or 30 minutes of this [he claps] and standing ovations periodically, and you say, “Wow. I’m worth something.' ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this Wednesday night in Burbank, for a handful of hipsters, drinkers and gray-haired women he’s turned briefly back into 25-year-olds, he’s worth a lot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "March Music Highlights From Thao, Heron Oblivion and Los Cenzontles",
"title": "March Music Highlights From Thao, Heron Oblivion and Los Cenzontles",
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"content": "\u003cp>\u003cb>Thao & the Get Down Stay Down, 'A Man Alive'\u003c/b>\u003c/p>\n\u003cp>Last time we checked in with \u003ca href=\"http://www.thaoandthegetdownstaydown.com\" target=\"_blank\">Thao Nguyen\u003c/a>, she’d been evoking Pete Seeger and Joan Baez, strumming a banjo outside a women’s prison and singing her “We the Common” as a protest through a battery-powered megaphone.\u003c/p>\n\u003cp>With her new album, she sounds like she’s been spending some time on the dance floor. Rhythm is the most immediately notable currency of “A Man Alive,\" maybe more Prince than Pete. Or Tune-Yards. And that latter is no coincidence. The album was produced by Merrill Garbus — \u003ca href=\"http://tune-yards.com\" target=\"_blank\">Tune-Yards\u003c/a> herself. And right from the opening global-minded drumbeats of \"Astonished Man,\" there’s the spirited hey-kids-let's-put-on-a-show sparkle that’s been core to Tune-Yards shows.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37yrktde6m0\u003c/p>\n\u003cp>Not that Nguyen and her band didn’t already have that spirit. The “We the Common” album three years ago saw them shifting across a variety of instrumental combinations and sounds. With Garbus on board, they sound like kids let loose in a roomful of instruments and devices, but with two guiding mottos: Anything is possible, but less is more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arty, percussive “The Evening” is joyful, spare funk — that Prince thing, though with some Talking Heads bounce, perhaps — leaning to the pop side of the pop art formulae at work. The next song, though, “Departure,” goes heavier on the art, with weird electronics and effects, and what sounds like Garbus’ distinctive voice in the background. That duality continues its shifting balance through the album, to great effect.\u003c/p>\n\u003cp>She’s still got a lot to say, still wants to put herself on the front lines. “I’ve got my guts, I don’t need my blood,” she sings on the new song, “Guts,” sounding tested but determined. The most arresting words come on “Nobody Dies,” as she gets inside an all-too-familiar test we all face: “We act like nobody dies,” she sings, anguishing over “what to say” when, presumably, inevitably, that proves untrue. And at the end, a distorted guitar takes over for the questioning voices as words fail to manifest. And you can dance to it.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.subpop.com/artists/heron_oblivion\" target=\"_blank\">Heron Oblivion\u003c/a>, 'Heron Oblivion'\u003c/b>\u003c/p>\n\u003cp>The Heron? \u003ca href=\"http://www.dragcity.com/artists/meg-baird\" target=\"_blank\">Meg Baird\u003c/a>’s earthy yet elegant voice, taking flight almost effortlessly.\u003c/p>\n\u003cp>Oblivion? Sonic blasts from fuzzed-out guitars and bass from Noel V. Harmonson, Ethan Miller and Charlie Saufley.\u003c/p>\n\u003cp>Together they soar and sear, sometimes in turn, sometimes at once, freaky psychedelic folk mixing with freak-out psychedelic rock, like long-ringing echoes from the stage of the Fillmore circa ’68.\u003c/p>\n\u003cfigure id=\"attachment_10892721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10892721\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/HeronOblivion-800x514.jpg\" alt=\"Heron Oblivion\" width=\"800\" height=\"514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-800x514.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-1180x758.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion \u003ccite>(Courtesy Alissa Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of that will be a surprise to anyone familiar with Baird’s solo work or tenure in folky band Espers and/or with the ear-rattling sounds of Bay Area band Comets on Fire, former home to Harmonson and Miller. Nor will it disappoint one bit. It really won’t disappoint if you miss those days of the Fillmore. Or if you rue having missed those days entirely.\u003c/p>\n\u003cp>The guitarists favor the tremulous tones that were the signatures of Jorma Kaukonen in the Jefferson Airplane and John Cipollina in Quicksilver Messenger Service.\u003c/p>\n\u003cp>And if opener “Beneath Fields” is more shoegaze-y than the Airplane or Quicksilver ever got (Baird’s introspective words as much as the music), the chords that blast open the next song, “Oriar,” erase that impression, alternating with lyrical folk-rock choruses, gorgeous and mystical, framed by the instrumental power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bNgij4jBNJI\u003c/p>\n\u003cp>Yet there is strong appeal well beyond nostalgia, most attractively in the straighter, catchy folk-rock of “Sudden Lament,” as close to a pop song structure as this gets. And several longer songs — one runs more than 10 minutes, two others more than seven — are marked by strong blends of mystique-filled power and grace.\u003c/p>\n\u003cp>Closer “Your Hollows” adds organ for a richer swirl of sounds, nicely expressing questions posed by Baird as she contemplates what’s going on in the head of a (her?) young child: “The shadows left your mind — shadows will forgive all in time.” And this is the sound of those shadows.\u003c/p>\n\u003cp>\u003cb>Los Cenzontles, 'Covers'\u003c/b>\u003c/p>\n\u003cp>In its 25 years, the musical arm of the East Bay’s \u003ca href=\"http://www.loscenzontles.com\" target=\"_blank\">Los Cenzontles Cultural Arts Academy\u003c/a> has covered pretty much all the bases of Latin folk and roots music. Now it’s covering, uh, covers.\u003c/p>\n\u003cp>Looking to some different roots, founder Eugene Rodriguez and his crew of young talent are taking on songs by nine of their favorite rock and pop artists spanning the ’60s through the ’00s, to be posted on the band’s \u003ca href=\"https://www.youtube.com/user/loscenzontles\" target=\"_blank\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/Cenzontles/\" target=\"_blank\">Facebook\u003c/a> pages over the course of the next several weeks starting next Friday.\u003c/p>\n\u003cfigure id=\"attachment_10892723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10892723\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/LosCenzontles-800x800.jpg\" alt=\"Los Cenzontles\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-1180x1181.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-960x961.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Cenzontles \u003ccite>(Courtesy Los Cenzontles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Los Cenzontles means “the mockingbirds,” there are no mere copies of the originals. One of the two that will be released in the inaugural posting is “I Think of You,” a relative obscurity by Sixto Rodriguez — the subject of the 2012 Oscar-winning documentary “Searching for Sugar Man” — given a mariachi treatment, horns and all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a great introduction to the series, which includes similar Latinized interpretations of Bob Dylan (“Just Like a Woman”), ELO (“Can’t Get It Out of My Head”), Jimi Hendrix (“Little Wing”), Randy Newman (“Memo to My Son”), the Pogues (“A Pair of Brown Eyes”) David Bowie (“Young Americans,” pointedly), the Killers (“When You Were Young”) and, spoiler alert, the final cover, a Latin-pop version of “Every Kind of People.” Of the latter, Rodriguez says, “We need that message today.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Thao & the Get Down Stay Down, 'A Man Alive'\u003c/b>\u003c/p>\n\u003cp>Last time we checked in with \u003ca href=\"http://www.thaoandthegetdownstaydown.com\" target=\"_blank\">Thao Nguyen\u003c/a>, she’d been evoking Pete Seeger and Joan Baez, strumming a banjo outside a women’s prison and singing her “We the Common” as a protest through a battery-powered megaphone.\u003c/p>\n\u003cp>With her new album, she sounds like she’s been spending some time on the dance floor. Rhythm is the most immediately notable currency of “A Man Alive,\" maybe more Prince than Pete. Or Tune-Yards. And that latter is no coincidence. The album was produced by Merrill Garbus — \u003ca href=\"http://tune-yards.com\" target=\"_blank\">Tune-Yards\u003c/a> herself. And right from the opening global-minded drumbeats of \"Astonished Man,\" there’s the spirited hey-kids-let's-put-on-a-show sparkle that’s been core to Tune-Yards shows.\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/37yrktde6m0'\n title='//www.youtube.com/embed/37yrktde6m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not that Nguyen and her band didn’t already have that spirit. The “We the Common” album three years ago saw them shifting across a variety of instrumental combinations and sounds. With Garbus on board, they sound like kids let loose in a roomful of instruments and devices, but with two guiding mottos: Anything is possible, but less is more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arty, percussive “The Evening” is joyful, spare funk — that Prince thing, though with some Talking Heads bounce, perhaps — leaning to the pop side of the pop art formulae at work. The next song, though, “Departure,” goes heavier on the art, with weird electronics and effects, and what sounds like Garbus’ distinctive voice in the background. That duality continues its shifting balance through the album, to great effect.\u003c/p>\n\u003cp>She’s still got a lot to say, still wants to put herself on the front lines. “I’ve got my guts, I don’t need my blood,” she sings on the new song, “Guts,” sounding tested but determined. The most arresting words come on “Nobody Dies,” as she gets inside an all-too-familiar test we all face: “We act like nobody dies,” she sings, anguishing over “what to say” when, presumably, inevitably, that proves untrue. And at the end, a distorted guitar takes over for the questioning voices as words fail to manifest. And you can dance to it.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.subpop.com/artists/heron_oblivion\" target=\"_blank\">Heron Oblivion\u003c/a>, 'Heron Oblivion'\u003c/b>\u003c/p>\n\u003cp>The Heron? \u003ca href=\"http://www.dragcity.com/artists/meg-baird\" target=\"_blank\">Meg Baird\u003c/a>’s earthy yet elegant voice, taking flight almost effortlessly.\u003c/p>\n\u003cp>Oblivion? Sonic blasts from fuzzed-out guitars and bass from Noel V. Harmonson, Ethan Miller and Charlie Saufley.\u003c/p>\n\u003cp>Together they soar and sear, sometimes in turn, sometimes at once, freaky psychedelic folk mixing with freak-out psychedelic rock, like long-ringing echoes from the stage of the Fillmore circa ’68.\u003c/p>\n\u003cfigure id=\"attachment_10892721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10892721\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/HeronOblivion-800x514.jpg\" alt=\"Heron Oblivion\" width=\"800\" height=\"514\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-800x514.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-1180x758.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/HeronOblivion-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heron Oblivion \u003ccite>(Courtesy Alissa Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>None of that will be a surprise to anyone familiar with Baird’s solo work or tenure in folky band Espers and/or with the ear-rattling sounds of Bay Area band Comets on Fire, former home to Harmonson and Miller. Nor will it disappoint one bit. It really won’t disappoint if you miss those days of the Fillmore. Or if you rue having missed those days entirely.\u003c/p>\n\u003cp>The guitarists favor the tremulous tones that were the signatures of Jorma Kaukonen in the Jefferson Airplane and John Cipollina in Quicksilver Messenger Service.\u003c/p>\n\u003cp>And if opener “Beneath Fields” is more shoegaze-y than the Airplane or Quicksilver ever got (Baird’s introspective words as much as the music), the chords that blast open the next song, “Oriar,” erase that impression, alternating with lyrical folk-rock choruses, gorgeous and mystical, framed by the instrumental power.\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/bNgij4jBNJI'\n title='//www.youtube.com/embed/bNgij4jBNJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet there is strong appeal well beyond nostalgia, most attractively in the straighter, catchy folk-rock of “Sudden Lament,” as close to a pop song structure as this gets. And several longer songs — one runs more than 10 minutes, two others more than seven — are marked by strong blends of mystique-filled power and grace.\u003c/p>\n\u003cp>Closer “Your Hollows” adds organ for a richer swirl of sounds, nicely expressing questions posed by Baird as she contemplates what’s going on in the head of a (her?) young child: “The shadows left your mind — shadows will forgive all in time.” And this is the sound of those shadows.\u003c/p>\n\u003cp>\u003cb>Los Cenzontles, 'Covers'\u003c/b>\u003c/p>\n\u003cp>In its 25 years, the musical arm of the East Bay’s \u003ca href=\"http://www.loscenzontles.com\" target=\"_blank\">Los Cenzontles Cultural Arts Academy\u003c/a> has covered pretty much all the bases of Latin folk and roots music. Now it’s covering, uh, covers.\u003c/p>\n\u003cp>Looking to some different roots, founder Eugene Rodriguez and his crew of young talent are taking on songs by nine of their favorite rock and pop artists spanning the ’60s through the ’00s, to be posted on the band’s \u003ca href=\"https://www.youtube.com/user/loscenzontles\" target=\"_blank\">YouTube\u003c/a> and \u003ca href=\"https://www.facebook.com/Cenzontles/\" target=\"_blank\">Facebook\u003c/a> pages over the course of the next several weeks starting next Friday.\u003c/p>\n\u003cfigure id=\"attachment_10892723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10892723\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/LosCenzontles-800x800.jpg\" alt=\"Los Cenzontles\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-1180x1181.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-960x961.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/LosCenzontles-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Cenzontles \u003ccite>(Courtesy Los Cenzontles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Los Cenzontles means “the mockingbirds,” there are no mere copies of the originals. One of the two that will be released in the inaugural posting is “I Think of You,” a relative obscurity by Sixto Rodriguez — the subject of the 2012 Oscar-winning documentary “Searching for Sugar Man” — given a mariachi treatment, horns and all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s a great introduction to the series, which includes similar Latinized interpretations of Bob Dylan (“Just Like a Woman”), ELO (“Can’t Get It Out of My Head”), Jimi Hendrix (“Little Wing”), Randy Newman (“Memo to My Son”), the Pogues (“A Pair of Brown Eyes”) David Bowie (“Young Americans,” pointedly), the Killers (“When You Were Young”) and, spoiler alert, the final cover, a Latin-pop version of “Every Kind of People.” Of the latter, Rodriguez says, “We need that message today.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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