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"content": "\u003cp>There were a lot of bros in sports jerseys at Davies Symphony Hall in San Francisco on Wednesday, carrying bottles of beer by the neck. A few passed a pint of Jack Daniels around as the chimes rang in the lobby, beckoning spectators to their seats.\u003c/p>\n\u003cp>Standing next to a window overlooking City Hall, seventh-graders Greg Kalman and Luke McMahan played an Xbox video game.\u003c/p>\n\u003cp>“Get ’em, get ’em, get ’em,” Greg said to the screen. “Oh, sack!”\u003c/p>\n\u003cp>The symphony set up the NFL Madden game in the lobby for its tribute to \"Super Bowl 50: Concert of Champions.\" Greg couldn’t believe it when his mom told him the symphony was going to play a night of football music, set to clips from football films.\u003c/p>\n\u003cp>“I was flabbergasted, I guess. I was like, are you joking?” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/245677077\" 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 symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>[contextly_sidebar id=\"MqY5oOmhyQ24MsNSEP7MpNme7teFhZZX\"]\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then he thought it through.\u003c/p>\n\u003cp>“There is a certain rhythm to sports. Like how in tennis you have this very loud pop of sound when the ball hits the racket. And in football you have the whistles, the tackles, the yelling,” he said. “So then I realized this could be either a train wreck or it could be really good, but I have a feeling it’s going to be really nice and really coordinated, like a beautiful play.”\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/245677077&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/245677077'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The symphony set up a giant movie screen looming over the orchestra for the show, rolling football highlight reels from the 1960s to today. The original soundtrack was removed, so the symphony could play it live. Reinforcements for the brass and percussion sections were called in (there were 8 French horns on stage) to produce the emotional swells and dramatic climaxes of NFL music.\u003c/p>\n\u003cp>In one film clip, set to composer Sam Spence’s \"Sabers and Six Guns,\" the quarterback throws a long pass. The violins get louder as the ball flies, in slow motion, toward the end zone. One player tries to catch it, but misses. The cymbals crash. Then another guy reaches up -- the orchestra swells -- and completes the pass. The trumpets hit their peak and the audience cheers. Touchdown.\u003c/p>\n\u003caside class=\"pullquote alignright\">'This music has spit and blood and sweat and guts and laughing...At its base, it’s supposed to be fun, and not stiff or awkward.'\u003ccite>Composer Tom Hedden\u003c/cite>\u003c/aside>\n\u003cp>“Football is just power. Times 10,” says Tom Hedden, a composer who wrote music for NFL films and TV specials for 19 years. “These are the biggest and the fastest and the strongest human beings there are. So the music needs to carry that kind of power with it.”\u003c/p>\n\u003cp>He recalls one rehearsal from his career, when the studio orchestra wasn’t producing the volume or energy he wanted. He told the musicians a story of when he was walking through the office hallways and bumped into Christian Okoye, a running back for the Kansas City Chiefs at the time. He was dressed in full pads for a film shoot.\u003c/p>\n\u003cp>“My nose met him at his solar plexus. He totally dwarfs me,” Hedden says. “I basically was giving the point to the musicians that there is no such thing as too loud or too high or too strong because we're talking about the extremes of human performance.”\u003c/p>\n\u003cfigure id=\"attachment_10855946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg\" alt='For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. ' width=\"800\" height=\"643\" class=\"size-medium wp-image-10855946\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-400x321.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-768x617.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1440x1157.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-1180x948.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FootballSymphony2-960x771.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For \"Super Bowl 50: Concert of Champions,\" the San Francisco Symphony played a night of football music, set to clips from football films. \u003ccite>(Photo: Amelia Kusar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hedden loves that some of his work is now being performed on stage by a world-renowned symphony. But he hopes people will also keep it in perspective.\u003c/p>\n\u003cp>“This music has spit and blood and sweat and guts and laughing. It’s about a game,” he says. “At its base, it’s supposed to be fun, and not stiff or awkward.”\u003c/p>\n\u003cp>That’s exactly the idea, says Richard Lonsdorf, the symphony’s associate director of artistic planning. At the \"Concert of Champions,\" people cheered readily when their favorite players graced the screen, and booed at rivals. Waves of laughter floated over the audience during the section of football follies, set to music by Spence, Hedden and David Robidoux, as players accidentally ran into cheerleaders, dove into tables of Gatorade, and straddled the goal post.\u003c/p>\n\u003cp>For the sake of the future, Lonsdorf says, the symphony want to move beyond the “sit down and shut up” model of classical music, without abandoning its core mission.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This is the age-old question of classical music -- it’s been going out of style for centuries. There’s this sense that the audiences are growing older. They're dying off. They aren’t being replaced by new ones.”\u003c/p>\n\u003cp>So, a couple of years ago, the symphony started a film series. They show movies like \"Psycho\" and \"Star Trek,\" while the orchestra plays the musical score live. Later this month, they’ll show \"Vertigo,\" and after that, \"E.T.\" Lonsdorf says the series has attracted a younger, more diverse audience.\u003c/p>\n\u003cp>“You create this ability for people to feel more comfortable with things, and we hope that it will start to bleed over into our standard offerings,” he says. “It’s a real leap to imagine that someone coming for the first time to the symphony’s 'Concert of Champions' is suddenly going to sign up for our next Mahler cycle. Not that they shouldn't. But you have to create interstitial steps between this kind of project and our most venerable classical properties. And so that's something we're constantly working on and refining.”\u003c/p>\n\u003cp>For Luke McMahan and Greg Kalman, football night was a success.\u003c/p>\n\u003cp>“I loved how the music correlated completely with the plays. When the guy was ramming through people and running for the touchdown,” Luke said.\u003c/p>\n\u003cp>“I got more of a respect for the sport,” Greg added. “These players really do work hard. It’s really great to witness.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the symphony hopes new audiences will leave the football program with a greater appreciation for music, Luke and Greg walked out with a greater appreciation for football.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New S.F. Chinatown Restaurants Bring Big Changes, Revive Traditions",
"title": "New S.F. Chinatown Restaurants Bring Big Changes, Revive Traditions",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Like any good chef, 36-year-old Brandon Jew is really picky about where he gets his ingredients. So, when \u003ca href=\"http://www.heathceramics.com/\">Heath Ceramics\u003c/a> invited him to do a cooking demonstration two days after Thanksgiving, he got his food from a local source: his mother's refrigerator.\u003c/p>\n\u003cp>\"I had to tell my mom I was doing \u003ca href=\"http://www.tastingtable.com/cook/recipes/how-to-make-jook-congee-recipe-thanksgiving-leftover-jook-recipe-brandon-jew-mister-jius-sf\">this recipe\u003c/a>, so she couldn't do it,\" Jew laughed. \"But I was like, 'Yeah, I'm taking all the turkey bones and the ham hocks.' \"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/240903788\" 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>Jew used the leftovers to make jook, a savory rice porridge that many Chinese familes eat for breakfast -- or anytime they crave comfort food. Jew garnished the dish with simple ingredients -- pork, ginger, scallions, cabbage -- and the turkey stock gave it an American twist. It's the kind of cooking Jew wants to do at \u003ca href=\"http://www.misterjius.com/\">Mister Jiu's,\u003c/a> the two-story restaurant he's opening next year in Chinatown.\u003c/p>\n\u003cp>\"You know I really want to concentrate on the classics, and do my versions of them,\" Jew said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jew is fresh-faced and easygoing, but don't let that fool you. He's earned his stripes in several of San Francisco's top restaurants, most recently \u003ca href=\"http://www.baragricole.com/\">Bar Agricole\u003c/a>, where he was head chef. And he's about to face an even brighter spotlight. He's opening his own restaurant at the Grant Avenue site of the now-shuttered\u003ca href=\"http://www.yelp.com/biz_photos/four-seas-restaurant-san-francisco?select=ty6ltj_2v68B6UShjIQ1Ug\"> Four Seas\u003c/a>. People have dined and held banquets at that spot since the late 19th century.\u003c/p>\n\u003cp>\"He's going to bring a whole new generation back to Chinatown. He's going to bring some life,\" said Betty Louie.\u003c/p>\n\u003cp>Louie is the building's landlord, and she is well-known in Chinatown for her efforts to revitalize the neighborhood with new attractions. For example, she recently placed life-size replicas of China's famous terracotta warriors on one of her other Grant Avenue properties. Now she's turning to the food scene.\u003c/p>\n\u003cp>\"Food is important anywhere you go, but more so for Chinatown at this point in time,\" Louie said. \"There are no really first-class restaurants here. We are the largest Chinatown in America, the most well-known. Why shouldn't we have a good restaurant?\"\u003c/p>\n\u003cp>Make no mistake: Chinatown is still a major food destination. Even \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/02/16/president-obama-surprises-sf-chinatown-restaurant-patrons-orders-takeout/\">President Obama \u003c/a>went out of his way once to drop in for dim sum. But as San Francisco real estate prices continue to soar, a lot of people here are nervous about anything that looks like gentrification. Specifically, they worry that if this neighborhood gets trendy with the tech crowd, it could go the way of the Mission District, where gourmet groceries and organic juice bars are rapidly replacing taquerias and bodegas.\u003c/p>\n\u003cp>Mabel Teng directs the\u003ca href=\"http://www.c-c-c.org/\"> Chinese Culture Center, \u003c/a>a nonprofit that works to preserve and promote Chinatown's rich artistic heritage. She says they welcome new restaurants, including Mr. Jiu's and a much larger food enterprise opening next year called \u003ca href=\"http://www.chinalivesf.com/\">China Live\u003c/a>. But it's not clear to her whether they will do much for the residents and businesses that are already here.\u003c/p>\n\u003cp>Teng especially wonders whether their clientele will support all of Chinatown, or merely see it as \"an entertaining ground ... to just pop in for a dinner.\"\u003c/p>\n\u003cp>\"We want them to walk on the street. We want them to buy fresh produce and special artist-made products,\" Teng said. \"We just want them to respect the integrity and the vibrancy of the people who live here.\"\u003c/p>\n\u003cp>Well-known Bay Area chef George Chen says he plans to do just that with the China Live project.\u003c/p>\n\u003cp>\"I think it will open a lot of eyes,\" he explained during a tour of the massive complex under construction on Broadway.\u003c/p>\n\u003cp>Chen says China Live's mission is to demystify Chinese food and culture and make it more accessible. It will include two restaurants, a cafe and an emporium selling organic ingredients and authentic Chinese cookware. At practically every turn, Chen says visitors will learn about where the food comes from and how it's prepared.\u003c/p>\n\u003cp>\"The more you know, the better they'll understand the products and the fear will go away,\" Chen said. \"And I think the larger community will be happy about what we're doing.\"\u003c/p>\n\u003cp>Meantime, Brandon Jew is hoping Mr. Jiu's will bring the ABCs back to Chinatown -- ABC being shorthand for American-born Chinese. He's one, and when he was growing up in the Marina District, he often went to Chinatown to attend weddings and a special birthday celebration called a \"red egg\" party.\u003c/p>\n\u003cp>\"You eat suckling pig and a bunch of eggs that are dyed red,\" Jew said. \"I haven't been to one since I was a kid.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jew says he's restoring his restaurant's upstairs banquet hall to once again make a space for those traditions. He says it's his way of ensuring Chinatown remains the place he has always known and loved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any good chef, 36-year-old Brandon Jew is really picky about where he gets his ingredients. So, when \u003ca href=\"http://www.heathceramics.com/\">Heath Ceramics\u003c/a> invited him to do a cooking demonstration two days after Thanksgiving, he got his food from a local source: his mother's refrigerator.\u003c/p>\n\u003cp>\"I had to tell my mom I was doing \u003ca href=\"http://www.tastingtable.com/cook/recipes/how-to-make-jook-congee-recipe-thanksgiving-leftover-jook-recipe-brandon-jew-mister-jius-sf\">this recipe\u003c/a>, so she couldn't do it,\" Jew laughed. \"But I was like, 'Yeah, I'm taking all the turkey bones and the ham hocks.' \"\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/240903788&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/240903788'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jew used the leftovers to make jook, a savory rice porridge that many Chinese familes eat for breakfast -- or anytime they crave comfort food. Jew garnished the dish with simple ingredients -- pork, ginger, scallions, cabbage -- and the turkey stock gave it an American twist. It's the kind of cooking Jew wants to do at \u003ca href=\"http://www.misterjius.com/\">Mister Jiu's,\u003c/a> the two-story restaurant he's opening next year in Chinatown.\u003c/p>\n\u003cp>\"You know I really want to concentrate on the classics, and do my versions of them,\" Jew said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jew is fresh-faced and easygoing, but don't let that fool you. He's earned his stripes in several of San Francisco's top restaurants, most recently \u003ca href=\"http://www.baragricole.com/\">Bar Agricole\u003c/a>, where he was head chef. And he's about to face an even brighter spotlight. He's opening his own restaurant at the Grant Avenue site of the now-shuttered\u003ca href=\"http://www.yelp.com/biz_photos/four-seas-restaurant-san-francisco?select=ty6ltj_2v68B6UShjIQ1Ug\"> Four Seas\u003c/a>. People have dined and held banquets at that spot since the late 19th century.\u003c/p>\n\u003cp>\"He's going to bring a whole new generation back to Chinatown. He's going to bring some life,\" said Betty Louie.\u003c/p>\n\u003cp>Louie is the building's landlord, and she is well-known in Chinatown for her efforts to revitalize the neighborhood with new attractions. For example, she recently placed life-size replicas of China's famous terracotta warriors on one of her other Grant Avenue properties. Now she's turning to the food scene.\u003c/p>\n\u003cp>\"Food is important anywhere you go, but more so for Chinatown at this point in time,\" Louie said. \"There are no really first-class restaurants here. We are the largest Chinatown in America, the most well-known. Why shouldn't we have a good restaurant?\"\u003c/p>\n\u003cp>Make no mistake: Chinatown is still a major food destination. Even \u003ca href=\"http://sanfrancisco.cbslocal.com/2012/02/16/president-obama-surprises-sf-chinatown-restaurant-patrons-orders-takeout/\">President Obama \u003c/a>went out of his way once to drop in for dim sum. But as San Francisco real estate prices continue to soar, a lot of people here are nervous about anything that looks like gentrification. Specifically, they worry that if this neighborhood gets trendy with the tech crowd, it could go the way of the Mission District, where gourmet groceries and organic juice bars are rapidly replacing taquerias and bodegas.\u003c/p>\n\u003cp>Mabel Teng directs the\u003ca href=\"http://www.c-c-c.org/\"> Chinese Culture Center, \u003c/a>a nonprofit that works to preserve and promote Chinatown's rich artistic heritage. She says they welcome new restaurants, including Mr. Jiu's and a much larger food enterprise opening next year called \u003ca href=\"http://www.chinalivesf.com/\">China Live\u003c/a>. But it's not clear to her whether they will do much for the residents and businesses that are already here.\u003c/p>\n\u003cp>Teng especially wonders whether their clientele will support all of Chinatown, or merely see it as \"an entertaining ground ... to just pop in for a dinner.\"\u003c/p>\n\u003cp>\"We want them to walk on the street. We want them to buy fresh produce and special artist-made products,\" Teng said. \"We just want them to respect the integrity and the vibrancy of the people who live here.\"\u003c/p>\n\u003cp>Well-known Bay Area chef George Chen says he plans to do just that with the China Live project.\u003c/p>\n\u003cp>\"I think it will open a lot of eyes,\" he explained during a tour of the massive complex under construction on Broadway.\u003c/p>\n\u003cp>Chen says China Live's mission is to demystify Chinese food and culture and make it more accessible. It will include two restaurants, a cafe and an emporium selling organic ingredients and authentic Chinese cookware. At practically every turn, Chen says visitors will learn about where the food comes from and how it's prepared.\u003c/p>\n\u003cp>\"The more you know, the better they'll understand the products and the fear will go away,\" Chen said. \"And I think the larger community will be happy about what we're doing.\"\u003c/p>\n\u003cp>Meantime, Brandon Jew is hoping Mr. Jiu's will bring the ABCs back to Chinatown -- ABC being shorthand for American-born Chinese. He's one, and when he was growing up in the Marina District, he often went to Chinatown to attend weddings and a special birthday celebration called a \"red egg\" party.\u003c/p>\n\u003cp>\"You eat suckling pig and a bunch of eggs that are dyed red,\" Jew said. \"I haven't been to one since I was a kid.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jew says he's restoring his restaurant's upstairs banquet hall to once again make a space for those traditions. He says it's his way of ensuring Chinatown remains the place he has always known and loved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Stanford Super Bowl: Wooden Bleachers, a Jetpack and Show Biz, 1985-Style",
"title": "The Stanford Super Bowl: Wooden Bleachers, a Jetpack and Show Biz, 1985-Style",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, \u003ca href=\"http://articles.chicagotribune.com/1985-01-12/news/8501030171_1_inaugural-white-house-swearing-in\" target=\"_blank\">privately\u003c/a>, for his second term, little LeBron James was 3 weeks old and the San Francisco 49ers beat the Miami Dolphins 38-16 behind quarterback Joe Montana, named the game's MVP.\u003c/p>\n\u003cp>Compared with halftime spectacles in recent history, the 1985 show for SB XIX looks old-fashioned and a little corny. It featured a U.S. Air Force entertainment group called \u003ca href=\"http://www.airforcetimes.com/story/military/2015/12/21/air-force-cancels-tops-in-blues-2016-tour-pending-review/77707654/\" target=\"_blank\">Tops in Blue\u003c/a> presenting a show titled \"The World of Children's Dreams.\"\u003c/p>\n\u003cp>The extravaganza included pirates, circus clowns, a tribute to the space program and adorable kids waving to the crowd. The highlight was a guy with a jetpack who soared dozens of feet above the field for maybe 20 seconds before settling back to earth.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=7UALeefCCrw&w=600&h=400]\u003c/p>\n\u003cp>That's a long way from more recent halftime extravaganzas -- including Super Bowl 50's planned performances by Coldplay, Rihanna and Beyoncé.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"This year is a battleship amongst rowboats compared to the past Super Bowls,\" said Steve Steinhart, a sales and marketing consultant who helped coordinate college bowl games at Levi's Stadium and AT&T Park. \"We thought they were big classy productions in our day. This is a world event now.\"\u003c/p>\n\u003cp>It's been more than three decades since the one and only time the Bay Area hosted the Super Bowl. So here's a look back at a Super Bowl that might have been a little more about the game and less about TV ads and glitz; a game that took place long before we started talking about \u003ca href=\"https://www.youtube.com/watch?v=ST86JM1RPl0\" target=\"_blank\">football's often tragic toll\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-10852638 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/3.png\" alt=\"3\" width=\"2048\" height=\"1347\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/3.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-400x263.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-800x526.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-768x505.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1440x947.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1920x1263.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1180x776.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-960x631.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>An announced crowd of 84,049 was in attendance at Stanford Stadium in 1985, with the average ticket price at $60. The average secondary market price for a ticket today? \u003ca href=\"http://money.cnn.com/2016/02/03/news/super-bowl-tickets-price/\" target=\"_blank\">Close to $5,000\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-10852641 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/6.png\" alt=\"6\" width=\"2048\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/6.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-400x256.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-800x513.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-768x492.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1440x923.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1920x1230.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1180x756.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-960x615.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>Long before Apple came out with the iMac, iPod and iPhone, the company sponsored 84,000 seat cushions -- the only \"luxury\" touch at a stadium that didn't have seats with backs, let alone private skyboxes or seats with drink holders.\u003c/p>\n\u003cp>\"We didn't know a whole lot different at the time,\" said Mark Soltau, a longtime Bay Area sports reporter who covered all five of the Niners' championship teams. \"So many Bay Area people were so excited just to have the game in our backyard that I don't think people dwelled too much on the inconveniences.\"\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-10852639 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/4-e1454456701929.png\" alt=\"4\" width=\"2037\" height=\"1141\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929.png 2037w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1920x1075.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-960x538.png 960w\" sizes=\"(max-width: 2037px) 100vw, 2037px\">\u003c/p>\n\u003cp>If spectators at the game missed Eric Wright's interception at the 1-yard line in the third quarter, there was no state-of-the-art stadium screen to watch replays on. Instead, Steinhart recalls, there was an enormous Jumbotron placed at an odd angle at the entrance of the stadium. That's where spectators could watch one of Apple's legendary Super Bowl TV ads.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=pw76XpN8WcA?list=PLD4CC33000072B611]\u003c/p>\n\u003cp>\"It was an \u003ca href=\"http://www.wired.com/2014/01/tech-time-warp-lemmings/\" target=\"_blank\">epic moment\u003c/a> in advertising,\" said Steinhart.\u003c/p>\n\u003cp>Super Bowl advertising is a much bigger and more lucrative deal than it was \u003ca href=\"http://blogs.library.duke.edu/rubenstein/2015/01/30/super-bowl-xix-million-dollar-minute/\" target=\"_blank\">in 1985\u003c/a>, and everyone wants in if they can afford it. NBC had an average audience of 114.4 million viewers last year, making Super Bowl XLIX the most watched broadcast in U.S. TV history. Thirty seconds of airtime \u003ca href=\"http://fortune.com/2015/08/06/super-bowl-ad-cost/\" target=\"_blank\">costs $5 million\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-10852637 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/2.png\" alt=\"2\" width=\"2048\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/2.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-400x256.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-800x513.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-768x492.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1440x923.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1920x1230.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1180x756.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-960x615.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>Whether you're staying home for the Super Bowl or plan to brave the storm that will be the Levi's Stadium parking lot, one thing is for sure: Three decades ago, this event was a lot less flashy in comparison to the spectacle we'll see Sunday. But for those sitting on the wooden benches at Stanford Stadium on Jan. 20, 1985, Super Bowl XIX was as spectacular as it could possibly be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/245291922\" 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\n",
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"excerpt": "The Bay Area experienced a more modest big-game spectacle for Super Bowl XIX, and Apple distributed more than 80,000 seat cushions to help ward off splinters.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, \u003ca href=\"http://articles.chicagotribune.com/1985-01-12/news/8501030171_1_inaugural-white-house-swearing-in\" target=\"_blank\">privately\u003c/a>, for his second term, little LeBron James was 3 weeks old and the San Francisco 49ers beat the Miami Dolphins 38-16 behind quarterback Joe Montana, named the game's MVP.\u003c/p>\n\u003cp>Compared with halftime spectacles in recent history, the 1985 show for SB XIX looks old-fashioned and a little corny. It featured a U.S. Air Force entertainment group called \u003ca href=\"http://www.airforcetimes.com/story/military/2015/12/21/air-force-cancels-tops-in-blues-2016-tour-pending-review/77707654/\" target=\"_blank\">Tops in Blue\u003c/a> presenting a show titled \"The World of Children's Dreams.\"\u003c/p>\n\u003cp>The extravaganza included pirates, circus clowns, a tribute to the space program and adorable kids waving to the crowd. The highlight was a guy with a jetpack who soared dozens of feet above the field for maybe 20 seconds before settling back to earth.\u003c/p>\n\u003cp>\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/7UALeefCCrw'\n title='//www.youtube.com/embed/7UALeefCCrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That's a long way from more recent halftime extravaganzas -- including Super Bowl 50's planned performances by Coldplay, Rihanna and Beyoncé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"This year is a battleship amongst rowboats compared to the past Super Bowls,\" said Steve Steinhart, a sales and marketing consultant who helped coordinate college bowl games at Levi's Stadium and AT&T Park. \"We thought they were big classy productions in our day. This is a world event now.\"\u003c/p>\n\u003cp>It's been more than three decades since the one and only time the Bay Area hosted the Super Bowl. So here's a look back at a Super Bowl that might have been a little more about the game and less about TV ads and glitz; a game that took place long before we started talking about \u003ca href=\"https://www.youtube.com/watch?v=ST86JM1RPl0\" target=\"_blank\">football's often tragic toll\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-10852638 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/3.png\" alt=\"3\" width=\"2048\" height=\"1347\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/3.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-400x263.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-800x526.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-768x505.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1440x947.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1920x1263.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-1180x776.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/3-960x631.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>An announced crowd of 84,049 was in attendance at Stanford Stadium in 1985, with the average ticket price at $60. The average secondary market price for a ticket today? \u003ca href=\"http://money.cnn.com/2016/02/03/news/super-bowl-tickets-price/\" target=\"_blank\">Close to $5,000\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-10852641 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/6.png\" alt=\"6\" width=\"2048\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/6.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-400x256.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-800x513.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-768x492.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1440x923.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1920x1230.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-1180x756.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/6-960x615.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>Long before Apple came out with the iMac, iPod and iPhone, the company sponsored 84,000 seat cushions -- the only \"luxury\" touch at a stadium that didn't have seats with backs, let alone private skyboxes or seats with drink holders.\u003c/p>\n\u003cp>\"We didn't know a whole lot different at the time,\" said Mark Soltau, a longtime Bay Area sports reporter who covered all five of the Niners' championship teams. \"So many Bay Area people were so excited just to have the game in our backyard that I don't think people dwelled too much on the inconveniences.\"\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-10852639 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/4-e1454456701929.png\" alt=\"4\" width=\"2037\" height=\"1141\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929.png 2037w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1920x1075.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/4-e1454456701929-960x538.png 960w\" sizes=\"(max-width: 2037px) 100vw, 2037px\">\u003c/p>\n\u003cp>If spectators at the game missed Eric Wright's interception at the 1-yard line in the third quarter, there was no state-of-the-art stadium screen to watch replays on. Instead, Steinhart recalls, there was an enormous Jumbotron placed at an odd angle at the entrance of the stadium. That's where spectators could watch one of Apple's legendary Super Bowl TV ads.\u003c/p>\n\u003cp>\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/pw76XpN8WcA?list=PLD4CC33000072B611'\n title='//www.youtube.com/embed/pw76XpN8WcA?list=PLD4CC33000072B611'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"It was an \u003ca href=\"http://www.wired.com/2014/01/tech-time-warp-lemmings/\" target=\"_blank\">epic moment\u003c/a> in advertising,\" said Steinhart.\u003c/p>\n\u003cp>Super Bowl advertising is a much bigger and more lucrative deal than it was \u003ca href=\"http://blogs.library.duke.edu/rubenstein/2015/01/30/super-bowl-xix-million-dollar-minute/\" target=\"_blank\">in 1985\u003c/a>, and everyone wants in if they can afford it. NBC had an average audience of 114.4 million viewers last year, making Super Bowl XLIX the most watched broadcast in U.S. TV history. Thirty seconds of airtime \u003ca href=\"http://fortune.com/2015/08/06/super-bowl-ad-cost/\" target=\"_blank\">costs $5 million\u003c/a>.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-10852637 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/2.png\" alt=\"2\" width=\"2048\" height=\"1312\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/2.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-400x256.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-800x513.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-768x492.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1440x923.png 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1920x1230.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-1180x756.png 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/2-960x615.png 960w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003c/p>\n\u003cp>Whether you're staying home for the Super Bowl or plan to brave the storm that will be the Levi's Stadium parking lot, one thing is for sure: Three decades ago, this event was a lot less flashy in comparison to the spectacle we'll see Sunday. But for those sitting on the wooden benches at Stanford Stadium on Jan. 20, 1985, Super Bowl XIX was as spectacular as it could possibly be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/245291922&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/245291922'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "film-portrays-a-perfect-storm-that-led-to-unwanted-sterilizations-for-many-latinas",
"title": "Film Portrays a 'Perfect Storm' That Led to Unwanted Sterilizations for Many Latinas",
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"headTitle": "Film Portrays a ‘Perfect Storm’ That Led to Unwanted Sterilizations for Many Latinas | KQED",
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"content": "\u003cp>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aseQlmKg25U\u003c/p>\n\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>[contextly_sidebar id=”Akm8so5PCpQmztRAsKC6euza1J5VHAba”]\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aseQlmKg25U'\n title='//www.youtube.com/embed/aseQlmKg25U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
"title": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY_6-YTjMrw\u003c/p>\n\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vu1kBnR01VM\u003c/p>\n\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-mlg-fFJZGA\u003c/p>\n\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdW0g6jAxE\u003c/p>\n\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\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/xY_6-YTjMrw'\n title='//www.youtube.com/embed/xY_6-YTjMrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\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/Vu1kBnR01VM'\n title='//www.youtube.com/embed/Vu1kBnR01VM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\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/-mlg-fFJZGA'\n title='//www.youtube.com/embed/-mlg-fFJZGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\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/KXdW0g6jAxE'\n title='//www.youtube.com/embed/KXdW0g6jAxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your phone with a narration track. Interspersed between segments of dialogue, it describes what’s happening on-screen -- characters, action, costumes -- through your headphones.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/243324744\" 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>Last month, Pixar \u003ca href=\"https://www.flickr.com/photos/guidedogsfortheblind/sets/72157662146678371/\" target=\"_blank\">threw a party\u003c/a> at their Emeryville headquarters to test out the new app, in collaboration with Bay Area non-profits like LightHouse for the Blind, the Blind Babies Foundation and Guide Dogs. Complete with an expansive red carpet, the event was a Gatsby-like dazzle of light and noise, flashing cameras and a whole fleet of seeing-eye dogs. The evening culminated in a screening of \"The Good Dinosaur.\"\u003c/p>\n\u003cp>There are definitely some kinks to be worked out. A large portion of the audience -- sighted and non-sighted alike -- had trouble downloading it onto their phones. But thanks to a few Pixar employees, looking only mildly nervous, everyone soon had it working. Lisamaria Martinez, the director of community services at the LightHouse for the Blind, explained that it offered great improvements over current visual aids.\u003c/p>\n\u003cfigure id=\"attachment_10841766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg\" alt='Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters.' width=\"800\" height=\"503\" class=\"size-medium wp-image-10841766\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-768x482.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters. \u003ccite>(Guide Dogs for the Blind/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Often I'm handed the handset for the hard of hearing,” she said. “Then I have to rely on the fact that they've charged the device...and that they've turned on the audio-description tracks. A lot of times they don't and I have to go look for someone...and I've lost the first 15 minutes of the movie.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Going to movies with her four-year-old is particularly discouraging.\u003c/p>\n\u003cp>\"My kid’s a pretty smart kid, and he asks lots of questions: Mommy, what was that? How do I explain something that needs explaining when I don't even know it happened?\"\u003c/p>\n\u003cp>As the film began and animated talking dinosaurs galloped across the screen, the theater filled with laughter. Many folks who had never fully followed a film before suddenly knew what was happening. Read in an almost comical monotone, the female narration track was concise and dry -- a bit like IKEA instructions. Here's an example: “A bush rustled nearby. Arlo hides. A fully-grown chicken-like dinosaur with red eyes looms over them.\"\u003c/p>\n\u003cp>Yet no one seemed to mind the hollow voice, and when the lights came up, the applause was raucous. Ms. Martinez was excited by how thorough the narration was. \u003c/p>\n\u003cp>\"During the movie,” she explained, “I realized that it had dialogue, [but] not nearly as much as other movies. If that wasn’t there, I’d be so lost. Being able to have accessibility in my own power, it’s empowering to me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For much of the audience, Pixar's new app offers much more than a chance to merely follow along. It offers the possibility of a drastic change -- that a group of people who have long been left out of a full movie experience can finally feel included.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we all love going to the movies, the experience often becomes a huge challenge for the blind and low-vision community when the visual aids provided by theaters are broken (or can't even be found). Fortunately, that may be about to change.\u003c/p>\n\u003cp>Pixar Studios is developing an app that syncs your phone with a narration track. Interspersed between segments of dialogue, it describes what’s happening on-screen -- characters, action, costumes -- through your headphones.\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/243324744&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/243324744'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last month, Pixar \u003ca href=\"https://www.flickr.com/photos/guidedogsfortheblind/sets/72157662146678371/\" target=\"_blank\">threw a party\u003c/a> at their Emeryville headquarters to test out the new app, in collaboration with Bay Area non-profits like LightHouse for the Blind, the Blind Babies Foundation and Guide Dogs. Complete with an expansive red carpet, the event was a Gatsby-like dazzle of light and noise, flashing cameras and a whole fleet of seeing-eye dogs. The evening culminated in a screening of \"The Good Dinosaur.\"\u003c/p>\n\u003cp>There are definitely some kinks to be worked out. A large portion of the audience -- sighted and non-sighted alike -- had trouble downloading it onto their phones. But thanks to a few Pixar employees, looking only mildly nervous, everyone soon had it working. Lisamaria Martinez, the director of community services at the LightHouse for the Blind, explained that it offered great improvements over current visual aids.\u003c/p>\n\u003cfigure id=\"attachment_10841766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg\" alt='Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters.' width=\"800\" height=\"503\" class=\"size-medium wp-image-10841766\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-768x482.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/TheaterAttendeesWalkIn-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees walk into the theater at “The Good Dinosaur\" screening event at Pixar headquarters. \u003ccite>(Guide Dogs for the Blind/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Often I'm handed the handset for the hard of hearing,” she said. “Then I have to rely on the fact that they've charged the device...and that they've turned on the audio-description tracks. A lot of times they don't and I have to go look for someone...and I've lost the first 15 minutes of the movie.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Going to movies with her four-year-old is particularly discouraging.\u003c/p>\n\u003cp>\"My kid’s a pretty smart kid, and he asks lots of questions: Mommy, what was that? How do I explain something that needs explaining when I don't even know it happened?\"\u003c/p>\n\u003cp>As the film began and animated talking dinosaurs galloped across the screen, the theater filled with laughter. Many folks who had never fully followed a film before suddenly knew what was happening. Read in an almost comical monotone, the female narration track was concise and dry -- a bit like IKEA instructions. Here's an example: “A bush rustled nearby. Arlo hides. A fully-grown chicken-like dinosaur with red eyes looms over them.\"\u003c/p>\n\u003cp>Yet no one seemed to mind the hollow voice, and when the lights came up, the applause was raucous. Ms. Martinez was excited by how thorough the narration was. \u003c/p>\n\u003cp>\"During the movie,” she explained, “I realized that it had dialogue, [but] not nearly as much as other movies. If that wasn’t there, I’d be so lost. Being able to have accessibility in my own power, it’s empowering to me.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For much of the audience, Pixar's new app offers much more than a chance to merely follow along. It offers the possibility of a drastic change -- that a group of people who have long been left out of a full movie experience can finally feel included.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rova Saxophone Quartet Ascends With 'Rova Channeling Coltrane'",
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"content": "\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/242187183\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\n\u003cp>https://vimeo.com/78500784\u003c/p>\n\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year the jazz world celebrated the 50th anniversary of John Coltrane’s spiritually charged album, \"A Love Supreme,\" a work embraced then and now as a masterpiece. The saxophonist’s next major release, 1966’s \"Ascension,\" left the jazz world divided, and it’s safe to say its golden anniversary is going to pass without much notice by the jazz establishment.\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/242187183&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/242187183'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A 40-minute piece that explodes from a simple five-note theme referencing the “Acknowledgement” section of \"A Love Supreme,\" \"Ascension\" is an ecstatic free jazz revelation featuring 11 musicians, including Coltrane’s classic quartet and an almost ad hoc collection of horn players. \u003c/p>\n\u003cp>Where \"A Love Supreme\" served as a finely wrought vessel for Coltrane’s spiritual yearning, \"Ascension\" was more like glimpsing the face of God directly, and many of Coltrane’s fans refused to follow him into this daunting realm.\u003c/p>\n\u003cp>Leave it to \u003ca href=\"http://www.rova.org/\" target=\"_blank\">Rova\u003c/a>, the long-running Bay Area saxophone quartet featuring Steve Adams, Bruce Ackley, Jon Raskin and Larry Ochs, to put their own stamp on this marvelously unruly music. Their new release, \"Rova Channeling Coltrane,\" is a three-disc set with a CD, DVD and Blu-ray of the 12-piece Orkestrova \u003ca href=\"http://www.rova.org/projects/electric-ascension.html\" target=\"_blank\">performing \"Electric Ascension\"\u003c/a> at the Guelph Jazz Festival in Ontario in 2012.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-full wp-image-10833884\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/RovaCover.jpg\" alt=\"RovaCover\" width=\"1057\" height=\"1500\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover.jpg 1057w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/RovaCover-960x1362.jpg 960w\" sizes=\"(max-width: 1057px) 100vw, 1057px\">\u003c/p>\n\u003cp>Rova has been wrestling with \"Ascension\" for decades. They released an acoustic version of the work back in 1995 featuring the same instrumentation as Coltrane’s recording. But when they revisited it as part of their 25\u003csup>th\u003c/sup> anniversary season in 2003, they included volatile electric guitarists Nels Cline and Fred Frith, and electronics experts Chris Brown and Ikue Mori. \u003c/p>\n\u003cp>I caught that concert and it was a stunning experience, but the version documented on \"Rova Channeling Coltrane\" is more powerful (the set also includes \"Cleaning the Mirror,\" a thoughtful 44-minute film by Bay Area documentarian John Rogers on the enduring influence of \"Ascension\" and the making of \"Electric Ascension\").\u003c/p>\n\u003cp>Over four decades Rova has recorded a vast array of new music, generating their own material and often commissioning new works. Rova deftly sidesteps whatever pitfalls some jazz artists encounter by dwelling on the music of past masters by treating \"Ascension\" as a point of departure rather than a destination.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Rova, Coltrane’s improvisational framework serves as the fulcrum for a community of musicians. The cast here also includes two Chicago masters: powerhouse drummer Hamid Drake and the polymorphously creative cornetist Rob Mazurek. Arranged by Ochs and Raskin, \"Electric Ascension\" unfolds as a study in contrasts, with bristling density and gleaming transparency.\u003c/p>\n\u003cp>Interpreting a work as abstract and unbounded as this might seem like an invitation to let loose, but Rova’s crew knows all about the power of silence and space. Free improvisation doesn’t mean everybody wailing all the time. It’s about listening as much as playing, and these musicians create a distinct choreography out of the music’s tension and release, phasing in and out of the fray. When the thicket of sound clears, quiet interludes by Cline, Kihlstedt and Scheinman reveal the striking beauty and quietude that lurked within late-career Coltrane.\u003c/p>\n\u003cp>The saxophonist died of cancer in 1967 and his music evolved considerably in the two years after recording \"Ascension.\" At the time he said, “There are always new sounds to imagine: new feelings to get at. ... But to do that at each stage, we have to keep on cleaning the mirror.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rova takes that directive to heart. More than ever, this latest \"Electric Ascension\" distills truths and essences for an entire constellation of artists. While not for every listener, it’s an album that can surprise, amaze and gratify if given the chance.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Preserving Gold Rush-era Heritage Trees With Amigo Bob Cantisano",
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"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q83NqwtdBZk\u003c/p>\n\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>[contextly_sidebar id=\"DGCEY4EzC6GzmxM7Gj8v8wwK5IQ2tSyb\"]\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who doesn’t like a treasure hunt? The search for something mysterious and valuable, with just a few clues for guidance, is pretty irresistible. In California’s Nevada County, an unusual explorer with an unusual name -- Amigo Bob Cantisano -- hunts for remnants of the Gold Rush, just not the kind you might expect.\u003c/p>\n\u003cp>The treasures Cantisano seeks are trees, the fruits and nuts and ornamentals planted at homesteads and stagecoach stops and small orchards in the late 1800s.\u003c/p>\n\u003cp>Despite decades of neglect, many are still highly productive and could prove valuable at a time when California faces drought and the effects of climate change. Cantisano is looking to bring the best-tasting, heartiest ones back to life, back to gardens and farms.\u003c/p>\n\u003caside class=\"pullquote alignright\">Resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/aside>\n\u003cp>He and two partners run a nonprofit organization: the \u003ca href=\"http://felixgillet.org/\">Felix Gillet Institute\u003c/a>. They’re committed to finding, identifying and propagating heirloom fruits and nuts from which they sell to gardeners and small farmers in Northern California and Oregon.\u003c/p>\n\u003cp>At his home about 20 minutes outside the picturesque Gold Country town of Nevada City, in the northeastern part of the state, Cantisano (the “Amigo” was a high school nickname that stuck) shows me around his garden and nursery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almost as an aside, he points to one plant, saying, “We have a lilac named after a friend of ours, Kate Wolf.” When I push, an illuminating story tumbles out: the late singer/songwriter spent summers nearby at an old mining camp and, decades ago, told Cantisano the backstory of her song “\u003ca href=\"https://www.youtube.com/watch?v=q83NqwtdBZk\">The Lilac and The Apple\u003c/a>.”\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/q83NqwtdBZk'\n title='//www.youtube.com/embed/q83NqwtdBZk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Kate wrote the song about walking into an old homestead with the house no longer there, and finding this apple and lilac growing on a hill,” he says.\u003c/p>\n\u003cp>In the song, Wolf imagines the plants reminiscing about the miners and mill workers who planted them, the lilac and the apple the only evidence that people once lived there.\u003c/p>\n\u003cp>“After she passed away, I started wondering about where that was,” he says.\u003c/p>\n\u003cp>After years of searching for the homestead, Cantisano finally got a lead. He walked for hours in forest along the Yuba River when, bingo: the lilac and the apple were still growing, side by side. He took cuttings and he’s been nurturing them in his nursery ever since.\u003c/p>\n\u003cfigure id=\"attachment_10834091\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834091\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg\" alt=\"Amigo Bob harvests persimmons at what was once a stagecoach stop.\" width=\"800\" height=\"508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-768x487.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1440x914.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-1180x749.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1-960x609.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob harvests persimmons at what was once a stagecoach stop. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cantisano straps a ladder on his car, tosses bags in his trunk and takes me on a tour. Instead of pointing out old buildings, he shows me his favorite walnut, the rose and apple that grow in the cemetery, and a 120-year-old pear tree standing tall between a community hall and a gas station.\u003c/p>\n\u003cp>“It is absolutely just the most hearty tree,” he says, looking at the tree like it’s a friend. “It’s thrown huge crops every year in the drought. It doesn’t get diseases, it doesn’t get insects. Nobody prunes it, nobody waters it, nobody fertilizes it, and it is just prolific as heck. I’ve picked over 500 pounds of pears off of it.”\u003c/p>\n\u003cp>Cantisano says these resilient heirloom trees have lessons for growers in California today, where highly tended crops face drought, pests and disease.\u003c/p>\n\u003cp>“If we can figure out how to take those characteristics and meld them into modern agriculture, we’re going to have a more sustainable agriculture,” he says.\u003c/p>\n\u003cp>With a name like Amigo, dreadlocks down to his waist, and a year-round outfit of shorts and tie-dye, Cantisano has had plenty of people write him off over the years.\u003c/p>\n\u003cfigure id=\"attachment_10834089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Sidone-800x744.jpg\" alt=\"The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it," he says. "All these trees are Gillet-era plants."\" width=\"800\" height=\"744\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-800x744.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-400x372.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-768x714.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1440x1339.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-1180x1097.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Sidone-960x893.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The property of Cantisano's friend Sidonie Christian is full of mature trees, and Cantisano sees the impact of Felix Gillet, the Frenchman who ran a nursery in Nevada City in the late 1800s. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m a hippie, OK!” he says with a laugh. More to the point, he’s an influential founding figure in California’s organic agriculture movement. Cantisano co-founded California Certified Organic Farmers -- a leading organic certification organization -- and advises a bunch of the big agriculture corporations on how to adopt organic methods for their operations, to highlight just a couple points on his extensive resume.\u003c/p>\n\u003cp>Cantisano was practically born into this work. His grandmother, Dorothy Moraga, gardened in her Bay Area home.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“She grew fava beans, made compost from the manure from our chickens, squashed the bugs and hoed the weeds,” he says, basically gardening organically before anyone used the term.\u003c/p>\n\u003cp>“I remember crawling around in the dirt, picking cucumbers with her.”\u003c/p>\n\u003cp>His interest piqued, Cantisano provided food for the San Francisco communes he lived in as a teenager by gardening. At the first Earth Day in 1970, he heard about pesticide hazards.\u003c/p>\n\u003cp>“A lightbulb went on, as they say,” and he’s worked in organic agriculture ever since. Eventually he moved to Nevada County, where he ran an organic garden supply store. That’s when he found his first abandoned trees, and started to learn about Felix Gillet, the Frenchman who ran a barbershop and then opened a nursery in Nevada City in the late 1800s.\u003c/p>\n\u003cp>“Gillet had plants from almost 35 countries. He was a plant maniac,” says Cantisano. “If you drink wine, you are indebted to Felix Gillet. He had a catalog of 241 types of grapes.”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.'\u003c/aside>\n\u003cp>That’s just grapes. From historic documents he’s found, Cantisano believes many of the trees still growing in the Sierra originated in Gillet’s nursery. When Cantisano and his partners formed their nonprofit, they named it in his honor.\u003c/p>\n\u003cp>Tom Gradziel, of the UC Davis Department of Plant Sciences, says a lot of California agriculture was built on the expertise of nurserymen like Gillet and his contemporaries.\u003c/p>\n\u003cp>“Now we can just go to the grocery store, and there are only one or two varieties of any given fruit or nut,” he says. “The horticulturist in all of us is lost. Nurserymen like Gillet would be appalled.”\u003c/p>\n\u003cfigure id=\"attachment_10834081\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834081\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg\" alt=\"Amigo harvests chestnuts from a century-old, heritage tree. "We've tested nearly 100 of them and that's the very best one."\" width=\"800\" height=\"1373\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-800x1373.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-400x686.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-768x1318.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1440x2471.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-1180x2024.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/AmigoHarvests-960x1647.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo harvests chestnuts from a century-old, heritage tree. \"We've tested nearly 100 of them and that's the very best one.\" \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lack of diversity in varieties isn’t only dull for our taste buds, he says, it makes crops vulnerable to being wiped out. “The more diverse material we have in both commercial fields and in the backyard, the more resilience there’ll be to better contain disease and pests,” he says. While one variety might perish, another might survive.\u003c/p>\n\u003cp>As a breeder, Gradziel says it’s important to find a diversity of varieties that can work in a range of California environments. “The more we find with proven adaptability -- and the stuff Bob’s finding has proven itself in adaptability -- the better,” he says.\u003c/p>\n\u003cp>When Cantisano drives up to a property owned by his longtime friend, Sidonie Christian, that’s filled with mature trees, he sees Gillet’s living legacy. “This homestead clearly has Gillet vibe all through it,\" he says. \"All these trees are Gillet-era plants: the walnuts, the chestnut, the pear, the apples, the plums, the cherries.”\u003c/p>\n\u003cp>He and Christian rake the porcupine-like pods of chestnuts that have fallen to the ground, then peel and toss them in a basket. Of the 100 chestnuts he and his partners have tested, Cantisano says, “That’s the very best one. They are the tastiest, they’re the biggest.” Plus, Christian adds, they peel easily.\u003c/p>\n\u003cp>Based on tips from friends and their own explorations, the people at the Felix Gillet Institute have a database of more than 600 locations -- and 3,000 plants -- they want to investigate. They’ve gotten to about a fifth of those, evaluating each tree’s health and productivity, harvesting the crops, then inviting friends over to for a taste test of fresh fruit and nuts, pies and juices. They research their favorites, like this chestnut.\u003c/p>\n\u003cfigure id=\"attachment_10834085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10834085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/Chestnuts-800x532.jpg\" alt=\"Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/Chestnuts-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Amigo Bob and his partners believe these chestnuts come from a Marron de Lyon tree, originally from France. They're working with the University of Pennsylvania to test its DNA. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We believe it’s called the Marron de Lyon, which means it’s from Lyon, France,” Cantisano says. “Judging from the leaf shape, the size of the nut and the structure of the plant, it looks like it’s a European chestnut.” The University of Pennsylvania is testing this chestnut’s DNA to find out for certain.\u003c/p>\n\u003cp>As they harvest, Christian tells Cantisano about county workers who were doing maintenance nearby and almost ran a beloved apple tree through a chipper.\u003c/p>\n\u003cp>“I ran out yelling, ‘No, no no! The whole neighborhood eats those apples,’ ” she says.\u003c/p>\n\u003cp>So I ask Cantisano: What happens when you lose a century-old heritage tree?\u003c/p>\n\u003cp>“If we lose a tree like this chestnut, we lose the genetics of a particularly hearty, productive, high-quality plant. You can’t find those everywhere.”\u003c/p>\n\u003cp>These trees are important for people and neighborhoods, too, says Christian, pointing around her small town.\u003c/p>\n\u003cp>“Generations of kids have eaten apples off that tree. Lots of people put chestnuts off this tree into their Thanksgiving stuffing and have done for years,” she says.\u003c/p>\n\u003cp>For Cantisano, this work connects human and botanical history. He says he’ll often stand in front of an old tree, “and just stop and try and feel the vibe of the person who planted it.”\u003c/p>\n\u003cp>He realizes it sounds a little odd but, “I’ve had trees talk to me, like ‘Thank you. You’re taking care of me again. I’ve been alone,' ” not picked for decades.\u003c/p>\n\u003cp>“There is a spirit in those plants,” he says. A spirit he’s trying to keep alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This \u003ca href=\"http://ww2.kqed.org/news/series/california-foodways\" target=\"_blank\" rel=\"noopener noreferrer\">California Foodways\u003c/a> piece was produced in collaboration with the \u003ca href=\"https://thefern.org/\">Food & Environment Reporting Network\u003c/a>, a nonprofit investigative news organization.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "My Spot: Fresno’s Bustling Cherry Auction Flea Market",
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"content": "\u003cp>\u003cem>Our occasional series \u003ca href=\"http://ww2.kqed.org/news/series/my-spot\" target=\"_blank\">\"My Spot\"\u003c/a> celebrates personal experiences with special places in California.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/241061369\" 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>It’s a warm, sunny Saturday morning in Fresno, and Giovanni Martinez is doing what he does every weekend: selling clothes at the Cherry Auction south of downtown. Coming twice a week to this buzzing outdoor flea market may be his job, but Martinez says it feels like a family.\u003c/p>\n\u003cp>“It's a perfect representation of the Central Valley,” he says. “I want to say 70 percent of the people that come here are Mexican-American or just some kind of Hispanic-American.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"pk4Od7kE8UbfONgoPytcS4aqVz5Tix0M\"]\u003c/p>\n\u003cp>The 27-year-old business student has been selling women’s sweaters and jackets at the Cherry Auction since he was a teenager. His parents, who run a similar stall two aisles away, have been vendors here and at other markets for more than 15 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I'm a newbie here,” Martinez says. “I know some people have been here longer than 20, almost 30 years. There's really big families here.”\u003c/p>\n\u003cfigure id=\"attachment_10826264\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/CherryAuct-1440x1007.jpg\" alt=\"The Cherry Auction’s booths, full of clothing, furniture, food and cars, sprawl across 54 acres in southern Fresno.\" width=\"640\" height=\"448\" class=\"size-large wp-image-10826264\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-768x537.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/CherryAuct-960x671.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Cherry Auction’s booths, full of clothing, furniture, food and cars, sprawl across 54 acres in southern Fresno. \u003ccite>(Kerry Klein/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a really big selection, too. Shoppers can find practically anything they want, from toys and lawn equipment to pet birds and used cars. The sprawling market has been around since the 1920s, when it began as a livestock auction.\u003c/p>\n\u003cp>For lunch, Martinez recommends the rumbling white food truck across from his stall. His favorite food there? Fish and shrimp tacos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Cole slaw, sour cream, salsa, lime juice,” he says, smiling. “It just makes you feel like you're in Baja. All you need is a Corona and you're ready to go.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Our occasional series \u003ca href=\"http://ww2.kqed.org/news/series/my-spot\" target=\"_blank\">\"My Spot\"\u003c/a> celebrates personal experiences with special places in California.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/241061369&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/241061369'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s a warm, sunny Saturday morning in Fresno, and Giovanni Martinez is doing what he does every weekend: selling clothes at the Cherry Auction south of downtown. Coming twice a week to this buzzing outdoor flea market may be his job, but Martinez says it feels like a family.\u003c/p>\n\u003cp>“It's a perfect representation of the Central Valley,” he says. “I want to say 70 percent of the people that come here are Mexican-American or just some kind of Hispanic-American.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The 27-year-old business student has been selling women’s sweaters and jackets at the Cherry Auction since he was a teenager. His parents, who run a similar stall two aisles away, have been vendors here and at other markets for more than 15 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/210100493″ 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>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\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/210100493″&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/210100493″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Blues, Alive and Well in a South Central L.A. Garage",
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"content": "\u003cp>On a sun-baked residential street in South Central L.A., you hear the constant ebb and flow of jets cruising in line toward Los Angeles International Airport. Unless you’re in Franklin Bell’s garage, where you hear the blues.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/227720239\" 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>For the last decade, 81-year-old Bell has hosted the Blues Workshop every Sunday, regular as church, in a one-car garage rebuilt to hold about 50 people. The place gets crowded, folks dressed to the nines. For a small, voluntary donation, they dance, eat and drink to music that ranges from raw to graceful. There’s a stage in the back, and anyone’s welcome to sit in.\u003c/p>\n\u003cp>“We play R&B, we play a lot of pop music, but basically we go with the blues,” explains Bell. “That’s what people look for when they come to the Workshop. They love to come to try to participate, play the blues and listen to it. And I just love that.”\u003c/p>\n\u003cfigure id=\"attachment_10713895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/MississippiBo-800x561.jpg\" alt=\"Guitarist and singer Mississippi Bo kicks back between sets.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-10713895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1440x1010.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Mississippi Bo kicks back between sets.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bell came to L.A. from his hometown of Tuscaloosa, Alabama in 1968. He ran a Chevron gas station that fell to the construction of the 105 Freeway. A musician since high school, he picked up his drums and hit the road. The years passed. His eyesight was failing, “and I was getting tired of the travel, hotel, motel, and carrying them drums,” says Bell. He hit on the idea of setting up shop in the garage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the players onstage dig in, finding and changing grooves, trading fours and eights, Bell works the crowd. He’s dapper, sporting a crisp, dark suit and tie despite the heat. He wears a white cap tilted back on his head. He carries a Styrofoam cup in his hand, sipping from it every now and again. He looks you in the eye when he speaks, despite being legally blind. It’s just part of getting older, and there’s a lot of that in the garage.\u003c/p>\n\u003cp>“The average age, you’re talking about 65. Average!” exclaims Bell. “So that means, we got people 75, 85, even 90 in the audience every Sunday. But young? Once in a while, maybe someone in their 50s, maybe under 50. Very few.”\u003c/p>\n\u003cp>Lester Lands is a guitarist and vocalist from Baton Rouge who cut his teeth on the southern gospel circuit. Lands looks about half of his 62 years.\u003c/p>\n\u003cp>“If you stop and think about it, the blues is for people that age, 60 and over,” Lands says. “A lot of them live the blues, coming out of the South and stuff, man. And still today, that’s their soundtrack, the blues. So that’s why it’s so nice and so popular around here.\"\u003c/p>\n\u003cfigure id=\"attachment_10713900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg\" alt=\"The dance floor kicks in on another Sunday in the garage.\" width=\"800\" height=\"671\" class=\"size-medium wp-image-10713900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-400x336.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1440x1208.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1180x990.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-960x806.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dance floor kicks in on another Sunday in the garage. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Workshop audience regular Betty Madison is a beautiful woman with a Lena Horne smile, another Bayou State transplant.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’m originally from Louisiana but I’ve been here since 1942,” she says. “I’m 84.” Eighty-four? Watching her work the dance floor, this is astonishing news.\u003c/p>\n\u003cp>“I’m here every Sunday,” Madison says. “I go to church and come home, get me a nap and then get dressed and come over and listen to the blues. 'Cause I enjoy the people, and the people be enjoying themselves. That’s what I like, too.”\u003c/p>\n\u003cp>Madison and most of the folks here fall into what’s known as the Second Great Migration of African-Americans, people who moved from states like Texas, Mississippi and Louisiana to cities in the North and West, a period that lasted from the early 1940s until about 1970. They came searching for jobs in California, and many found them in the burgeoning defense industry, as did harp player and singer Sammy Lee, who left Shreveport, Louisiana for the City of Angels in 1965.\u003c/p>\n\u003cp>“[I] graduated from high school,” Lee says. “Started working at a car wash. Few years later I got drafted, went in the Army. Came out the Army. Went to work for Northrop Aircraft.\u003c/p>\n\u003cp>“I met Bell in the early ‘80s when he was playing in a band. Then he got this place going. I think it’s fantastic. It’s a great place for the neighborhood. Keeps the blues alive, right here in South Central.”\u003c/p>\n\u003cfigure id=\"attachment_10712143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\">\u003cimg class=\"size-full wp-image-10712143\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\" alt=\"Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee.\" width=\"1920\" height=\"1095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-400x228.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-800x456.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1440x821.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1180x673.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-960x548.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocated Southerners brought more than just regional music. “Blues and food,” Bell gushes. “We got something to eat! Got to have some food to go along with the blues.”\u003c/p>\n\u003cp>Supper is the handiwork of a number of Bell supporters who lend their culinary skills. Bell’s cousin Alice Cabile is among them. And what’s on the menu?\u003c/p>\n\u003cp>“Spaghetti and beans, a variety of salads, cake and pie,” Cabile says. “We have one lady that makes the bomb banana pudding. Chicken, pig feet, meatloaf, fish, hushpuppies, coleslaw. It’s always great.”\u003c/p>\n\u003cp>The buffet table is a mighty ritual at the Workshop, and Lester Lands is called upon to offer grace from the bandstand.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Right now they telling me that some food is about to be served,\" Lands says. \"We don’t wanna offend nobody but we give thanks to the Lord and savior Jesus Christ here. Now, let’s bow our heads … Father God in the name of Jesus we come to you right now thanking you for another beautiful day. We thank you for the Workshop, Lord.”\u003c/p>\n\u003cfigure id=\"attachment_10711871\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\">\u003cimg class=\"size-full wp-image-10711871\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\" alt=\"There are rules at the Workshop.\" width=\"1920\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1440x1022.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-960x682.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">There are rules at the Workshop. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post blessing, Lands explains that everyone is welcome in the garage. “Here, it’s not no mess, no racial barriers, none of that. It’s just good clean fun, man.”\u003c/p>\n\u003cp>Yet you don’t see many young people showing up for the good clean fun. Twenty-nine-year-old Donae Alexander is an exception. She says her generation just doesn’t get the blues.\u003c/p>\n\u003cp>“I think that they need to just wake up cause that’s what time it is,” Alexander says. “If you don’t know basically where we came from, far as in your roots and a certain type of music that you listen to, and what they have going on today, hip-hop is not the same, to be honest. It’s not. Not without the old school. You have to go way back to come to present, that’s how I look at it.”\u003c/p>\n\u003cfigure id=\"attachment_10713902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Guitarist-800x543.jpg\" alt=\"Guitarist and singer Tony Ibarra, a regular at the Blues Workshop. \" width=\"800\" height=\"543\" class=\"size-medium wp-image-10713902\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1180x800.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-960x651.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Tony Ibarra, a regular at the Blues Workshop.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guitarist and singer Tony Ibarra is one Workshop fixture who didn’t come from the American South. The Guadalajara native played in primal Mexican rock combo Los Fugitivos, and came to Southern California in 1963. He’s been slinging the blues for decades and has seen his share of rough joints. In fact, he spent his Summer of Love playing onstage in Tijuana. But this scene, he says, is a far cry from that.\u003c/p>\n\u003cp>“Here and there is somebody screaming, which is normal, you know, but nothing to scare you away,” says Ibarra with a chuckle. “Everybody’s cool. It’s very unique. It’s like the real thing to me, you know? Everybody’s friendly, no fights. We eat, have a few beers, listen to good players, listen to good music, talk to the people. To me it’s great.”\u003c/p>\n\u003cp>That’s exactly what Franklin Bell wanted all along.\u003c/p>\n\u003cp>“It don’t take no big crowd,” says Bell. “It take a few peoples that you can get together and if they can get some joy and they can spread that as they go through life it makes a difference. That’s what my thing is about.”\u003c/p>\n\u003cp>And as the jets continue overhead, flying toward the future, in the garage, the blues will continue to extend the past, thanks to Franklin Bell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on Oct. 10, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sun-baked residential street in South Central L.A., you hear the constant ebb and flow of jets cruising in line toward Los Angeles International Airport. Unless you’re in Franklin Bell’s garage, where you hear the blues.\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/227720239&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/227720239'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For the last decade, 81-year-old Bell has hosted the Blues Workshop every Sunday, regular as church, in a one-car garage rebuilt to hold about 50 people. The place gets crowded, folks dressed to the nines. For a small, voluntary donation, they dance, eat and drink to music that ranges from raw to graceful. There’s a stage in the back, and anyone’s welcome to sit in.\u003c/p>\n\u003cp>“We play R&B, we play a lot of pop music, but basically we go with the blues,” explains Bell. “That’s what people look for when they come to the Workshop. They love to come to try to participate, play the blues and listen to it. And I just love that.”\u003c/p>\n\u003cfigure id=\"attachment_10713895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/MississippiBo-800x561.jpg\" alt=\"Guitarist and singer Mississippi Bo kicks back between sets.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-10713895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1440x1010.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Mississippi Bo kicks back between sets.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bell came to L.A. from his hometown of Tuscaloosa, Alabama in 1968. He ran a Chevron gas station that fell to the construction of the 105 Freeway. A musician since high school, he picked up his drums and hit the road. The years passed. His eyesight was failing, “and I was getting tired of the travel, hotel, motel, and carrying them drums,” says Bell. He hit on the idea of setting up shop in the garage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the players onstage dig in, finding and changing grooves, trading fours and eights, Bell works the crowd. He’s dapper, sporting a crisp, dark suit and tie despite the heat. He wears a white cap tilted back on his head. He carries a Styrofoam cup in his hand, sipping from it every now and again. He looks you in the eye when he speaks, despite being legally blind. It’s just part of getting older, and there’s a lot of that in the garage.\u003c/p>\n\u003cp>“The average age, you’re talking about 65. Average!” exclaims Bell. “So that means, we got people 75, 85, even 90 in the audience every Sunday. But young? Once in a while, maybe someone in their 50s, maybe under 50. Very few.”\u003c/p>\n\u003cp>Lester Lands is a guitarist and vocalist from Baton Rouge who cut his teeth on the southern gospel circuit. Lands looks about half of his 62 years.\u003c/p>\n\u003cp>“If you stop and think about it, the blues is for people that age, 60 and over,” Lands says. “A lot of them live the blues, coming out of the South and stuff, man. And still today, that’s their soundtrack, the blues. So that’s why it’s so nice and so popular around here.\"\u003c/p>\n\u003cfigure id=\"attachment_10713900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg\" alt=\"The dance floor kicks in on another Sunday in the garage.\" width=\"800\" height=\"671\" class=\"size-medium wp-image-10713900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-400x336.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1440x1208.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1180x990.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-960x806.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dance floor kicks in on another Sunday in the garage. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Workshop audience regular Betty Madison is a beautiful woman with a Lena Horne smile, another Bayou State transplant.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’m originally from Louisiana but I’ve been here since 1942,” she says. “I’m 84.” Eighty-four? Watching her work the dance floor, this is astonishing news.\u003c/p>\n\u003cp>“I’m here every Sunday,” Madison says. “I go to church and come home, get me a nap and then get dressed and come over and listen to the blues. 'Cause I enjoy the people, and the people be enjoying themselves. That’s what I like, too.”\u003c/p>\n\u003cp>Madison and most of the folks here fall into what’s known as the Second Great Migration of African-Americans, people who moved from states like Texas, Mississippi and Louisiana to cities in the North and West, a period that lasted from the early 1940s until about 1970. They came searching for jobs in California, and many found them in the burgeoning defense industry, as did harp player and singer Sammy Lee, who left Shreveport, Louisiana for the City of Angels in 1965.\u003c/p>\n\u003cp>“[I] graduated from high school,” Lee says. “Started working at a car wash. Few years later I got drafted, went in the Army. Came out the Army. Went to work for Northrop Aircraft.\u003c/p>\n\u003cp>“I met Bell in the early ‘80s when he was playing in a band. Then he got this place going. I think it’s fantastic. It’s a great place for the neighborhood. Keeps the blues alive, right here in South Central.”\u003c/p>\n\u003cfigure id=\"attachment_10712143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\">\u003cimg class=\"size-full wp-image-10712143\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\" alt=\"Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee.\" width=\"1920\" height=\"1095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-400x228.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-800x456.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1440x821.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1180x673.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-960x548.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocated Southerners brought more than just regional music. “Blues and food,” Bell gushes. “We got something to eat! Got to have some food to go along with the blues.”\u003c/p>\n\u003cp>Supper is the handiwork of a number of Bell supporters who lend their culinary skills. Bell’s cousin Alice Cabile is among them. And what’s on the menu?\u003c/p>\n\u003cp>“Spaghetti and beans, a variety of salads, cake and pie,” Cabile says. “We have one lady that makes the bomb banana pudding. Chicken, pig feet, meatloaf, fish, hushpuppies, coleslaw. It’s always great.”\u003c/p>\n\u003cp>The buffet table is a mighty ritual at the Workshop, and Lester Lands is called upon to offer grace from the bandstand.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Right now they telling me that some food is about to be served,\" Lands says. \"We don’t wanna offend nobody but we give thanks to the Lord and savior Jesus Christ here. Now, let’s bow our heads … Father God in the name of Jesus we come to you right now thanking you for another beautiful day. We thank you for the Workshop, Lord.”\u003c/p>\n\u003cfigure id=\"attachment_10711871\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\">\u003cimg class=\"size-full wp-image-10711871\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\" alt=\"There are rules at the Workshop.\" width=\"1920\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1440x1022.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-960x682.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">There are rules at the Workshop. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post blessing, Lands explains that everyone is welcome in the garage. “Here, it’s not no mess, no racial barriers, none of that. It’s just good clean fun, man.”\u003c/p>\n\u003cp>Yet you don’t see many young people showing up for the good clean fun. Twenty-nine-year-old Donae Alexander is an exception. She says her generation just doesn’t get the blues.\u003c/p>\n\u003cp>“I think that they need to just wake up cause that’s what time it is,” Alexander says. “If you don’t know basically where we came from, far as in your roots and a certain type of music that you listen to, and what they have going on today, hip-hop is not the same, to be honest. It’s not. Not without the old school. You have to go way back to come to present, that’s how I look at it.”\u003c/p>\n\u003cfigure id=\"attachment_10713902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Guitarist-800x543.jpg\" alt=\"Guitarist and singer Tony Ibarra, a regular at the Blues Workshop. \" width=\"800\" height=\"543\" class=\"size-medium wp-image-10713902\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1180x800.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-960x651.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Tony Ibarra, a regular at the Blues Workshop.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guitarist and singer Tony Ibarra is one Workshop fixture who didn’t come from the American South. The Guadalajara native played in primal Mexican rock combo Los Fugitivos, and came to Southern California in 1963. He’s been slinging the blues for decades and has seen his share of rough joints. In fact, he spent his Summer of Love playing onstage in Tijuana. But this scene, he says, is a far cry from that.\u003c/p>\n\u003cp>“Here and there is somebody screaming, which is normal, you know, but nothing to scare you away,” says Ibarra with a chuckle. “Everybody’s cool. It’s very unique. It’s like the real thing to me, you know? Everybody’s friendly, no fights. We eat, have a few beers, listen to good players, listen to good music, talk to the people. To me it’s great.”\u003c/p>\n\u003cp>That’s exactly what Franklin Bell wanted all along.\u003c/p>\n\u003cp>“It don’t take no big crowd,” says Bell. “It take a few peoples that you can get together and if they can get some joy and they can spread that as they go through life it makes a difference. That’s what my thing is about.”\u003c/p>\n\u003cp>And as the jets continue overhead, flying toward the future, in the garage, the blues will continue to extend the past, thanks to Franklin Bell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on Oct. 10, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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