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"content": "\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216225838\" 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>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on July 25, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\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/216225838&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/216225838'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on July 25, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Glorious, Profane Spoils of Robert Williams’ 50-Year War With Mainstream Art",
"title": "The Glorious, Profane Spoils of Robert Williams’ 50-Year War With Mainstream Art",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>His paintings are a wild pop-culture pastiche of hot rods, pinup girls, and cartoon sex and violence. For the better part of the last 50 years, \u003ca title=\"Robert Williams\" href=\"http://www.robtwilliamsstudio.com/\">Robert Williams \u003c/a>has waged war on the mainstream art world with those eye-popping paintings, a best-selling art magazine and a growing flock of like-minded rebel artists.\u003c/p>\n\u003cp>Now he’s the focus of a major L.A. retrospective -- which at one time might have been a frightening, if not downright laughable, notion to some. The artist himself will be the first to tell you.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/194624597\" 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>“My artwork would not be appropriate if your pastor was coming to dinner,” says Williams, sitting in the library of his home in a sleepy neighborhood of Chatsworth north of Los Angeles.\u003c/p>\n\u003cp>In a Robert Williams painting, there might be blood, fiery hot rod crashes or lecherous robots. There have also been surly \u003ca title=\"Tooth Fairy\" href=\"https://www.pinterest.com/pin/77546424808570053/\">tooth fairies in torn fishnets\u003c/a> that bear a passing resemblance to Symbionese Liberation Army-era Patty Hearst.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, and don’t forget that sexy and very funny series that depicts half-naked women reclining seductively on giant platters of tacos and enchiladas.\u003c/p>\n\u003cp>\"There is gratuitous sex and violence in my work, and I defend that by saying artists should be responsible for the entire human pathos of life,” says Williams.\u003c/p>\n\u003cfigure id=\"attachment_10449920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-Decline-Sophistication.jpg\">\u003cimg class=\"size-medium wp-image-10449920\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-Decline-Sophistication-800x533.jpg\" alt=\"Detail of Robert Williams’ “The Decline of Sophistication”\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail of Robert Williams’ “The Decline of Sophistication” \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A picture’s gotta have a lot of energy. You could start a car off of one of my paintings,” he laughs.\u003c/p>\n\u003cp>It was cars -- hot rods to be exact -- that drove a 20-year-old Williams to California from his native New Mexico in 1963.\u003c/p>\n\u003cp>“I was attracted to Los Angeles for hot rods. The other thing was girls,” he says, laughing. “I just had to get to California.”\u003c/p>\n\u003cp>While his canvases may boil over with surreal and slapstick eroticism, violence and psychosis, Williams is downright genteel and dapper in a crisp button-down shirt, navy-blue sweater vest and matching sneakers.\u003c/p>\n\u003cp>He speaks with a slight drawl left over from his days growing up in New Mexico and Alabama and a folksy earnestness that occasionally veers into Jimmy Stewart territory.\u003c/p>\n\u003cp>He can spend about as much time tinkering on those paintings as he does on his beloved candy-colored hot rod, a 1932 Ford Roadster. Alongside that is a pristine Model T, which he restored piece by piece with his wife, artist Suzanne Williams.\u003c/p>\n\u003cfigure id=\"attachment_10449912\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne.jpg\">\u003cimg class=\"size-medium wp-image-10449912\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-800x533.jpg\" alt=\"Williams with his treasured 1932 Ford Roadster, and Model T. The Model T was painstakingly refurbished by Williams and his wife Suzanne Williams\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Williams with his treasured 1932 Ford Roadster and Model T. The Model T was painstakingly refurbished by Williams and his wife, Suzanne Williams\u003c/figcaption>\u003c/figure>\n\u003cp>“Working on the cars is akin to masturbation,” says Williams. “That’s just something I have to do to get my mind off the art. But to me the art is a cerebral exercise.”\u003c/p>\n\u003cp>Williams bought the Roadster nearly 50 years ago, around the time he broke into the art world as an illustrator for Southern California hot rod magazines.\u003c/p>\n\u003cp>It’s where he’d get his footing as a professional artist. But he chafed at the rigid demands of advertisers and editors.\u003c/p>\n\u003cp>But in the pages of the '60s counterculture underground comics, Williams flourished alongside like-minded artists who pushed the boundaries of free expression. He was a founding member of a San Francisco-based comic artist collective that also included Robert Crumb, Gilbert Shelton and the late Spain Rodriguez.\u003c/p>\n\u003cp>All the while, Williams toiled away on his paintings.\u003c/p>\n\u003cp>Problem was, there was little space for the kind of hot-wired, pop culture-drenched representational paintings he was creating in an art world dominated by abstract expressionism.\u003c/p>\n\u003cp>“And it was just looking hopeless, couldn’t get a gallery to show me, and finally I got involved with punk rockers.”\u003c/p>\n\u003cfigure id=\"attachment_10449910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-mohawk.jpg\">\u003cimg class=\"size-medium wp-image-10449910\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-mohawk-800x515.jpg\" alt=\"A visitor gets a closer look of a Robert Williams painting on view at the LA. Municipal Art Gallery \" width=\"800\" height=\"515\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-800x515.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-1440x926.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-1180x759.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-768x494.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-320x206.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A visitor gets a closer look at a Robert Williams painting on view at the L.A. Municipal Art Gallery. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams found an outlet and acceptance in after-hours galleries at punk rock clubs in L.A. and New York. His art work started appearing on record sleeves and concert posters for bands that have mostly vanished. But mainstream success remained elusive.\u003c/p>\n\u003cp>Until 1987, that is. That’s when yet another then-unknown band came knocking on his door after spotting what is today considered Williams' most notorious painting.\u003c/p>\n\u003cp>A scruffy L.A. glam rock band called Guns N' Roses wanted it for the cover of its debut album. They also wanted to name the record after the painting: \"Appetite for Destruction.\"\u003c/p>\n\u003cp>In the painting, which Williams created in the late 1970s, a pretty young woman in a short skirt is selling toy robots on the street. Her kiosk is knocked over. So is she. A menacing robot in a trench coat stands over her.\u003c/p>\n\u003cfigure id=\"attachment_10449922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-AppDes.jpeg\">\u003cimg class=\"size-medium wp-image-10449922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-AppDes-800x791.jpeg\" alt=\"A signed copy of Guns n Roses “Appetite for Destruction” LP with original Robert Williams art. Courtesy of gottahaverockandroll.com\" width=\"800\" height=\"791\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-800x791.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-400x395.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-768x759.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-320x316.jpeg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes.jpeg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A signed copy of Guns N' Roses “Appetite for Destruction” LP with original Robert Williams art. Courtesy of gottahaverockandroll.com \u003ccite>(gottahaverockandroll.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is suggestion of some kind of sexual violation, but you wouldn’t be able to figure out what the robot could do to her,” explains Williams. “She did have her panties around her ankles and she did have one breast exposed. Now, in the other half of this painting, there’s this monster jumping over the fence to avenge her.\u003c/p>\n\u003cp>“I have not gone without avenging this graphic crime.”\u003c/p>\n\u003cp>Williams told the band fine, use it. But he warned them the cover would probably land them in trouble with religious and feminist groups. It did. One organization famously referred to it as a “glorification of rape.”\u003c/p>\n\u003cp>The band rallied to his defense, singer Axl Rose telling MTV that he thought people were overlooking Williams' artistic genius.\u003c/p>\n\u003cp>“I think since it was such an outrageous picture that the skill gets overlooked,” said Rose, standing alongside Williams in an interview shortly after the album’s release. “A lot more people, I think, are turned on to Robert’s artwork (because of the album) than were before, and I’m really glad to be a part of that.”\u003c/p>\n\u003cp>But the band ultimately caved and yanked the artwork.\u003c/p>\n\u003cp>The painting caused a stir again in 2012 when a reformed Guns N' Roses used the image in a concert poster and companion DVD. Subsequent copies of the DVD still employ the Williams painting, but in denuded form. The girl is removed, the painting devoid of its original power.\u003c/p>\n\u003cp>The 1987 notoriety cemented Williams’ reputation as a major outsider artist with an outsized influence on a new generation of artists -- many of whom are now regularly featured in the magazine he co-founded 20 years ago, \u003ca title=\"Juxtapoz\" href=\"http://www.juxtapoz.com/\">Juxtapoz\u003c/a>.\u003c/p>\n\u003cp>That includes sculpture and Academy Award-nominated makeup artist \u003ca title=\"Kazuhiro Tsuji\" href=\"http://kazustudios.com/\">Kazuhiro Tsuji\u003c/a>. Like Williams, Tsuji left behind a career as a professional artist because of the rigid demands imposed by the business side of moviemaking.\u003c/p>\n\u003cp>He now devotes himself full time to his artwork; enormous, eerily lifelike silicone busts of iconic personalities like Abraham Lincoln and Andy Warhol that he creates in his home studio in Burbank.\u003c/p>\n\u003cfigure id=\"attachment_10449923\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Kozuhiro-Tsuji.jpg\">\u003cimg class=\"size-medium wp-image-10449923\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Kozuhiro-Tsuji-800x600.jpg\" alt=\"Sculpture and Oscar-nominated makeup artist Kozuhiro Tsuji in his Burbank studio with his silicone-based bust of Abe Lincoln. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture and Oscar-nominated makeup artist Kozuhiro Tsuji in his Burbank studio with his silicone-based bust of Abe Lincoln. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tsuji says Juxtapoz helped carve out a niche in the art world for left-field artists like himself.\u003c/p>\n\u003cp>“Many people told me that it’s hard to make a living as an artist, but every time we do a show or there is a magazine article it just brings more attention,” says Tsuji. “Some people are really touched and moved by (my sculptures), and I realized how powerful these kind of portraits can be.”\u003c/p>\n\u003cp>Since first landing one of his paintings on the cover of Juxtapoz 17 years ago, L.A.-based artist \u003ca title=\"Mark Ryden\" href=\"http://www.porterhouseart.com/\">Mark Ryden \u003c/a>has become highly sought after by collectors and some notable celebrities.\u003c/p>\n\u003cp>Ryden declined to speak on tape. But via email he said it’s hard to “overstate the impact Robert Williams has had on a generation of artists who love representational art and underground imagery.”\u003c/p>\n\u003cfigure id=\"attachment_10449925\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden..jpg\">\u003cimg class=\"size-medium wp-image-10449925\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-800x549.jpg\" alt=\"January 2002 Juxtapoz with Mark Ryden cover and pull-out poster. \" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-1440x987.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-320x219.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">January 2002 Juxtapoz with Mark Ryden cover and pullout poster.\u003c/figcaption>\u003c/figure>\n\u003cp>At one time, says Ryden, such artists would be relegated to the commercial illustration world. He agrees that Williams opened a door that made it possible to not only create such art, but also get it seen widely -- and for the artists to make a living from it.\u003c/p>\n\u003cp>“Williams was showing his counterculture work in galleries at a time when the fine art world was almost exclusively minimal, conceptual or abstract,” says Ryden.\u003c/p>\n\u003cp>“He brought the West Coast underground into serious New York galleries. Robert is a rebel and a pioneer, and I really admire him.”\u003c/p>\n\u003cp>“I am an underground artist,” says Williams. “And I always have been. And I have been in trouble lots. And if you need biblical illustrations to give you inspiration, I am not your man.”\u003c/p>\n\u003cp>Hundreds of people jammed into the L.A. Municipal Art Gallery for the January opening of \u003ca title=\"SLANG Aesthetics\" href=\"http://www.barnsdall.org/2015/01/02/robert-williams-slang-aesthetics-20-years-influence-juxtapoz/\">“SLANG Aesthetics!” \u003c/a>a very non-biblical survey of Williams' paintings, drawings and sculptures from the past decade.\u003c/p>\n\u003cp>The exhibit also includes work by Ryden, Tsuji and dozens of other artists who owe at least some of their success to exposure they got in Juxtapoz.\u003c/p>\n\u003cfigure id=\"attachment_10449927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-purple-hair.jpg\">\u003cimg class=\"size-medium wp-image-10449927\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-purple-hair-800x551.jpg\" alt=\"Visitors of all ages (and hair colors) attended the opening of Robert Williams / Juxtapoz exhibit at the L.A. Municipal Art Gallery\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-1180x813.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-320x220.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors of all ages (and hair colors) attended the opening of the Robert Williams / Juxtapoz exhibit at the L.A. Municipal Art Gallery \u003ccite>(Steven Cuevas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s been called lowbrow art and pop surrealism and a bunch of different names, but it’s a feral art. It’s an art that’s raised itself in the woods,” Williams says.\u003c/p>\n\u003cp>“This is an art that’s most vital when it’s struggling to get to the top.”\u003c/p>\n\u003cp>Reaching that peak doesn’t seem like much of a struggle on this night, as Williams greets a crush of fans and poses for pictures on the exhibit floor.\u003c/p>\n\u003cp>The opening is a smash.\u003c/p>\n\u003cfigure id=\"attachment_10449928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-LA-cap.jpg\">\u003cimg class=\"size-medium wp-image-10449928\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-LA-cap-800x533.jpg\" alt=\"Robert Williams mixing with friends and fans at L.A. Municipal Art Gallery\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Williams mixing with friends and fans at L.A. Municipal Art Gallery \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after a couple hours, Williams wearily laughs that he’s ready to head home and drink some bourbon. At age 72, the big art openings may not seem as thrilling as they once were.\u003c/p>\n\u003cp>But the painting is.\u003c/p>\n\u003cp>“I have a compulsion,\" Williams says. \"I have to do it. My greatest happiness is when that sucker is done and it’s out of my life and I gotta get that next one going.”\u003c/p>\n\u003cp>Williams admits the brush moves a bit slower these days. But he’s certain that he’s getting better at caging the images and urges that continue to fire his imagination.\u003c/p>\n\u003cp>\"Robert Williams: SLANG Aesthetics!\" and \"20 Years Under the Influence of Juxtapoz\" are on view through April at the \u003ca href=\"http://www.lamag.org\" target=\"_blank\">Los Angeles Municipal Art Gallery.\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on March 7, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His paintings are a wild pop-culture pastiche of hot rods, pinup girls, and cartoon sex and violence. For the better part of the last 50 years, \u003ca title=\"Robert Williams\" href=\"http://www.robtwilliamsstudio.com/\">Robert Williams \u003c/a>has waged war on the mainstream art world with those eye-popping paintings, a best-selling art magazine and a growing flock of like-minded rebel artists.\u003c/p>\n\u003cp>Now he’s the focus of a major L.A. retrospective -- which at one time might have been a frightening, if not downright laughable, notion to some. The artist himself will be the first to tell you.\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/194624597&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/194624597'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“My artwork would not be appropriate if your pastor was coming to dinner,” says Williams, sitting in the library of his home in a sleepy neighborhood of Chatsworth north of Los Angeles.\u003c/p>\n\u003cp>In a Robert Williams painting, there might be blood, fiery hot rod crashes or lecherous robots. There have also been surly \u003ca title=\"Tooth Fairy\" href=\"https://www.pinterest.com/pin/77546424808570053/\">tooth fairies in torn fishnets\u003c/a> that bear a passing resemblance to Symbionese Liberation Army-era Patty Hearst.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, and don’t forget that sexy and very funny series that depicts half-naked women reclining seductively on giant platters of tacos and enchiladas.\u003c/p>\n\u003cp>\"There is gratuitous sex and violence in my work, and I defend that by saying artists should be responsible for the entire human pathos of life,” says Williams.\u003c/p>\n\u003cfigure id=\"attachment_10449920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-Decline-Sophistication.jpg\">\u003cimg class=\"size-medium wp-image-10449920\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-Decline-Sophistication-800x533.jpg\" alt=\"Detail of Robert Williams’ “The Decline of Sophistication”\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-Decline-Sophistication-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Detail of Robert Williams’ “The Decline of Sophistication” \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A picture’s gotta have a lot of energy. You could start a car off of one of my paintings,” he laughs.\u003c/p>\n\u003cp>It was cars -- hot rods to be exact -- that drove a 20-year-old Williams to California from his native New Mexico in 1963.\u003c/p>\n\u003cp>“I was attracted to Los Angeles for hot rods. The other thing was girls,” he says, laughing. “I just had to get to California.”\u003c/p>\n\u003cp>While his canvases may boil over with surreal and slapstick eroticism, violence and psychosis, Williams is downright genteel and dapper in a crisp button-down shirt, navy-blue sweater vest and matching sneakers.\u003c/p>\n\u003cp>He speaks with a slight drawl left over from his days growing up in New Mexico and Alabama and a folksy earnestness that occasionally veers into Jimmy Stewart territory.\u003c/p>\n\u003cp>He can spend about as much time tinkering on those paintings as he does on his beloved candy-colored hot rod, a 1932 Ford Roadster. Alongside that is a pristine Model T, which he restored piece by piece with his wife, artist Suzanne Williams.\u003c/p>\n\u003cfigure id=\"attachment_10449912\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne.jpg\">\u003cimg class=\"size-medium wp-image-10449912\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-800x533.jpg\" alt=\"Williams with his treasured 1932 Ford Roadster, and Model T. The Model T was painstakingly refurbished by Williams and his wife Suzanne Williams\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Robert-Williams-with-his-treasured-1932-Ford-Roadster-and-Model-T.-The-Model-T-was-painstakingly-refurbished-by-Williams-and-hs-wife-Suzanne-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Williams with his treasured 1932 Ford Roadster and Model T. The Model T was painstakingly refurbished by Williams and his wife, Suzanne Williams\u003c/figcaption>\u003c/figure>\n\u003cp>“Working on the cars is akin to masturbation,” says Williams. “That’s just something I have to do to get my mind off the art. But to me the art is a cerebral exercise.”\u003c/p>\n\u003cp>Williams bought the Roadster nearly 50 years ago, around the time he broke into the art world as an illustrator for Southern California hot rod magazines.\u003c/p>\n\u003cp>It’s where he’d get his footing as a professional artist. But he chafed at the rigid demands of advertisers and editors.\u003c/p>\n\u003cp>But in the pages of the '60s counterculture underground comics, Williams flourished alongside like-minded artists who pushed the boundaries of free expression. He was a founding member of a San Francisco-based comic artist collective that also included Robert Crumb, Gilbert Shelton and the late Spain Rodriguez.\u003c/p>\n\u003cp>All the while, Williams toiled away on his paintings.\u003c/p>\n\u003cp>Problem was, there was little space for the kind of hot-wired, pop culture-drenched representational paintings he was creating in an art world dominated by abstract expressionism.\u003c/p>\n\u003cp>“And it was just looking hopeless, couldn’t get a gallery to show me, and finally I got involved with punk rockers.”\u003c/p>\n\u003cfigure id=\"attachment_10449910\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-mohawk.jpg\">\u003cimg class=\"size-medium wp-image-10449910\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-mohawk-800x515.jpg\" alt=\"A visitor gets a closer look of a Robert Williams painting on view at the LA. Municipal Art Gallery \" width=\"800\" height=\"515\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-800x515.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-400x257.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-1440x926.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-1180x759.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-768x494.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-mohawk-320x206.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A visitor gets a closer look at a Robert Williams painting on view at the L.A. Municipal Art Gallery. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Williams found an outlet and acceptance in after-hours galleries at punk rock clubs in L.A. and New York. His art work started appearing on record sleeves and concert posters for bands that have mostly vanished. But mainstream success remained elusive.\u003c/p>\n\u003cp>Until 1987, that is. That’s when yet another then-unknown band came knocking on his door after spotting what is today considered Williams' most notorious painting.\u003c/p>\n\u003cp>A scruffy L.A. glam rock band called Guns N' Roses wanted it for the cover of its debut album. They also wanted to name the record after the painting: \"Appetite for Destruction.\"\u003c/p>\n\u003cp>In the painting, which Williams created in the late 1970s, a pretty young woman in a short skirt is selling toy robots on the street. Her kiosk is knocked over. So is she. A menacing robot in a trench coat stands over her.\u003c/p>\n\u003cfigure id=\"attachment_10449922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-AppDes.jpeg\">\u003cimg class=\"size-medium wp-image-10449922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-AppDes-800x791.jpeg\" alt=\"A signed copy of Guns n Roses “Appetite for Destruction” LP with original Robert Williams art. Courtesy of gottahaverockandroll.com\" width=\"800\" height=\"791\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-800x791.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-400x395.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-768x759.jpeg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-320x316.jpeg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes-75x75.jpeg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-AppDes.jpeg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A signed copy of Guns N' Roses “Appetite for Destruction” LP with original Robert Williams art. Courtesy of gottahaverockandroll.com \u003ccite>(gottahaverockandroll.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There is suggestion of some kind of sexual violation, but you wouldn’t be able to figure out what the robot could do to her,” explains Williams. “She did have her panties around her ankles and she did have one breast exposed. Now, in the other half of this painting, there’s this monster jumping over the fence to avenge her.\u003c/p>\n\u003cp>“I have not gone without avenging this graphic crime.”\u003c/p>\n\u003cp>Williams told the band fine, use it. But he warned them the cover would probably land them in trouble with religious and feminist groups. It did. One organization famously referred to it as a “glorification of rape.”\u003c/p>\n\u003cp>The band rallied to his defense, singer Axl Rose telling MTV that he thought people were overlooking Williams' artistic genius.\u003c/p>\n\u003cp>“I think since it was such an outrageous picture that the skill gets overlooked,” said Rose, standing alongside Williams in an interview shortly after the album’s release. “A lot more people, I think, are turned on to Robert’s artwork (because of the album) than were before, and I’m really glad to be a part of that.”\u003c/p>\n\u003cp>But the band ultimately caved and yanked the artwork.\u003c/p>\n\u003cp>The painting caused a stir again in 2012 when a reformed Guns N' Roses used the image in a concert poster and companion DVD. Subsequent copies of the DVD still employ the Williams painting, but in denuded form. The girl is removed, the painting devoid of its original power.\u003c/p>\n\u003cp>The 1987 notoriety cemented Williams’ reputation as a major outsider artist with an outsized influence on a new generation of artists -- many of whom are now regularly featured in the magazine he co-founded 20 years ago, \u003ca title=\"Juxtapoz\" href=\"http://www.juxtapoz.com/\">Juxtapoz\u003c/a>.\u003c/p>\n\u003cp>That includes sculpture and Academy Award-nominated makeup artist \u003ca title=\"Kazuhiro Tsuji\" href=\"http://kazustudios.com/\">Kazuhiro Tsuji\u003c/a>. Like Williams, Tsuji left behind a career as a professional artist because of the rigid demands imposed by the business side of moviemaking.\u003c/p>\n\u003cp>He now devotes himself full time to his artwork; enormous, eerily lifelike silicone busts of iconic personalities like Abraham Lincoln and Andy Warhol that he creates in his home studio in Burbank.\u003c/p>\n\u003cfigure id=\"attachment_10449923\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Kozuhiro-Tsuji.jpg\">\u003cimg class=\"size-medium wp-image-10449923\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Kozuhiro-Tsuji-800x600.jpg\" alt=\"Sculpture and Oscar-nominated makeup artist Kozuhiro Tsuji in his Burbank studio with his silicone-based bust of Abe Lincoln. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Kozuhiro-Tsuji-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sculpture and Oscar-nominated makeup artist Kozuhiro Tsuji in his Burbank studio with his silicone-based bust of Abe Lincoln. \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tsuji says Juxtapoz helped carve out a niche in the art world for left-field artists like himself.\u003c/p>\n\u003cp>“Many people told me that it’s hard to make a living as an artist, but every time we do a show or there is a magazine article it just brings more attention,” says Tsuji. “Some people are really touched and moved by (my sculptures), and I realized how powerful these kind of portraits can be.”\u003c/p>\n\u003cp>Since first landing one of his paintings on the cover of Juxtapoz 17 years ago, L.A.-based artist \u003ca title=\"Mark Ryden\" href=\"http://www.porterhouseart.com/\">Mark Ryden \u003c/a>has become highly sought after by collectors and some notable celebrities.\u003c/p>\n\u003cp>Ryden declined to speak on tape. But via email he said it’s hard to “overstate the impact Robert Williams has had on a generation of artists who love representational art and underground imagery.”\u003c/p>\n\u003cfigure id=\"attachment_10449925\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden..jpg\">\u003cimg class=\"size-medium wp-image-10449925\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-800x549.jpg\" alt=\"January 2002 Juxtapoz with Mark Ryden cover and pull-out poster. \" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-1440x987.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/January-2002-Juxtapoz-with-Mark-Ryden-cover-and-pull-out-poster.-The-public-imagination-has-been-excited-by-the-work-that-has-appeared-in-the-the-magazine-art-that-speaks-to-their-hearts-and-inspires-them-says-Ryden.-320x219.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">January 2002 Juxtapoz with Mark Ryden cover and pullout poster.\u003c/figcaption>\u003c/figure>\n\u003cp>At one time, says Ryden, such artists would be relegated to the commercial illustration world. He agrees that Williams opened a door that made it possible to not only create such art, but also get it seen widely -- and for the artists to make a living from it.\u003c/p>\n\u003cp>“Williams was showing his counterculture work in galleries at a time when the fine art world was almost exclusively minimal, conceptual or abstract,” says Ryden.\u003c/p>\n\u003cp>“He brought the West Coast underground into serious New York galleries. Robert is a rebel and a pioneer, and I really admire him.”\u003c/p>\n\u003cp>“I am an underground artist,” says Williams. “And I always have been. And I have been in trouble lots. And if you need biblical illustrations to give you inspiration, I am not your man.”\u003c/p>\n\u003cp>Hundreds of people jammed into the L.A. Municipal Art Gallery for the January opening of \u003ca title=\"SLANG Aesthetics\" href=\"http://www.barnsdall.org/2015/01/02/robert-williams-slang-aesthetics-20-years-influence-juxtapoz/\">“SLANG Aesthetics!” \u003c/a>a very non-biblical survey of Williams' paintings, drawings and sculptures from the past decade.\u003c/p>\n\u003cp>The exhibit also includes work by Ryden, Tsuji and dozens of other artists who owe at least some of their success to exposure they got in Juxtapoz.\u003c/p>\n\u003cfigure id=\"attachment_10449927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-purple-hair.jpg\">\u003cimg class=\"size-medium wp-image-10449927\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-purple-hair-800x551.jpg\" alt=\"Visitors of all ages (and hair colors) attended the opening of Robert Williams / Juxtapoz exhibit at the L.A. Municipal Art Gallery\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-1180x813.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-purple-hair-320x220.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Visitors of all ages (and hair colors) attended the opening of the Robert Williams / Juxtapoz exhibit at the L.A. Municipal Art Gallery \u003ccite>(Steven Cuevas )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s been called lowbrow art and pop surrealism and a bunch of different names, but it’s a feral art. It’s an art that’s raised itself in the woods,” Williams says.\u003c/p>\n\u003cp>“This is an art that’s most vital when it’s struggling to get to the top.”\u003c/p>\n\u003cp>Reaching that peak doesn’t seem like much of a struggle on this night, as Williams greets a crush of fans and poses for pictures on the exhibit floor.\u003c/p>\n\u003cp>The opening is a smash.\u003c/p>\n\u003cfigure id=\"attachment_10449928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-LA-cap.jpg\">\u003cimg class=\"size-medium wp-image-10449928\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RBT-gallery-LA-cap-800x533.jpg\" alt=\"Robert Williams mixing with friends and fans at L.A. Municipal Art Gallery\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RBT-gallery-LA-cap-320x213.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Williams mixing with friends and fans at L.A. Municipal Art Gallery \u003ccite>(Steven Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But after a couple hours, Williams wearily laughs that he’s ready to head home and drink some bourbon. At age 72, the big art openings may not seem as thrilling as they once were.\u003c/p>\n\u003cp>But the painting is.\u003c/p>\n\u003cp>“I have a compulsion,\" Williams says. \"I have to do it. My greatest happiness is when that sucker is done and it’s out of my life and I gotta get that next one going.”\u003c/p>\n\u003cp>Williams admits the brush moves a bit slower these days. But he’s certain that he’s getting better at caging the images and urges that continue to fire his imagination.\u003c/p>\n\u003cp>\"Robert Williams: SLANG Aesthetics!\" and \"20 Years Under the Influence of Juxtapoz\" are on view through April at the \u003ca href=\"http://www.lamag.org\" target=\"_blank\">Los Angeles Municipal Art Gallery.\u003c/a>\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 March 7, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Despite Severe Arthritis, Pianist Gets Second Chance at Stardom",
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"content": "\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/199158709\" 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>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 5, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\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/199158709&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/199158709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Your New Year's Eve Bay Area Transportation Guide",
"title": "Your New Year's Eve Bay Area Transportation Guide",
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"content": "\u003cp>If your New Year's resolution is to drive less, or if you're still looking for a designated driver to help you celebrate New Year's Eve, transportation services around the Bay Area are hoping to help you out.\u003c/p>\n\u003cp>Muni, Caltrain and AC Transit are just a few transportation options offering free rides and extended operations on New Year's Eve to carry celebrants into the wee hours of the new year.\u003c/p>\n\u003cp>Here's a breakdown of Bay Area transportation options to take you around \u003ca href=\"#sf\">San Francisco\u003c/a>, \u003ca href=\"#sm\">San Mateo\u003c/a>, \u003ca href=\"#sc\">Santa Clara\u003c/a> and the \u003ca href=\"#eb\">East Bay\u003c/a> this New Year's Eve.\u003c/p>\n\u003cp>\u003cstrong>BART:\u003c/strong> While BART is not offering free rides, extended service will be offered until approximately 3 a.m. Friday. Extra trains will be prepared for crowds after the fireworks show at the Embarcadero and will run every 20 minutes.\u003c/p>\n\u003cp>\"One of the most exciting things that San Franciscans and Bay Area residents get to do every year is go down and enjoy the fireworks at Embarcadero, so we want to be able to provide that service,\" said BART spokesman Taylor Huckaby.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For those heading into the city after 8 p.m and those leaving the city after midnight, BART will begin utilizing \"skip-stop\" service in and out of the city. \u003ca href=\"http://www.bart.gov/news/articles/2015/news20151208-0\" target=\"_blank\">Some lines will skip\u003c/a> Embarcadero, Montgomery and West Oakland stations to ease the crowds at the most popular platforms.\u003c/p>\n\u003cp>BART will operate on a Sunday/holiday schedule on New Year's Day, with service beginning at 8 a.m.\u003c/p>\n\u003cp>\u003ca href=\"http://sf.funcheap.com/1231-free-cheap-nye-public-transportation-bartmunisamtranscaltrainvta/\">FuncheapSF\u003c/a> recommends buying round-trip tickets and loading Clipper cards in advance to avoid long lines.\u003c/p>\n\u003cp>\u003cstrong>Caltrain:\u003c/strong> Caltrain will begin offering free rides at 8 p.m. Thursday until 5 a.m. Friday. An extra four trains will leave from the \u003ca href=\"http://www.caltrain.com/stations/sanfranciscostation.html\" target=\"_blank\">San Francisco station\u003c/a> after the midnight fireworks show at the Embarcadero. Trains will operate on a \u003ca href=\"http://www.caltrain.com/schedules/weekend-timetable.html\" target=\"_blank\">Sunday/holiday schedule\u003c/a> on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Lyft and Uber: \u003c/strong>Lyft prices are capped at 200 percent this New Year's Eve, one of its \u003ca href=\"http://www.sfgate.com/bayarea/article/Uber-Lyft-vs-taxis-in-New-Year-s-Eve-fare-war-5984146.php\" target=\"_blank\">most competitive\u003c/a> business days of the year.\u003c/p>\n\u003cp>Uber is also taking part in \u003ca href=\"https://help.uber.com/h/6c8065cf-5535-4a8b-9940-d292ffdce119\" target=\"_blank\">surge pricing\u003c/a>. Uber \u003ca href=\"https://newsroom.uber.com/new-years-guide/\" target=\"_blank\">suggests \u003c/a>using the service early or catching a ride after midnight to avoid high fares.\u003c/p>\n\u003cp>On New Year's Eve last year, some Uber rides cost as much as $100. Lyft set a \"prime-time limit\" at a \u003ca href=\"http://www.ibtimes.com/uber-lyft-new-years-eve-2015-surge-pricing-cost-riders-1771582\" target=\"_blank\">controversial\u003c/a> 400 percent. You can decide if 200 percent is a steal.\u003ca name=\"sf\">\u003c/a>\u003c/p>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Muni:\u003c/strong> You can hop on any Muni bus for free starting at 8 p.m. on Thursday through 5 a.m. on Friday.\u003c/p>\n\u003cp>There will also be extended service until 4 a.m. on Muni Metro lines between West Portal and Embarcadero stations. Service will run until 2:15 a.m. to Fourth and King streets.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/calendar/alerts/ride-muni-free-extra-service-new-years-eve\" target=\"_blank\">Extra Owl route \u003c/a>service will be offered from 1 a.m. to 5 a.m. on New Year's Day.\u003c/p>\n\u003cp>Clipper cards, Muni Mobile passes and Metro fares will not be necessary on Muni buses during free service hours. SFMTA asks that passengers do not tag their Clipper cards during free service hours. If tagged, cards will be charged. Muni Metro fare gates will be set to allow free access.\u003c/p>\n\u003cp>\u003cstrong>Cab:\u003c/strong> Luxor Cabs in partnership with Berg Injury Lawyers' \u003ca href=\"http://www.berginjurylawyers.com/about-us/community/safe-and-sober/\" target=\"_blank\">Safe and Sober Free Cab Ride Home Program\u003c/a> is offering free cab rides home from 10 p.m. on Thursday through 4 a.m. Friday.\u003c/p>\n\u003cp>Riders must be picked up at a restaurant, hotel or bar and dropped off to a residency to qualify for a free ride. Free rides do not count if the cab is hailed from the street. Each ride is limited to $35.\u003c/p>\n\u003cp>For a free cab, you can arrange a ride with Luxor Cab by calling \u003cspan style=\"line-height: 1.5\">(415) 282-4141. Patrons can tell the driver to send the taxi receipt to \u003ca href=\"http://www.berginjurylawyers.com/wp-content/uploads/2015/12/BIL_PressRelease_NYE-2015.pdf\" target=\"_blank\">Berg Injury Lawyers. \u003c/a>Berg Injury encourages riders to tip their taxi drivers.\u003cbr>\n\u003ca name=\"eb\">\u003c/a> \u003c/span>\u003c/p>\n\u003ch3>Alameda-Contra Consta County\u003c/h3>\n\u003cp>\u003cstrong>AC Transit: \u003c/strong>Free rides will be offered on all AC Transit lines from 8 p.m. Thursday until 5 a.m. Friday.\u003c/p>\n\u003cp>\"We want people to be safe and we care about our community,\" said Michele Joseph, director of marketing and communications at AC Transit. \"We care about our customers. And it's really important for everybody to realize the implication of driving while intoxicated.\"\u003c/p>\n\u003cp>\u003ca href=\"http://www.actransit.org/2015/12/23/ac-transit-offers-free-rides-on-new-year%E2%80%99s-eve/\" target=\"_blank\">All Nighter service\u003c/a> will be available to those traveling after midnight.\u003c/p>\n\u003cfigure id=\"attachment_10812200\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10812200 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/existing-map-400x176.png\" alt=\"Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m.\" width=\"400\" height=\"176\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-400x176.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-800x352.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-768x338.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map.png 856w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m. \u003ccite>(City of Oakland's Economic & Workforce Development Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Broadway Shuttle:\u003c/strong> The green\u003ca href=\"http://www.meetdowntownoak.com/shuttle.php\"> bus\u003c/a> taking passengers along Broadway from Jack London Square to 27th Street in Oakland will offer free rides from 7 a.m. on Thursday to 1 a.m. Friday every 10 to 15 minutes.\u003cbr>\n\u003ca name=\"sm\">\u003c/a>\u003c/p>\n\u003ch3>San Mateo County\u003c/h3>\n\u003cp>\u003cstrong>SamTrans:\u003c/strong> Free rides on\u003ca href=\"http://www.samtrans.com/about/MediaRelations/news/SamTrans_to_Offer_Free_Service_on_New_Year_s_Eve__Sunday_Schedule_on_New_Year_s_Day_4274.html\"> SamTrans\u003c/a> buses begin at 8 p.m. Thursday until 5 a.m. Friday. Buses will operate on a Sunday schedule on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Redi-Wheels:\u003c/strong> The district's paratransit service will offer free rides starting at 8 p.m. Thursday.\u003cbr>\n\u003ca name=\"sc\">\u003c/a>\u003c/p>\n\u003ch3>Santa Clara County\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>VTA:\u003c/strong> Santa Clara County's Valley Transportation Authority is offering free rides from 8 p.m. Thursday until 5 a.m. Friday. \u003ca href=\"http://www.vta.org/News-and-Media/Connect-with-VTA/Ride-VTA-on-Us-This-New-Years-Eve#.VoGGrPmANHx\">Extended service\u003c/a> will be offered for the Mountain View-Winchester and Alum Rock-Santa Teresa light-rail lines.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your New Year's resolution is to drive less, or if you're still looking for a designated driver to help you celebrate New Year's Eve, transportation services around the Bay Area are hoping to help you out.\u003c/p>\n\u003cp>Muni, Caltrain and AC Transit are just a few transportation options offering free rides and extended operations on New Year's Eve to carry celebrants into the wee hours of the new year.\u003c/p>\n\u003cp>Here's a breakdown of Bay Area transportation options to take you around \u003ca href=\"#sf\">San Francisco\u003c/a>, \u003ca href=\"#sm\">San Mateo\u003c/a>, \u003ca href=\"#sc\">Santa Clara\u003c/a> and the \u003ca href=\"#eb\">East Bay\u003c/a> this New Year's Eve.\u003c/p>\n\u003cp>\u003cstrong>BART:\u003c/strong> While BART is not offering free rides, extended service will be offered until approximately 3 a.m. Friday. Extra trains will be prepared for crowds after the fireworks show at the Embarcadero and will run every 20 minutes.\u003c/p>\n\u003cp>\"One of the most exciting things that San Franciscans and Bay Area residents get to do every year is go down and enjoy the fireworks at Embarcadero, so we want to be able to provide that service,\" said BART spokesman Taylor Huckaby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For those heading into the city after 8 p.m and those leaving the city after midnight, BART will begin utilizing \"skip-stop\" service in and out of the city. \u003ca href=\"http://www.bart.gov/news/articles/2015/news20151208-0\" target=\"_blank\">Some lines will skip\u003c/a> Embarcadero, Montgomery and West Oakland stations to ease the crowds at the most popular platforms.\u003c/p>\n\u003cp>BART will operate on a Sunday/holiday schedule on New Year's Day, with service beginning at 8 a.m.\u003c/p>\n\u003cp>\u003ca href=\"http://sf.funcheap.com/1231-free-cheap-nye-public-transportation-bartmunisamtranscaltrainvta/\">FuncheapSF\u003c/a> recommends buying round-trip tickets and loading Clipper cards in advance to avoid long lines.\u003c/p>\n\u003cp>\u003cstrong>Caltrain:\u003c/strong> Caltrain will begin offering free rides at 8 p.m. Thursday until 5 a.m. Friday. An extra four trains will leave from the \u003ca href=\"http://www.caltrain.com/stations/sanfranciscostation.html\" target=\"_blank\">San Francisco station\u003c/a> after the midnight fireworks show at the Embarcadero. Trains will operate on a \u003ca href=\"http://www.caltrain.com/schedules/weekend-timetable.html\" target=\"_blank\">Sunday/holiday schedule\u003c/a> on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Lyft and Uber: \u003c/strong>Lyft prices are capped at 200 percent this New Year's Eve, one of its \u003ca href=\"http://www.sfgate.com/bayarea/article/Uber-Lyft-vs-taxis-in-New-Year-s-Eve-fare-war-5984146.php\" target=\"_blank\">most competitive\u003c/a> business days of the year.\u003c/p>\n\u003cp>Uber is also taking part in \u003ca href=\"https://help.uber.com/h/6c8065cf-5535-4a8b-9940-d292ffdce119\" target=\"_blank\">surge pricing\u003c/a>. Uber \u003ca href=\"https://newsroom.uber.com/new-years-guide/\" target=\"_blank\">suggests \u003c/a>using the service early or catching a ride after midnight to avoid high fares.\u003c/p>\n\u003cp>On New Year's Eve last year, some Uber rides cost as much as $100. Lyft set a \"prime-time limit\" at a \u003ca href=\"http://www.ibtimes.com/uber-lyft-new-years-eve-2015-surge-pricing-cost-riders-1771582\" target=\"_blank\">controversial\u003c/a> 400 percent. You can decide if 200 percent is a steal.\u003ca name=\"sf\">\u003c/a>\u003c/p>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Muni:\u003c/strong> You can hop on any Muni bus for free starting at 8 p.m. on Thursday through 5 a.m. on Friday.\u003c/p>\n\u003cp>There will also be extended service until 4 a.m. on Muni Metro lines between West Portal and Embarcadero stations. Service will run until 2:15 a.m. to Fourth and King streets.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfmta.com/calendar/alerts/ride-muni-free-extra-service-new-years-eve\" target=\"_blank\">Extra Owl route \u003c/a>service will be offered from 1 a.m. to 5 a.m. on New Year's Day.\u003c/p>\n\u003cp>Clipper cards, Muni Mobile passes and Metro fares will not be necessary on Muni buses during free service hours. SFMTA asks that passengers do not tag their Clipper cards during free service hours. If tagged, cards will be charged. Muni Metro fare gates will be set to allow free access.\u003c/p>\n\u003cp>\u003cstrong>Cab:\u003c/strong> Luxor Cabs in partnership with Berg Injury Lawyers' \u003ca href=\"http://www.berginjurylawyers.com/about-us/community/safe-and-sober/\" target=\"_blank\">Safe and Sober Free Cab Ride Home Program\u003c/a> is offering free cab rides home from 10 p.m. on Thursday through 4 a.m. Friday.\u003c/p>\n\u003cp>Riders must be picked up at a restaurant, hotel or bar and dropped off to a residency to qualify for a free ride. Free rides do not count if the cab is hailed from the street. Each ride is limited to $35.\u003c/p>\n\u003cp>For a free cab, you can arrange a ride with Luxor Cab by calling \u003cspan style=\"line-height: 1.5\">(415) 282-4141. Patrons can tell the driver to send the taxi receipt to \u003ca href=\"http://www.berginjurylawyers.com/wp-content/uploads/2015/12/BIL_PressRelease_NYE-2015.pdf\" target=\"_blank\">Berg Injury Lawyers. \u003c/a>Berg Injury encourages riders to tip their taxi drivers.\u003cbr>\n\u003ca name=\"eb\">\u003c/a> \u003c/span>\u003c/p>\n\u003ch3>Alameda-Contra Consta County\u003c/h3>\n\u003cp>\u003cstrong>AC Transit: \u003c/strong>Free rides will be offered on all AC Transit lines from 8 p.m. Thursday until 5 a.m. Friday.\u003c/p>\n\u003cp>\"We want people to be safe and we care about our community,\" said Michele Joseph, director of marketing and communications at AC Transit. \"We care about our customers. And it's really important for everybody to realize the implication of driving while intoxicated.\"\u003c/p>\n\u003cp>\u003ca href=\"http://www.actransit.org/2015/12/23/ac-transit-offers-free-rides-on-new-year%E2%80%99s-eve/\" target=\"_blank\">All Nighter service\u003c/a> will be available to those traveling after midnight.\u003c/p>\n\u003cfigure id=\"attachment_10812200\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10812200 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/existing-map-400x176.png\" alt=\"Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m.\" width=\"400\" height=\"176\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-400x176.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-800x352.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map-768x338.png 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/existing-map.png 856w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s Free B Shuttle bus will be running on New Year’s Eve every 10-15 minutes from 7 p.m. to 1 a.m. \u003ccite>(City of Oakland's Economic & Workforce Development Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Broadway Shuttle:\u003c/strong> The green\u003ca href=\"http://www.meetdowntownoak.com/shuttle.php\"> bus\u003c/a> taking passengers along Broadway from Jack London Square to 27th Street in Oakland will offer free rides from 7 a.m. on Thursday to 1 a.m. Friday every 10 to 15 minutes.\u003cbr>\n\u003ca name=\"sm\">\u003c/a>\u003c/p>\n\u003ch3>San Mateo County\u003c/h3>\n\u003cp>\u003cstrong>SamTrans:\u003c/strong> Free rides on\u003ca href=\"http://www.samtrans.com/about/MediaRelations/news/SamTrans_to_Offer_Free_Service_on_New_Year_s_Eve__Sunday_Schedule_on_New_Year_s_Day_4274.html\"> SamTrans\u003c/a> buses begin at 8 p.m. Thursday until 5 a.m. Friday. Buses will operate on a Sunday schedule on New Year's Day.\u003c/p>\n\u003cp>\u003cstrong>Redi-Wheels:\u003c/strong> The district's paratransit service will offer free rides starting at 8 p.m. Thursday.\u003cbr>\n\u003ca name=\"sc\">\u003c/a>\u003c/p>\n\u003ch3>Santa Clara County\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>VTA:\u003c/strong> Santa Clara County's Valley Transportation Authority is offering free rides from 8 p.m. Thursday until 5 a.m. Friday. \u003ca href=\"http://www.vta.org/News-and-Media/Connect-with-VTA/Ride-VTA-on-Us-This-New-Years-Eve#.VoGGrPmANHx\">Extended service\u003c/a> will be offered for the Mountain View-Winchester and Alum Rock-Santa Teresa light-rail lines.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An 'Epic' Year In California Music",
"title": "An 'Epic' Year In California Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wzi_A2cyWu8\u003c/p>\n\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871051\" 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>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1t9_UNjaDxU\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\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/Wzi_A2cyWu8'\n title='//www.youtube.com/embed/Wzi_A2cyWu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\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/238871051&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/238871051'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\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/1t9_UNjaDxU'\n title='//www.youtube.com/embed/1t9_UNjaDxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\n\u003cp>https://twitter.com/suldrew/status/667801042420043776\u003c/p>\n\u003cp>San Francisco is now demanding cooperation from Bieber’s record label and distribution company, Def Jam Records and Universal Music Group, to punish those responsible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Herrera has vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,” he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. “Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,” he said in the news release. “Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.”\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\" rel=\"noopener\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: “Worst. Haight graffiti. Ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Herrera has vowed to “aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,” he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. “Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,” he said in the news release. “Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.”\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\" rel=\"noopener\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: “Worst. Haight graffiti. Ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera’s office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For 68-year-old Deena Yagi, singing is cheaper than therapy. That's why you can find her on most slow school nights singing old song standards or current pop jazz artists like \u003ca href=\"http://www.iamduffy.com/\">Duffy\u003c/a> at \u003ca href=\"http://nickslounge.com/\">Nick's Lounge\u003c/a>, a bar on Adeline Street in South Berkeley.\u003c/p>\n\u003cp>The lounge advertises itself as as a \"relaxed, unpretentious bar\" for local brews, nightly karaoke, live music and open-mic events. \"It's a very welcoming atmosphere,\" said Yagi, an unimposing woman with a sultry voice reminiscent of \u003ca href=\"http://marilynmonroe.com/\">Marilyn Monroe\u003c/a>, one Thursday evening before she took the stage.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870924\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\"I try to come four nights a week,\" she said. \"Beyond that it's too much, less than that it's not enough. It's like practice for me.\"\u003c/p>\n\u003cp>Yagi started singing regularly at Nick's Lounge about 10 years ago as she was going through a divorce. \"I went through a bad time during that period,\" she said. As her 30-year marriage was falling apart, she found that singing made her feel good. \"It's like eating dark chocolate,\" she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"lRp5Pb5CZiQZ69RPEQeQIQWe7nNIz63u\"]\u003c/p>\n\u003cp>Although Yagi sometimes chooses songs to fit the mood of the crowd, most of the time she chooses songs that reflect what's going on in her life.\u003c/p>\n\u003cp>\"I don't have a great voice. I don't have a strong powerful voice like \u003ca href=\"http://adele.com/\">Adele\u003c/a> or something like that,\" Yagi said. \"It's more about singing the song and interpreting the lyrics for me. That's why I say I'm singing to myself a lot, because I'm working things out for myself in the song.\"\u003c/p>\n\u003cp>Yagi encourages others to try out new songs and take risks. A lot of times people don't sing because they're nervous about getting onstage in front of people, Yagi said. But if you just focus on having a good time, you'll realize it's not as scary as it seems, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You don't have to be a great singer,\" she said. \"Just do it because it makes you feel good.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 68-year-old Deena Yagi, singing is cheaper than therapy. That's why you can find her on most slow school nights singing old song standards or current pop jazz artists like \u003ca href=\"http://www.iamduffy.com/\">Duffy\u003c/a> at \u003ca href=\"http://nickslounge.com/\">Nick's Lounge\u003c/a>, a bar on Adeline Street in South Berkeley.\u003c/p>\n\u003cp>The lounge advertises itself as as a \"relaxed, unpretentious bar\" for local brews, nightly karaoke, live music and open-mic events. \"It's a very welcoming atmosphere,\" said Yagi, an unimposing woman with a sultry voice reminiscent of \u003ca href=\"http://marilynmonroe.com/\">Marilyn Monroe\u003c/a>, one Thursday evening before she took the stage.\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/238870924&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/238870924'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"I try to come four nights a week,\" she said. \"Beyond that it's too much, less than that it's not enough. It's like practice for me.\"\u003c/p>\n\u003cp>Yagi started singing regularly at Nick's Lounge about 10 years ago as she was going through a divorce. \"I went through a bad time during that period,\" she said. As her 30-year marriage was falling apart, she found that singing made her feel good. \"It's like eating dark chocolate,\" she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although Yagi sometimes chooses songs to fit the mood of the crowd, most of the time she chooses songs that reflect what's going on in her life.\u003c/p>\n\u003cp>\"I don't have a great voice. I don't have a strong powerful voice like \u003ca href=\"http://adele.com/\">Adele\u003c/a> or something like that,\" Yagi said. \"It's more about singing the song and interpreting the lyrics for me. That's why I say I'm singing to myself a lot, because I'm working things out for myself in the song.\"\u003c/p>\n\u003cp>Yagi encourages others to try out new songs and take risks. A lot of times people don't sing because they're nervous about getting onstage in front of people, Yagi said. But if you just focus on having a good time, you'll realize it's not as scary as it seems, she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"You don't have to be a great singer,\" she said. \"Just do it because it makes you feel good.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The day before Thanksgiving in 2009, college student Drew Sperling collapsed in his San Luis Obispo apartment. He was 21 years old and having a stroke.\u003c/p>\n\u003cp>Instead of meeting their son that day for golf, Drew’s parents met him at the hospital, where he was in a medically induced coma to allow his brain to heal.\u003c/p>\n\u003cp>\"We brought his computer into the room and we started to play music that he had recorded on his computer,\" his father, Frank, remembers. \"And at one point as Drew started to come out of his coma you could see his lips move in time to the music. And that was our first indication that he was going to be okay.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870705\" 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>Six years later Drew’s made remarkable progress. Like many stroke survivors, however, he has a condition called aphasia, which makes communication complicated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the hospital and in the months that followed, Drew slowly regained his speech. At first, though, he was only able to say three words: no, go, and a swear word. Thoughts would form clearly in his mind but come out as some other variation of language. For the second time in his life, Drew had to learn to speak.\u003c/p>\n\u003cp>Today Drew's communicating with near-fluency. One thing that has helped him do that is song.\u003c/p>\n\u003cp>Drew is a member of a choir called the Aphasia Tones, based at California State University, East Bay, in Hayward.\u003c/p>\n\u003cp>Aphasia is a language impairment caused by brain injury, not an intellectual disability. The majority of people who have aphasia acquire it through stroke, but it can also be caused by other serious brain injuries, like car accidents or military combat. The disorder interrupts all aspects of communication, not just speaking, but reading, writing and listening.\u003c/p>\n\u003cp>About 2 million people in the U.S. have it, making it more common than Parkinson's Disease, but less well-known.\u003c/p>\n\u003cp>All 25 members of the Aphasia Tones have the disorder. The choir began in 2011 and is part of a larger aphasia treatment program at the university. Program director Ellen Bernstein-Ellis says choirs for people with aphasia are catching on globally, too. She regularly collaborates with an aphasia choir director in Australia.\u003c/p>\n\u003cfigure id=\"attachment_10797997\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10797997\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg\" alt=\"Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carmen Preston is another member of the Aphasia Tones. She’s in her mid-60s and had a stroke six years ago.\u003c/p>\n\u003cp>\"Aphasia can lock you up in your body,\" she says. \"When I practice for myself, singing is much better. Then I can hear it in my ears how to say it -- the words.\"\u003c/p>\n\u003cp>She demonstrates by saying the word \"participate.\" It's challenging to get out, and she stutters a bit. She then sings the word three times. It flows.\u003c/p>\n\u003cp>Nidhi Mahendra is an associate professor of speech pathology at CSU, East Bay and works with program participants. She says there are several factors at play that make singing easier than speaking for people with aphasia.\u003c/p>\n\u003cp>\"You’re thinking about the music rather than the specific words and that actually allows the words to flow better,\" Mahendra says.\u003c/p>\n\u003cp>There's also the help of the rhythm and repetition involved in singing, she says. \"If that’s not enough, there’s the other part about emotions. We sing in the shower or we hum to ourselves. It usually does put us in a good mood.\"\u003c/p>\n\u003cp>Today, the Aphasia Tones sit in a campus classroom, facing an audience of mostly friends and family at this end-of-semester performance. They wear matching black polo shirts, the choir’s name embroidered in gold. The choir sings songs with messages of survival or aphasia-awareness, like Katy Perry's \"Roar\" or \"This Land is Your Land,\" with lyrics rewritten to educate audiences about aphasia.\u003c/p>\n\u003cp>In the audience, Frank Sperling watches his son Drew.\u003c/p>\n\u003cp>\"They continue to get better and better,\" Frank Sperling says, welling up with emotion. \"It touches on your heart to hear these people and to hear Drew in particular perform.\"\u003c/p>\n\u003cp>Being in the choir offers a meaningful way to step back into a life when everything you’ve identified with disappears. It gives members a purpose, and a community.\u003c/p>\n\u003cp>\"I like the interaction,\" Drew says. \"I really like having a choir. I really like to sing. Honestly it’s fantastic.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After years with the Aphasia Tones, Drew recently joined another choir -- a community one -- where he’s the only one with aphasia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The day before Thanksgiving in 2009, college student Drew Sperling collapsed in his San Luis Obispo apartment. He was 21 years old and having a stroke.\u003c/p>\n\u003cp>Instead of meeting their son that day for golf, Drew’s parents met him at the hospital, where he was in a medically induced coma to allow his brain to heal.\u003c/p>\n\u003cp>\"We brought his computer into the room and we started to play music that he had recorded on his computer,\" his father, Frank, remembers. \"And at one point as Drew started to come out of his coma you could see his lips move in time to the music. And that was our first indication that he was going to be okay.\"\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/238870705&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/238870705'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Six years later Drew’s made remarkable progress. Like many stroke survivors, however, he has a condition called aphasia, which makes communication complicated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the hospital and in the months that followed, Drew slowly regained his speech. At first, though, he was only able to say three words: no, go, and a swear word. Thoughts would form clearly in his mind but come out as some other variation of language. For the second time in his life, Drew had to learn to speak.\u003c/p>\n\u003cp>Today Drew's communicating with near-fluency. One thing that has helped him do that is song.\u003c/p>\n\u003cp>Drew is a member of a choir called the Aphasia Tones, based at California State University, East Bay, in Hayward.\u003c/p>\n\u003cp>Aphasia is a language impairment caused by brain injury, not an intellectual disability. The majority of people who have aphasia acquire it through stroke, but it can also be caused by other serious brain injuries, like car accidents or military combat. The disorder interrupts all aspects of communication, not just speaking, but reading, writing and listening.\u003c/p>\n\u003cp>About 2 million people in the U.S. have it, making it more common than Parkinson's Disease, but less well-known.\u003c/p>\n\u003cp>All 25 members of the Aphasia Tones have the disorder. The choir began in 2011 and is part of a larger aphasia treatment program at the university. Program director Ellen Bernstein-Ellis says choirs for people with aphasia are catching on globally, too. She regularly collaborates with an aphasia choir director in Australia.\u003c/p>\n\u003cfigure id=\"attachment_10797997\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10797997\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg\" alt=\"Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17832_IMG_4853.JPG-qut.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because aphasia affects all aspects of communication, the Aphasia Tones use easy-to-read music guides like this one at a recent rehearsal in Hayward. \u003ccite>(Laura Klivans/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carmen Preston is another member of the Aphasia Tones. She’s in her mid-60s and had a stroke six years ago.\u003c/p>\n\u003cp>\"Aphasia can lock you up in your body,\" she says. \"When I practice for myself, singing is much better. Then I can hear it in my ears how to say it -- the words.\"\u003c/p>\n\u003cp>She demonstrates by saying the word \"participate.\" It's challenging to get out, and she stutters a bit. She then sings the word three times. It flows.\u003c/p>\n\u003cp>Nidhi Mahendra is an associate professor of speech pathology at CSU, East Bay and works with program participants. She says there are several factors at play that make singing easier than speaking for people with aphasia.\u003c/p>\n\u003cp>\"You’re thinking about the music rather than the specific words and that actually allows the words to flow better,\" Mahendra says.\u003c/p>\n\u003cp>There's also the help of the rhythm and repetition involved in singing, she says. \"If that’s not enough, there’s the other part about emotions. We sing in the shower or we hum to ourselves. It usually does put us in a good mood.\"\u003c/p>\n\u003cp>Today, the Aphasia Tones sit in a campus classroom, facing an audience of mostly friends and family at this end-of-semester performance. They wear matching black polo shirts, the choir’s name embroidered in gold. The choir sings songs with messages of survival or aphasia-awareness, like Katy Perry's \"Roar\" or \"This Land is Your Land,\" with lyrics rewritten to educate audiences about aphasia.\u003c/p>\n\u003cp>In the audience, Frank Sperling watches his son Drew.\u003c/p>\n\u003cp>\"They continue to get better and better,\" Frank Sperling says, welling up with emotion. \"It touches on your heart to hear these people and to hear Drew in particular perform.\"\u003c/p>\n\u003cp>Being in the choir offers a meaningful way to step back into a life when everything you’ve identified with disappears. It gives members a purpose, and a community.\u003c/p>\n\u003cp>\"I like the interaction,\" Drew says. \"I really like having a choir. I really like to sing. Honestly it’s fantastic.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After years with the Aphasia Tones, Drew recently joined another choir -- a community one -- where he’s the only one with aphasia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ragtime Lives On at a Southern California Chinese Restaurant",
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"content": "\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871148\" 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>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"10795716,10795715,10795714\"]\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\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/238871148&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/238871148'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "One Street, 16 Houses, 100,000 Christmas Lights. All Set to Music.",
"title": "One Street, 16 Houses, 100,000 Christmas Lights. All Set to Music.",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Deb and Terry Toews have been happily married for 26 years. They’re best friends, they say. And every year they try to envision an even brighter future -- for their front yard, that is.\u003c/p>\n\u003cp>They’ve spent many a Christmas season hanging up strands of decorative lights. They started off with 5,000 outdoor lights, then 10,000. In 2007, they synchronized the lights to music. Their suburban house became a big draw in the town of Clovis, just outside Fresno.\u003c/p>\n\u003cp>“Now we’re at 50,000 lights just in our yard,” says Terry. They could’ve added more this year, but they decided to amp it up in a different way -- by asking their neighbors to join in. They figured a few houses would participate, but they didn’t expect everyone on their street to sign up.\u003c/p>\n\u003cp>“I haven’t known my neighbors like this since I was a kid,” says Terry. He says people ask him how he got all the families to participate. “I don’t know. We just did.”\u003c/p>\n\u003cp>The result is \u003ca href=\"http://www.clovisfestivaloflights.org/santa_claus_lane.html\">Santa Claus Lane\u003c/a>: 16 houses, 100,000 lights and an hour of synchronized music. The lights flash to the music, bounce from one house to the next, and even race around the cul-de-sac.\u003c/p>\n\u003cfigure id=\"attachment_10805551\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10805551 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/houses-400x267.jpg\" alt=\"Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I wasn’t quite sure what to think of it,” says neighbor Tina Navarro. “It actually came together perfectly, though. I think it looks really nice. Everyone has their own little touch on their lawn.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take Navarro. She dresses up like Princess Leia from \"Star Wars\" and passes out sweets. “Would you like a candy cane?” she shouts to a gaggle of kids walking by her house.\u003c/p>\n\u003cp>The Toews say they both gave up their vacation time to get the street ready for the holidays.\u003c/p>\n\u003cp>“I do the programming and Terry does all the manual building,” says Deb. It takes at least three hours to synchronize one minute of a song to the flashing colored lights. Deb spent about 200 hours synchronizing the entire spectacle, which she says is a \"creative outlet.\"\u003c/p>\n\u003cp>Meanwhile, Terry set up command central on their front lawn. It looks like a tall gingerbread house on the outside, but inside hundreds of controllers power the mass of holiday lights.\u003c/p>\n\u003cp>“I laid awake nights before I went to sleep designing all of this and I’m not an electrician,” says Terry.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238870631\" 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 Toews even set up a nonprofit called \u003ca href=\"http://www.clovisfestivaloflights.org/become_a_sponsor.html\">Clovis Festival of Lights\u003c/a> to accept donations for the free nightly event. Neighbors also raise money for the production by selling pizza, popcorn and hot chocolate at a concession stand. And there’s a donation box to help out a local food pantry, Terry says.\u003c/p>\n\u003cp>All of the houses are wirelessly linked to a computer in the command center. Music is broadcast through a low frequency FM transmitter. Terry admits it’s all a little crazy. (\"Crazy fun,\" he says.) And it makes people happy.\u003c/p>\n\u003cp>He says a woman brought her mother to see the Christmas lights just at his house a couple of years ago. Her mom had Alzheimer’s disease and was feeling down -- but the lights put a smile on her face.\u003c/p>\n\u003cp>“That year she sent us a letter,\" Terry says. \"Her mom had passed away, but she thanked us for that one night because she saw a whole different person in her mom.”\u003c/p>\n\u003cp>The next Christmas, the daughter returned alone.\u003c/p>\n\u003cp>“I’m not usually an emotional person, but that really hit me,\"Terry says. That, \"and just the smile on kids’ faces.“\u003c/p>\n\u003cp>\"It’s just wonderful. I guess I’m just a little kid at heart, too. I love the lights.”\u003c/p>\n\u003cfigure id=\"attachment_10805546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10805546\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/happy-couple-400x267.jpg\" alt=\"Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he’s not the only one. A young man named Alex Michalski rang the Toews' doorbell a few weeks ago and asked if they could help him out. All he wanted for Christmas was to propose to his girlfriend Danielle Ybarra. Deb told him of course they could help.\u003c/p>\n\u003cp>The showpiece on the Toews' lawn is a tall, metal Christmas tree with hundreds of lights that can be programmed to form images or words. It’s kind of like a billboard in Times Square. Deb and Alex decided to program the proposal on the tree along with a favorite song, Mariah Carey’s \"All I Want for Christmas is You.\"\u003c/p>\n\u003cp>“After he left, me and my daughter were crying because it was just the sweetest thing,” Deb says. “And he was so excited.”\u003c/p>\n\u003cp>The plan went off without a hitch. Alex brought Danielle to Santa Claus Lane one recent Friday. After the Mariah Carey song ended, he got down on his knees. The lights on the tree flashed “Danielle, will you marry me?”\u003c/p>\n\u003cp>Friends and family started to cheer, and Danielle nodded yes.\u003c/p>\n\u003cp>“I love this woman and I want to be with her the rest of my life,” says Michalski.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christmas is magical, says Terry, and you never know what the lights might inspire.\u003c/p>\n\n",
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"excerpt": "One couple in Clovis, California goes all out for the holidays by programming music and lights on an entire street. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deb and Terry Toews have been happily married for 26 years. They’re best friends, they say. And every year they try to envision an even brighter future -- for their front yard, that is.\u003c/p>\n\u003cp>They’ve spent many a Christmas season hanging up strands of decorative lights. They started off with 5,000 outdoor lights, then 10,000. In 2007, they synchronized the lights to music. Their suburban house became a big draw in the town of Clovis, just outside Fresno.\u003c/p>\n\u003cp>“Now we’re at 50,000 lights just in our yard,” says Terry. They could’ve added more this year, but they decided to amp it up in a different way -- by asking their neighbors to join in. They figured a few houses would participate, but they didn’t expect everyone on their street to sign up.\u003c/p>\n\u003cp>“I haven’t known my neighbors like this since I was a kid,” says Terry. He says people ask him how he got all the families to participate. “I don’t know. We just did.”\u003c/p>\n\u003cp>The result is \u003ca href=\"http://www.clovisfestivaloflights.org/santa_claus_lane.html\">Santa Claus Lane\u003c/a>: 16 houses, 100,000 lights and an hour of synchronized music. The lights flash to the music, bounce from one house to the next, and even race around the cul-de-sac.\u003c/p>\n\u003cfigure id=\"attachment_10805551\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"wp-image-10805551 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/houses-400x267.jpg\" alt=\"Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/houses-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sixteen houses light up Santa Claus Lane, free to visitors through New Year's Eve. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“At first I wasn’t quite sure what to think of it,” says neighbor Tina Navarro. “It actually came together perfectly, though. I think it looks really nice. Everyone has their own little touch on their lawn.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take Navarro. She dresses up like Princess Leia from \"Star Wars\" and passes out sweets. “Would you like a candy cane?” she shouts to a gaggle of kids walking by her house.\u003c/p>\n\u003cp>The Toews say they both gave up their vacation time to get the street ready for the holidays.\u003c/p>\n\u003cp>“I do the programming and Terry does all the manual building,” says Deb. It takes at least three hours to synchronize one minute of a song to the flashing colored lights. Deb spent about 200 hours synchronizing the entire spectacle, which she says is a \"creative outlet.\"\u003c/p>\n\u003cp>Meanwhile, Terry set up command central on their front lawn. It looks like a tall gingerbread house on the outside, but inside hundreds of controllers power the mass of holiday lights.\u003c/p>\n\u003cp>“I laid awake nights before I went to sleep designing all of this and I’m not an electrician,” says Terry.\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/238870631&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/238870631'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Toews even set up a nonprofit called \u003ca href=\"http://www.clovisfestivaloflights.org/become_a_sponsor.html\">Clovis Festival of Lights\u003c/a> to accept donations for the free nightly event. Neighbors also raise money for the production by selling pizza, popcorn and hot chocolate at a concession stand. And there’s a donation box to help out a local food pantry, Terry says.\u003c/p>\n\u003cp>All of the houses are wirelessly linked to a computer in the command center. Music is broadcast through a low frequency FM transmitter. Terry admits it’s all a little crazy. (\"Crazy fun,\" he says.) And it makes people happy.\u003c/p>\n\u003cp>He says a woman brought her mother to see the Christmas lights just at his house a couple of years ago. Her mom had Alzheimer’s disease and was feeling down -- but the lights put a smile on her face.\u003c/p>\n\u003cp>“That year she sent us a letter,\" Terry says. \"Her mom had passed away, but she thanked us for that one night because she saw a whole different person in her mom.”\u003c/p>\n\u003cp>The next Christmas, the daughter returned alone.\u003c/p>\n\u003cp>“I’m not usually an emotional person, but that really hit me,\"Terry says. That, \"and just the smile on kids’ faces.“\u003c/p>\n\u003cp>\"It’s just wonderful. I guess I’m just a little kid at heart, too. I love the lights.”\u003c/p>\n\u003cfigure id=\"attachment_10805546\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-10805546\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/happy-couple-400x267.jpg\" alt=\"Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/happy-couple-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Deb Toews (left) helped Alex Michalski ask Danielle Ybarra to marry him by programming the proposal to music. \u003ccite>(Courtesy Scott Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he’s not the only one. A young man named Alex Michalski rang the Toews' doorbell a few weeks ago and asked if they could help him out. All he wanted for Christmas was to propose to his girlfriend Danielle Ybarra. Deb told him of course they could help.\u003c/p>\n\u003cp>The showpiece on the Toews' lawn is a tall, metal Christmas tree with hundreds of lights that can be programmed to form images or words. It’s kind of like a billboard in Times Square. Deb and Alex decided to program the proposal on the tree along with a favorite song, Mariah Carey’s \"All I Want for Christmas is You.\"\u003c/p>\n\u003cp>“After he left, me and my daughter were crying because it was just the sweetest thing,” Deb says. “And he was so excited.”\u003c/p>\n\u003cp>The plan went off without a hitch. Alex brought Danielle to Santa Claus Lane one recent Friday. After the Mariah Carey song ended, he got down on his knees. The lights on the tree flashed “Danielle, will you marry me?”\u003c/p>\n\u003cp>Friends and family started to cheer, and Danielle nodded yes.\u003c/p>\n\u003cp>“I love this woman and I want to be with her the rest of my life,” says Michalski.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Christmas is magical, says Terry, and you never know what the lights might inspire.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Archive Documents California Immigrant Story, Through Music",
"title": "Archive Documents California Immigrant Story, Through Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197469\" 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>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jxCN-trcvu0\u003c/p>\n\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3xVOB-HcMs\u003c/p>\n\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n",
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"excerpt": "This remarkable archive contains recordings of 185 musicians from numerous ethnic groups is in 12 languages. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/238197469&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/238197469'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\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/jxCN-trcvu0'\n title='//www.youtube.com/embed/jxCN-trcvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\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/N3xVOB-HcMs'\n title='//www.youtube.com/embed/N3xVOB-HcMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Growing Up in San Bernardino: A Remembrance",
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"content": "\u003cp>To most people, San Bernardino has never been a glamorous destination. It's not L.A. or Palm Springs but a spot in between, maybe where you stop for gas.\u003c/p>\n\u003cp>That's why those of us who called it home had to explain to everyone where it was. But some of them would look at us with a confused expression and say, \"I still have no idea where that is.\"\u003c/p>\n\u003cp>No matter how much people have heard now about San Bernardino, or how much they research the Inland Empire, they will never know what it was like before the Dec. 2 terrorist attack, which killed 14 people and injured 22.\u003c/p>\n\u003cfigure id=\"attachment_10785891\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17600_195922_1591423547831_3765356_n-qut\" rel=\"attachment wp-att-10785891\">\u003cimg class=\"wp-image-10785891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut.jpg\" alt=\"Hiking near Jurupa Valley, to my right is Colton and San Bernardino, to my left is Rialto and Fontana.\" width=\"640\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiking near Jurupa Valley. To my right is Colton and San Bernardino, to my left is Rialto and Fontana. \u003ccite>(Provided by Natalya Estrada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a child in the 1990s, San Bernardino was growing, diversifying and transitioning into more than just a town off Route 66. It was a place to start over, build families and get working-class jobs.\u003c/p>\n\u003cp>When I was 7, my parents would say, \"We're lucky we don't live in the city\" -- they meant L.A.. I would disagree then, but now I see they made the right choice for us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We were a family of six. In the late '90s, my father injured his back at work. Our family had just settled into a house and my mother had stopped working to take care of us. For my parents, the American Dream was suddenly at risk.\u003c/p>\n\u003cp>My mother went back to work. My father was now at home, picking us up from school, packing our lunches and fixing our bikes for the summer. As a child, I had no idea how much our family was struggling. I assumed that everyone ate bean tacos and ramen for dinner, and that everyone's dad made their bikes out of old pieces from the junkyard.\u003c/p>\n\u003cp>There also were idyllic aspects to our lives. My dad would drive us to \u003ca href=\"http://www.parks.ca.gov/?page_id=650\">Silverwood Lake\u003c/a>, a small reservoir in San Bernardino County, and teach us how to fish. I remember coming home with an ice bucket filled with trout, and dirt all over my pink jeans. We fed ducks at Jurupa Hills, explored the remnants of Santa's Village near Lake Arrowhead and caught frogs at \u003ca href=\"http://www.fs.usda.gov/detail/sbnf/about-forest/districts/?cid=fsbdev7_007802\">Lytle Creek.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10787777\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17707_img_0623-jpg-qut\" rel=\"attachment wp-att-10787777\">\u003cimg class=\"size-medium wp-image-10787777\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-800x450.jpg\" alt=\"One of our trips to Lytle Creek. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of our trips to Lytle Creek.\u003c/figcaption>\u003c/figure>\n\u003cp>As I got older, I realized the many ways in which the Inland Empire was different from where my father had grown up -- in the East L.A. housing projects.\u003c/p>\n\u003cp>He wanted our lives to be better, and they were.\u003c/p>\n\u003cp>We had an endless supply of orange groves and chicken farms around us. The fields stretched on for miles and tumbleweeds scattered around town when the Santa Ana winds hit.\u003c/p>\n\u003cp>We woke up early on Saturdays to barter for Mexican candy and beaded necklaces at various flea markets called \"swap meets,\" where the smell of roasted peanuts and cinnamon churros filled the air.\u003c/p>\n\u003cp>We'd run across the street to catch the palatero man, who sold frozen fruit popsicles, which never seemed to melt even in the 100-degree weather.\u003c/p>\n\u003cp>There were two seasons, the hot and not so hot. Everyone fixed their cars in the driveway because most of our neighbors \"knew a guy\" who could help. In my neighborhood, that guy was my dad.\u003c/p>\n\u003cfigure id=\"attachment_10794146\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17817_20151213_111355-qut\" rel=\"attachment wp-att-10794146\">\u003cimg class=\"wp-image-10794146 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-800x450.jpg\" alt=\"My Dad has thirty plus years of working on cars. He never ceases to amaze everyone with his knowledge of automotive. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My dad has 30-plus years of working on cars. He never ceases to amaze everyone with his automotive knowledge.\u003c/figcaption>\u003c/figure>\n\u003cp>There were bad areas of town, where you couldn't tell if a loud noise came from fireworks or gunshots. Our parents taught us to lie on the floor when we heard them.\u003c/p>\n\u003cp>San Bernardino or San Berghetto. That's what we called it sometimes. People would joke about it all the time. Nowadays it's not that funny anymore. We never used to be \"famous,\" at least not for the reason we are now.\u003c/p>\n\u003cp>Before the shootings, the TV cameras and the national news coverage, we had plenty of problems. In \u003ca href=\"http://www.sbsun.com/social-affairs/20130919/census-inland-empire-has-nations-highest-poverty-rate\">2013, the whole Inland Empire\u003c/a> had the highest rate of poverty in the nation. The city of San Bernardino itself went into \u003ca href=\"http://www.sbsun.com/government-and-politics/20140731/san-bernardino-bankruptcy-timeline\">bankruptcy\u003c/a> several years ago.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2013/01/15/us/crime-rises-in-san-bernardino-after-bankruptcy.html?_r=0\">Crime rates\u003c/a> rose over 50 percent from 2005 to 2012 and San Bernardino was hit with street gangs, unrest and uncertainty. The area as a whole is spread out, \u003ca href=\"http://www.pe.com/articles/inland-759509-california-unemployment.html\">underfunded\u003c/a> and underrepresented. It's hard to unite a community with so many moving in and out. For many people, living in San Bernardino and the surrounding areas was \u003ca href=\"http://www.dailybulletin.com/social-affairs/20140205/why-42000-people-moved-from-los-angeles-county-to-san-bernardino-county-from-2007-2011\">temporary\u003c/a> and cheaper than living in Orange County or Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10794379\" class=\"wp-caption alignleft\" style=\"max-width: 470px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17818_stats-qut\" rel=\"attachment wp-att-10794379\">\u003cimg class=\"wp-image-10794379 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17818_stats-qut.jpg\" alt=\"2013 US Census Bureau\" width=\"470\" height=\"302\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17818_stats-qut.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17818_stats-qut-400x257.jpg 400w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2013 U.S. Census Bureau. One in five adults in San Bernardino lacked basic literary skills.\u003c/figcaption>\u003c/figure>\n\u003cp>I saw new buildings pop up all over the county, and not long after they would be boarded up and closed. There were \u003ca href=\"http://articles.latimes.com/2002/may/20/local/me-empire20\">new homes\u003c/a> built in Fontana and Rialto, where people would move into them, only to lose them in the housing crisis in \u003ca href=\"http://money.cnn.com/2009/01/15/real_estate/millions_in_foreclosure/\">2008\u003c/a>.\u003c/p>\n\u003cp>Some would get second or third jobs at warehouses to avoid foreclosures. It became a harder life, but most people still managed to stay\u003ca href=\"http://www.scpr.org/news/2013/09/17/39287/five-years-after-the-housing-market-crash-the-inla/\"> afloat\u003c/a>.\u003c/p>\n\u003cp>Today when I see \"San Bernardino\" in bold red letters on CNN, it breaks my heart. All these people, people just like me, gone in an instant. I suppose that's how terrorism works. After we go through this state of \"high alert,\" panic and mourning, what will happen to us?\u003c/p>\n\u003cp>What will happen to San Bernardino? We can't wear a \u003cem>#San Bernardino Strong\u003c/em> and hope to suddenly heal. That's not how this works.\u003c/p>\n\u003cp>This Christmas I'll be returning to the San Bernardino area. I know it's not the same, but I do hope the little things haven't changed. I hope there are still cars overflowing in the driveway, endless tamales for dinner and hot chocolate around the fire pit in the backyard.\u003c/p>\n\u003cp>I hope my dad still tells his corny jokes, my sisters laugh until their stomachs hurt and my brother breaks another cup in the kitchen. It's tradition. I hope I come home to my mom sitting with my niece and sister-in-law on the couch, singing along to \"Frosty the Snowman.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Most of all, I hope we can just all be together and safe.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To most people, San Bernardino has never been a glamorous destination. It's not L.A. or Palm Springs but a spot in between, maybe where you stop for gas.\u003c/p>\n\u003cp>That's why those of us who called it home had to explain to everyone where it was. But some of them would look at us with a confused expression and say, \"I still have no idea where that is.\"\u003c/p>\n\u003cp>No matter how much people have heard now about San Bernardino, or how much they research the Inland Empire, they will never know what it was like before the Dec. 2 terrorist attack, which killed 14 people and injured 22.\u003c/p>\n\u003cfigure id=\"attachment_10785891\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17600_195922_1591423547831_3765356_n-qut\" rel=\"attachment wp-att-10785891\">\u003cimg class=\"wp-image-10785891 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut.jpg\" alt=\"Hiking near Jurupa Valley, to my right is Colton and San Bernardino, to my left is Rialto and Fontana.\" width=\"640\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17600_195922_1591423547831_3765356_n-qut-400x320.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hiking near Jurupa Valley. To my right is Colton and San Bernardino, to my left is Rialto and Fontana. \u003ccite>(Provided by Natalya Estrada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a child in the 1990s, San Bernardino was growing, diversifying and transitioning into more than just a town off Route 66. It was a place to start over, build families and get working-class jobs.\u003c/p>\n\u003cp>When I was 7, my parents would say, \"We're lucky we don't live in the city\" -- they meant L.A.. I would disagree then, but now I see they made the right choice for us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We were a family of six. In the late '90s, my father injured his back at work. Our family had just settled into a house and my mother had stopped working to take care of us. For my parents, the American Dream was suddenly at risk.\u003c/p>\n\u003cp>My mother went back to work. My father was now at home, picking us up from school, packing our lunches and fixing our bikes for the summer. As a child, I had no idea how much our family was struggling. I assumed that everyone ate bean tacos and ramen for dinner, and that everyone's dad made their bikes out of old pieces from the junkyard.\u003c/p>\n\u003cp>There also were idyllic aspects to our lives. My dad would drive us to \u003ca href=\"http://www.parks.ca.gov/?page_id=650\">Silverwood Lake\u003c/a>, a small reservoir in San Bernardino County, and teach us how to fish. I remember coming home with an ice bucket filled with trout, and dirt all over my pink jeans. We fed ducks at Jurupa Hills, explored the remnants of Santa's Village near Lake Arrowhead and caught frogs at \u003ca href=\"http://www.fs.usda.gov/detail/sbnf/about-forest/districts/?cid=fsbdev7_007802\">Lytle Creek.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10787777\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17707_img_0623-jpg-qut\" rel=\"attachment wp-att-10787777\">\u003cimg class=\"size-medium wp-image-10787777\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-800x450.jpg\" alt=\"One of our trips to Lytle Creek. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17707_IMG_0623.JPG-qut.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of our trips to Lytle Creek.\u003c/figcaption>\u003c/figure>\n\u003cp>As I got older, I realized the many ways in which the Inland Empire was different from where my father had grown up -- in the East L.A. housing projects.\u003c/p>\n\u003cp>He wanted our lives to be better, and they were.\u003c/p>\n\u003cp>We had an endless supply of orange groves and chicken farms around us. The fields stretched on for miles and tumbleweeds scattered around town when the Santa Ana winds hit.\u003c/p>\n\u003cp>We woke up early on Saturdays to barter for Mexican candy and beaded necklaces at various flea markets called \"swap meets,\" where the smell of roasted peanuts and cinnamon churros filled the air.\u003c/p>\n\u003cp>We'd run across the street to catch the palatero man, who sold frozen fruit popsicles, which never seemed to melt even in the 100-degree weather.\u003c/p>\n\u003cp>There were two seasons, the hot and not so hot. Everyone fixed their cars in the driveway because most of our neighbors \"knew a guy\" who could help. In my neighborhood, that guy was my dad.\u003c/p>\n\u003cfigure id=\"attachment_10794146\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17817_20151213_111355-qut\" rel=\"attachment wp-att-10794146\">\u003cimg class=\"wp-image-10794146 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-800x450.jpg\" alt=\"My Dad has thirty plus years of working on cars. He never ceases to amaze everyone with his knowledge of automotive. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17817_20151213_111355-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">My dad has 30-plus years of working on cars. He never ceases to amaze everyone with his automotive knowledge.\u003c/figcaption>\u003c/figure>\n\u003cp>There were bad areas of town, where you couldn't tell if a loud noise came from fireworks or gunshots. Our parents taught us to lie on the floor when we heard them.\u003c/p>\n\u003cp>San Bernardino or San Berghetto. That's what we called it sometimes. People would joke about it all the time. Nowadays it's not that funny anymore. We never used to be \"famous,\" at least not for the reason we are now.\u003c/p>\n\u003cp>Before the shootings, the TV cameras and the national news coverage, we had plenty of problems. In \u003ca href=\"http://www.sbsun.com/social-affairs/20130919/census-inland-empire-has-nations-highest-poverty-rate\">2013, the whole Inland Empire\u003c/a> had the highest rate of poverty in the nation. The city of San Bernardino itself went into \u003ca href=\"http://www.sbsun.com/government-and-politics/20140731/san-bernardino-bankruptcy-timeline\">bankruptcy\u003c/a> several years ago.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2013/01/15/us/crime-rises-in-san-bernardino-after-bankruptcy.html?_r=0\">Crime rates\u003c/a> rose over 50 percent from 2005 to 2012 and San Bernardino was hit with street gangs, unrest and uncertainty. The area as a whole is spread out, \u003ca href=\"http://www.pe.com/articles/inland-759509-california-unemployment.html\">underfunded\u003c/a> and underrepresented. It's hard to unite a community with so many moving in and out. For many people, living in San Bernardino and the surrounding areas was \u003ca href=\"http://www.dailybulletin.com/social-affairs/20140205/why-42000-people-moved-from-los-angeles-county-to-san-bernardino-county-from-2007-2011\">temporary\u003c/a> and cheaper than living in Orange County or Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_10794379\" class=\"wp-caption alignleft\" style=\"max-width: 470px\">\u003ca href=\"http://ww2.kqed.org/news/san-bernardino-rembrance/rs17818_stats-qut\" rel=\"attachment wp-att-10794379\">\u003cimg class=\"wp-image-10794379 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17818_stats-qut.jpg\" alt=\"2013 US Census Bureau\" width=\"470\" height=\"302\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17818_stats-qut.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17818_stats-qut-400x257.jpg 400w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">2013 U.S. Census Bureau. One in five adults in San Bernardino lacked basic literary skills.\u003c/figcaption>\u003c/figure>\n\u003cp>I saw new buildings pop up all over the county, and not long after they would be boarded up and closed. There were \u003ca href=\"http://articles.latimes.com/2002/may/20/local/me-empire20\">new homes\u003c/a> built in Fontana and Rialto, where people would move into them, only to lose them in the housing crisis in \u003ca href=\"http://money.cnn.com/2009/01/15/real_estate/millions_in_foreclosure/\">2008\u003c/a>.\u003c/p>\n\u003cp>Some would get second or third jobs at warehouses to avoid foreclosures. It became a harder life, but most people still managed to stay\u003ca href=\"http://www.scpr.org/news/2013/09/17/39287/five-years-after-the-housing-market-crash-the-inla/\"> afloat\u003c/a>.\u003c/p>\n\u003cp>Today when I see \"San Bernardino\" in bold red letters on CNN, it breaks my heart. All these people, people just like me, gone in an instant. I suppose that's how terrorism works. After we go through this state of \"high alert,\" panic and mourning, what will happen to us?\u003c/p>\n\u003cp>What will happen to San Bernardino? We can't wear a \u003cem>#San Bernardino Strong\u003c/em> and hope to suddenly heal. That's not how this works.\u003c/p>\n\u003cp>This Christmas I'll be returning to the San Bernardino area. I know it's not the same, but I do hope the little things haven't changed. I hope there are still cars overflowing in the driveway, endless tamales for dinner and hot chocolate around the fire pit in the backyard.\u003c/p>\n\u003cp>I hope my dad still tells his corny jokes, my sisters laugh until their stomachs hurt and my brother breaks another cup in the kitchen. It's tradition. I hope I come home to my mom sitting with my niece and sister-in-law on the couch, singing along to \"Frosty the Snowman.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of all, I hope we can just all be together and safe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"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",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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