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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum features steam locomotives, along with diesel freight and passenger trains -- built and operated by members of the East Bay Model Engineers Society.\u003c/p>\n\u003cp>“Trains going 'round and 'round fascinate me,” Walker says. “I feel a kinship towards people who mess around with trains, and I enjoy looking at the trains.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I had a happy childhood, and there is nothing wrong with staying in touch with your childhood as you get older,\" Walker continues. \"I spent hours and hours on the floor playing with my toys, and it gives me a little bit of feeling in my stomach of pleasure. That’s why I do it.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A political drama that gripped San Francisco in 2012 is now the subject of a one-woman play.\u003c/p>\n\u003cp>On May 28, actress Eliana López took center stage at the Mission Cultural Center for Latino Arts with a press preview of “¿Cuál es El Escándalo? / What Is The Scandal?” The play premieres tonight, May 29.\u003c/p>\n\u003cp>Created in collaboration with her brother, Alfonso López, the production offers a personal account of her experience during the year that her husband, San Francisco Sheriff Ross Mirkarimi, faced domestic violence charges stemming from an argument in which he bruised her arm.\u003c/p>\n\u003cp>To revisit the twists and turns of the ensuing legal battle, which attracted international attention and dominated news headlines for months, see KQED’s previous coverage \u003ca href=\"http://ww2.kqed.org/news/2012/01/13/ap-mirkarimi-to-face-misdemeanor-charges-in-domestic-violence-case\">here\u003c/a>, \u003ca href=\"http://www.kqed.org/a/forum/R201203210900\">here\u003c/a> and \u003ca href=\"http://www.kqed.org/a/forum/R201210100900\">here\u003c/a>.\u003c/p>\n\u003cp>López, who previously starred in soap operas and has been an actress for 25 years, begins the story in her native Venezuela, as she engaged in soul-searching over whether to relocate to San Francisco to start a life with an American politician she’d fallen in love with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She portrays multiple characters throughout the 70-minute bilingual performance, and made it very clear during interviews and a question-and-answer segment that the theater piece should not be interpreted as a documentary.\u003c/p>\n\u003cp>“None of these characters are real,” López insisted in an interview with KQED, “and all is fiction.”\u003c/p>\n\u003cp>Nevertheless, real photographs of her family, San Francisco City Hall, and \u003ca href=\"http://www.sfgate.com/opinion/openforum/article/Ross-Mirkarimi-s-wife-gives-her-side-of-story-3463213.php\">an op-ed she penned for the San Francisco Chronicle in 2012\u003c/a> are displayed on screen throughout the performance, which runs through June 7. And one character in particular is sure to spark the interest of San Francisco political observers.\u003c/p>\n\u003cp>He’s named “Mr. Lie,” portrayed with a mustache, and there’s a scene where a bodyguard in dark sunglasses rescues him from San Francisco City Hall during a bomb threat. This brings to mind \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/authorities-waited-22-minutes-to-clear-mayor-ed-lee-from-city-hall-after-bomb-threat/Content?oid=2201152\">a bizarre incident in 2012\u003c/a> in which San Francisco Mayor Ed Lee was abruptly removed from an Ethics Commission hearing concerning the misconduct charges brought against Mirkarimi. Police later explained that the disruption was due to a bomb threat that had been phoned in 20 minutes earlier.\u003c/p>\n\u003cp>In an interview with KQED, Lopez said she hopes her theater production will start a dialogue. “This experience, this situation, divided the community [into] two different sides that are still not talking to each other,” she said.\u003c/p>\n\u003cp>“For some people it was domestic violence, and they demonized us. And for others, it was a political witch hunt, and they demonized [domestic violence advocates] who were doing, for them, the right thing. But the part that is missing in all of this is the human part. We are all humans, we all make mistakes.”\u003c/p>\n\u003cp>López also said she felt her family had come under attack. “The system did not work in our case,” she said. Instead, “We are strong enough to survive the system.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/playlists/112154749\"]\u003c/p>\n\u003cp>López added that Mirkarimi hadn’t read the script or attended a rehearsal. He was expected to attend the premiere Friday night.\u003c/p>\n\u003cp>In an interview, KQED asked Mirkarimi if he was concerned that the subject of his wife’s play would cause the domestic violence incident to return as a focal point in his current re-election campaign.\u003c/p>\n\u003cp>“Well, I think that my opposition will continue to reloop the events and the turbulence of several years ago, anyway,” Mirkarimi responded. “I know that my opposition has done everything they could to mute Eliana’s voice. And this is Eliana’s opportunity to really project a perspective that really hasn’t been put out there, and it’s done through her artistry.”\u003c/p>\n\u003cp>A representative for District Attorney George Gascón did not respond to a request for comment about Lopez’ decision to use the domestic violence trial as inspiration for a theater production. \u003c/p>\n\u003cp>KQED also reached out to Casa de Las Madres, a domestic violence group that was vocal during the campaign in 2012 against the sheriff's reinstatement, seeking a reaction to the news that López would star in a play about the politically charged affair.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We feel that everything that we wanted to say about this situation was said already, so at this point we do not have anything else new to add,” Laia Gasa-Pons of Casa de Las Madres responded in an email, “but to wish Eliana success in her play.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A political drama that gripped San Francisco in 2012 is now the subject of a one-woman play.\u003c/p>\n\u003cp>On May 28, actress Eliana López took center stage at the Mission Cultural Center for Latino Arts with a press preview of “¿Cuál es El Escándalo? / What Is The Scandal?” The play premieres tonight, May 29.\u003c/p>\n\u003cp>Created in collaboration with her brother, Alfonso López, the production offers a personal account of her experience during the year that her husband, San Francisco Sheriff Ross Mirkarimi, faced domestic violence charges stemming from an argument in which he bruised her arm.\u003c/p>\n\u003cp>To revisit the twists and turns of the ensuing legal battle, which attracted international attention and dominated news headlines for months, see KQED’s previous coverage \u003ca href=\"http://ww2.kqed.org/news/2012/01/13/ap-mirkarimi-to-face-misdemeanor-charges-in-domestic-violence-case\">here\u003c/a>, \u003ca href=\"http://www.kqed.org/a/forum/R201203210900\">here\u003c/a> and \u003ca href=\"http://www.kqed.org/a/forum/R201210100900\">here\u003c/a>.\u003c/p>\n\u003cp>López, who previously starred in soap operas and has been an actress for 25 years, begins the story in her native Venezuela, as she engaged in soul-searching over whether to relocate to San Francisco to start a life with an American politician she’d fallen in love with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She portrays multiple characters throughout the 70-minute bilingual performance, and made it very clear during interviews and a question-and-answer segment that the theater piece should not be interpreted as a documentary.\u003c/p>\n\u003cp>“None of these characters are real,” López insisted in an interview with KQED, “and all is fiction.”\u003c/p>\n\u003cp>Nevertheless, real photographs of her family, San Francisco City Hall, and \u003ca href=\"http://www.sfgate.com/opinion/openforum/article/Ross-Mirkarimi-s-wife-gives-her-side-of-story-3463213.php\">an op-ed she penned for the San Francisco Chronicle in 2012\u003c/a> are displayed on screen throughout the performance, which runs through June 7. And one character in particular is sure to spark the interest of San Francisco political observers.\u003c/p>\n\u003cp>He’s named “Mr. Lie,” portrayed with a mustache, and there’s a scene where a bodyguard in dark sunglasses rescues him from San Francisco City Hall during a bomb threat. This brings to mind \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/authorities-waited-22-minutes-to-clear-mayor-ed-lee-from-city-hall-after-bomb-threat/Content?oid=2201152\">a bizarre incident in 2012\u003c/a> in which San Francisco Mayor Ed Lee was abruptly removed from an Ethics Commission hearing concerning the misconduct charges brought against Mirkarimi. Police later explained that the disruption was due to a bomb threat that had been phoned in 20 minutes earlier.\u003c/p>\n\u003cp>In an interview with KQED, Lopez said she hopes her theater production will start a dialogue. “This experience, this situation, divided the community [into] two different sides that are still not talking to each other,” she said.\u003c/p>\n\u003cp>“For some people it was domestic violence, and they demonized us. And for others, it was a political witch hunt, and they demonized [domestic violence advocates] who were doing, for them, the right thing. But the part that is missing in all of this is the human part. We are all humans, we all make mistakes.”\u003c/p>\n\u003cp>López also said she felt her family had come under attack. “The system did not work in our case,” she said. Instead, “We are strong enough to survive the system.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='undefined' height='undefined'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/112154749&visual=true&undefined'\n title='https://api.soundcloud.com/playlists/112154749'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>López added that Mirkarimi hadn’t read the script or attended a rehearsal. He was expected to attend the premiere Friday night.\u003c/p>\n\u003cp>In an interview, KQED asked Mirkarimi if he was concerned that the subject of his wife’s play would cause the domestic violence incident to return as a focal point in his current re-election campaign.\u003c/p>\n\u003cp>“Well, I think that my opposition will continue to reloop the events and the turbulence of several years ago, anyway,” Mirkarimi responded. “I know that my opposition has done everything they could to mute Eliana’s voice. And this is Eliana’s opportunity to really project a perspective that really hasn’t been put out there, and it’s done through her artistry.”\u003c/p>\n\u003cp>A representative for District Attorney George Gascón did not respond to a request for comment about Lopez’ decision to use the domestic violence trial as inspiration for a theater production. \u003c/p>\n\u003cp>KQED also reached out to Casa de Las Madres, a domestic violence group that was vocal during the campaign in 2012 against the sheriff's reinstatement, seeking a reaction to the news that López would star in a play about the politically charged affair.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We feel that everything that we wanted to say about this situation was said already, so at this point we do not have anything else new to add,” Laia Gasa-Pons of Casa de Las Madres responded in an email, “but to wish Eliana success in her play.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Kamasi Washington's 'The Epic' Lives Up to its Title",
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"content": "\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784151\" 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>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to know where to start with \"The Epic\" (Brainfeeder), the crazily ambitious new three-disc album by Los Angeles saxophonist, producer and arranger \u003ca href=\"http://kamasiwashington.com/about/\" target=\"_blank\">Kamasi Washington\u003c/a>.\u003c/p>\n\u003cp>The album arrived with an unusually loud buzz a few weeks ago. \u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Publications\u003c/a> that rarely pay much attention to jazz have hailed Washington as a jazz savior who seeks, and I’m quoting the press release, “to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again.”\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/206784151&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/206784151'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Maybe. But \"The Epic\" isn’t so much dangerous and new as strange, grandiose and bewildering. It’s part manifesto, part cinematic funhouse, and one hot mess. And did I mention that it’s a whole lot of fun?\u003c/p>\n\u003cp>The first track, “Change of the Guard,” sets the scene, opening with a surge of energy, until the strings and soaring wordless vocals float by and bring to mind an outtake from the \u003ca href=\"https://www.youtube.com/watch?v=9IyJ3uoDMsg\">original “Star Trek” theme\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An L.A. native, Washington graduated from the respected Academy of Music at Hamilton High and studied ethnomusicology at UCLA. Embraced by the greatest elder statesmen of the Southland jazz scene, including \u003ca href=\"http://www.vervemusicgroup.com/kennyburrell\" target=\"_blank\">Kenny Burrell\u003c/a> and the late\u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1\" target=\"_blank\"> Gerald Wilson\u003c/a>, he was also immersed in the world of hip-hop and R&B, touring with Snoop Dogg and \u003ca href=\"http://www.raphaelsaadiq.com/\" target=\"_blank\">Raphael Saadiq\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10535384\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg\" alt=\"The Epic \" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15269_KW-qut.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>More recently, Washington and many of his bandmates collaborated with \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html?_r=0\" target=\"_blank\">Kendrick Lamar\u003c/a> on his critically hailed hit, \"To Pimp A Butterfly.\" Some tracks on \"The Epic\" feel like an addendum to that project.\u003c/p>\n\u003cp>When Washington serves as his own lyricist, I’m not at all sure that the songs stand up to repeated listening. “The Rhythm Changes,” for instance, doesn’t give vocalist Patrice Quinn much to do, particularly when she’s joined by the choir and string section.\u003c/p>\n\u003cp>Almost half of the album's 17 tracks clock in at well over 10 minutes, and end up wearing out their welcome. But when Washington steps forward as a soloist, he can make a trenchant statement without wasting a note. And he keeps some impressive company.\u003c/p>\n\u003cp>His 10-piece band, \"The Next Step,\" features a core of longtime collaborators such as brothers Ronald Bruner Jr. on drums and Stephen Bruner (aka Thundercat) on six-string bass, percussionist Leon Mobley, keyboardist Brandon Coleman and pianist Cameron Graves.\u003c/p>\n\u003cp>My favorite pieces tend to be the tunes featuring Washington’s core band, like the atmospheric ballad “Isabelle,” which sounds like an early tune by the pioneering fusion band \"\u003ca href=\"http://www.allmusic.com/artist/weather-report-mn0000243527\" target=\"_blank\">Weather Report\u003c/a>.\"\u003c/p>\n\u003cp>So is Washington looking backward or forward? Or is he messing with us, like on his loopy arrangement of “Cherokee?\" It’s a tune famously treated as a furious sprint by beboppers, but in Washington’s hands it’s an easy grooving stroll, a la Hugh Masekela’s “Grazing In the Grass.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/NtQRBzSN9Vw?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Los Angeles is no stranger to jazz manifestos. Most importantly, avant-garde patriarch \u003ca href=\"http://www.npr.org/2010/03/01/101618034/act-like-you-know-ornette-coleman\" target=\"_blank\">Ornette Coleman\u003c/a> and his great L.A. quartet delivered the epochal 1959-60 free jazz statements, \"The Shape of Jazz to Come\" and \"Change of the Century,\" albums that introduced new approaches to rhythm and form.\u003c/p>\n\u003cp>Washington has created his own mythic realm, but his busy production is often a case of more is less. He closes the album with “The Message,” which left me pondering: What exactly is he trying to say?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My takeaway is that Kamasi Washington is willing to try just about anything. It may not work. It may even be ridiculous, but it’s not going to be boring. For a project as sweeping and, well, epic as \"The Epic,\" that’s an impressive achievement in itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Invisible Force: Latinos at War in Vietnam",
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"content": "\u003cp>This Memorial Day coincides with the 50\u003csup>th\u003c/sup> anniversary of the U.S. military’s first major strike against the North Vietnamese. Nearly 60,000 American troops would die in the Vietnam War.\u003c/p>\n\u003cp>Many of the troops were Latino. But to this day no one knows exactly how many.\u003c/p>\n\u003cp>Freddy Romero is among those who came back. But when he marched off to war nearly 50 years ago, his sense of geography wasn’t the best.\u003c/p>\n\u003cp>“I didn’t know where Vietnam was. I just thought; I’m going to China,” laughs Romero.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206783924\" 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>He was like a lot of kids from East L.A. who came of age during the Vietnam War. His family didn’t have much money. He flunked out of college. So, at the tender age of 17, he signed up with the Marines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was just a little boy,” says Romero. “I was very sheltered even though I grew up in East L.A., going into a situation I knew nothing about. But when I got there I just fell right in.”\u003c/p>\n\u003cp>Romero shared this story with students from \u003ca href=\"http://www.pomona.edu/\">Pomona College \u003c/a>for an oral history project led by \u003ca href=\"https://summerssandoval.wordpress.com/bio/\">Tomas Summers Sandoval\u003c/a>, a professor of history and Chicano studies.\u003c/p>\n\u003cp>The Pomona College professor is also the son of a Vietnam War veteran.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was very sheltered even though I grew up in East L.A., going into a situation I knew nothing about.'\u003ccite>Freddy Romero\u003c/cite>[audio mp3=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Freddy-Romero-Pomona-College-oral-history-excerpt.mp3\"][/audio]\n\u003c/aside>\n\u003cp>“One of the earliest memories I have is of this green photo album of all my dad’s pictures from Vietnam,” recalls Summers Sandoval, sitting in his university office on a recent weekday.\u003c/p>\n\u003cp>“I remember being a small kid before you even understand what war is looking at pictures of my 19-year-old father in Vietnam.”\u003c/p>\n\u003cp>Summers Sandoval began asking questions about his father’s war experience and that of other relatives who also served.\u003c/p>\n\u003cp>Looking back, says Sandoval, it seemed like everyone in his community had a connection to the Vietnam War.\u003c/p>\n\u003cp>Yet the sacrifices of Latino Vietnam War veterans have never been fully measured.\u003c/p>\n\u003cp>“During the war, the U.S. military didn’t keep separate data on Latinos,” explains Summers Sandoval. “Latinos were not considered their own racial ethnic category; they were just folded into the white population.”\u003c/p>\n\u003cp>At the height of the war, around 10 percent of U.S. residents were Latino. But a study from Cal State Los Angeles found that Latinos made up about 20 percent off all U.S. troops killed in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_10534284\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam.jpg\">\u003cimg class=\"size-medium wp-image-10534284\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-800x548.jpg\" alt=\"Tom Sandoval, father of Pomona College professor Tomas Summers Sandoval, while on active duty during the Vietnam War\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-1440x987.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tom Sandoval, father of Pomona College professor Tomas Summers Sandoval, while on active duty during the Vietnam War \u003ccite>(courtesy of Tom Sandoval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that research covered only the first few years of the conflict. Summers Sandoval is going further, scrutinizing census data and causality reports to finally learn the true number of those lost.\u003c/p>\n\u003cp>Just as important is capturing the real-life stories of veterans like Freddy Romero -- and in the process painting a fuller picture of Latino enclaves across California before and after the war.\u003c/p>\n\u003cp>“It’s a way of understanding the opportunities or lack of opportunities that existed,” says Sandoval. “It also tells us a lot about how the Vietnam War was reaching into a lot of poor barrios and in working-class communities all throughout California and in a disproportionate way.”\u003c/p>\n\u003cp>A lot of Latinos didn’t qualify for deferments because they were high school dropouts or were not enrolled in college.\u003c/p>\n\u003cp>In one of over a hundred interviews recorded by Summers Sandoval and student researchers, veteran David Lopez remembers what a high school counselor told him when he turned 17.\u003c/p>\n\u003cp>“He called me into his office and he said to me, 'You are so damn dumb you’ll never make it college,' ” remembered Lopez. “And that pretty much set the tone for what I was gonna do next.”\u003c/p>\n\u003cp>In a recording of this interview, Lopez explains how he went into a Marine recruiting office and told the recruiter he wanted to sign up right away. He wanted an infantry position and he wanted to ship out ASAP.\u003c/p>\n\u003cp>Summers Sandoval asks him why he chose the Marine Corps.\u003c/p>\n\u003cp>“You know, one thing about the Latino cultures, about Latinos in general, we’re warriors from the get-go,” said Lopez. “We’ve been fighting for our rights, for this country, forever. And I felt the Marines was the best way to go because the Marine Corps trains warriors to be better warriors.”\u003c/p>\n\u003cp>While thousands of young Latinos were swept into the military, others were fighting against the war.\u003c/p>\n\u003cp>This year also marks the 45\u003csup>th\u003c/sup> anniversary of the \u003ca href=\"https://www.youtube.com/watch?v=famNeiosTVk\">Chicano Moratorium\u003c/a>, when thousands of Latinos flooded into the streets of East L.A. in August 1970.\u003c/p>\n\u003cp>One veteran told Summers Sandoval that he returned from Vietnam just in time for the protest -- and the violent clash with police that shattered it.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Vietnam...certainly impacted my life, but it didn’t wreck my life. I think it motivated my life.'\u003ccite>Victor Chavez\u003c/cite>[audio mp3=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/LATINO-VETS-victor-chavez.mp3\"][/audio]\n\u003c/aside>\n\u003cp>“He saw a police officer start to hit an older woman with a baton and he went up to that officer and knocked him out,” says Summers Sandoval. “To him it was like, literally, war come home.”\u003c/p>\n\u003cp>In another recording from the oral history project, Victor Chavez said he never questioned going to war in Vietnam, until he got home.\u003c/p>\n\u003cp>“You know I sat there for a year really wondering what the hell did I do, what did we do,” says Chavez.\u003c/p>\n\u003cp>But Chavez says the military also gave him direction.\u003c/p>\n\u003cp>He got married and raised a family. He enrolled in college and eventually become a high school principal in the El Monte Union High School District.\u003c/p>\n\u003cp>“I think that’s a misperception about Vietnam veterans that somehow this war wrecked all our lives,” says Chavez. “I have very strong feelings about Vietnam and it certainly impacted my life, but it didn’t wreck my life. I think it motivated my life.”\u003c/p>\n\u003cp>Summers Sandoval says Latino veterans actually tended to do better economically than Latinos who didn’t serve.\u003c/p>\n\u003cp>“Higher income, more likely to have a college education, to be a homeowner, all these kinds of things we use to measure economic success,” says Summers Sandoval.\u003c/p>\n\u003cp>After Sunday Mass at Holy Name of Mary Church in the city of San Dimas, Joe Martinez shows off an enormous display of framed pictures. They’re portraits of Vietnam and World War II veterans, lined up alongside active-duty Marines and soldiers.\u003c/p>\n\u003cp>“This particular shelf here is the ones who are currently serving from our parish,” explains Martinez.\u003c/p>\n\u003cfigure id=\"attachment_10534287\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176.jpg\">\u003cimg class=\"wp-image-10534287 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-800x600.jpg\" alt=\"Vietnam War veteran Joe Martinez heads the Stars and Stripes Ministry at Holy Name of Mary Catholic Church in San Dimas, CA.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vietnam War veteran Joe Martinez heads the Stars and Stripes Ministry at Holy Name of Mary Catholic Church in San Dimas, CA. \u003ccite>(Steven Cuevas /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an old sepia-colored picture of Martinez’s father from World War II. A more recent portrait of Joe Martinez is there too, in his Marine dress blues.\u003c/p>\n\u003cp>Martinez enlisted in the Marine Corp in the early '60s just before things heated up in Vietnam. He was among the first wave of troops to be deployed in the summer of 1965.\u003c/p>\n\u003cp>“And I volunteered to go flying as a gunner, and I flew 41 missions,” recalls Martinez\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>After serving in Vietnam, Martinez spent about 25 years in the Marine reserves and launched a successful career in the insurance business. Now he helps run the parish’s Stars and Stripes Ministry, dedicated to veteran issues.\u003c/p>\n\u003cp>“There are a lot of people continuing to serve. They may not be wearing the uniform, but they’re serving our communities, serving our churches,” says Martinez. “Doesn’t matter whether you’re Hispanic or whoever you are, we’re all doing the same thing trying to help those around us. We’re serving.”\u003c/p>\n\u003cp>Heroism on the battlefield is widely celebrated in popular films and on national holidays.\u003c/p>\n\u003cp>But Summers Sandoval says his research also looks at the kind of quiet heroism that went on after these veterans returned home from Vietnam.\u003c/p>\n\u003cp>“To me they are all heroes,” says Summers Sandoval. \"Just for the ability to live their lives after the war in a society that was very often not even willing to recognize them, to even acknowledge their experience.”\u003c/p>\n\u003cp>Summers Sandoval’s book chronicling the experiences of Latinos in the Vietnam War is due out next year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Audio recordings of the veterans interviewed for the ongoing oral history project are being archived at the Library of Congress.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Memorial Day coincides with the 50\u003csup>th\u003c/sup> anniversary of the U.S. military’s first major strike against the North Vietnamese. Nearly 60,000 American troops would die in the Vietnam War.\u003c/p>\n\u003cp>Many of the troops were Latino. But to this day no one knows exactly how many.\u003c/p>\n\u003cp>Freddy Romero is among those who came back. But when he marched off to war nearly 50 years ago, his sense of geography wasn’t the best.\u003c/p>\n\u003cp>“I didn’t know where Vietnam was. I just thought; I’m going to China,” laughs Romero.\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/206783924&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/206783924'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He was like a lot of kids from East L.A. who came of age during the Vietnam War. His family didn’t have much money. He flunked out of college. So, at the tender age of 17, he signed up with the Marines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was just a little boy,” says Romero. “I was very sheltered even though I grew up in East L.A., going into a situation I knew nothing about. But when I got there I just fell right in.”\u003c/p>\n\u003cp>Romero shared this story with students from \u003ca href=\"http://www.pomona.edu/\">Pomona College \u003c/a>for an oral history project led by \u003ca href=\"https://summerssandoval.wordpress.com/bio/\">Tomas Summers Sandoval\u003c/a>, a professor of history and Chicano studies.\u003c/p>\n\u003cp>The Pomona College professor is also the son of a Vietnam War veteran.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was very sheltered even though I grew up in East L.A., going into a situation I knew nothing about.'\u003ccite>Freddy Romero\u003c/cite>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003c/aside>\n\u003cp>“One of the earliest memories I have is of this green photo album of all my dad’s pictures from Vietnam,” recalls Summers Sandoval, sitting in his university office on a recent weekday.\u003c/p>\n\u003cp>“I remember being a small kid before you even understand what war is looking at pictures of my 19-year-old father in Vietnam.”\u003c/p>\n\u003cp>Summers Sandoval began asking questions about his father’s war experience and that of other relatives who also served.\u003c/p>\n\u003cp>Looking back, says Sandoval, it seemed like everyone in his community had a connection to the Vietnam War.\u003c/p>\n\u003cp>Yet the sacrifices of Latino Vietnam War veterans have never been fully measured.\u003c/p>\n\u003cp>“During the war, the U.S. military didn’t keep separate data on Latinos,” explains Summers Sandoval. “Latinos were not considered their own racial ethnic category; they were just folded into the white population.”\u003c/p>\n\u003cp>At the height of the war, around 10 percent of U.S. residents were Latino. But a study from Cal State Los Angeles found that Latinos made up about 20 percent off all U.S. troops killed in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_10534284\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam.jpg\">\u003cimg class=\"size-medium wp-image-10534284\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-800x548.jpg\" alt=\"Tom Sandoval, father of Pomona College professor Tomas Summers Sandoval, while on active duty during the Vietnam War\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-1440x987.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-Tom-1-Vietnam.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tom Sandoval, father of Pomona College professor Tomas Summers Sandoval, while on active duty during the Vietnam War \u003ccite>(courtesy of Tom Sandoval)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that research covered only the first few years of the conflict. Summers Sandoval is going further, scrutinizing census data and causality reports to finally learn the true number of those lost.\u003c/p>\n\u003cp>Just as important is capturing the real-life stories of veterans like Freddy Romero -- and in the process painting a fuller picture of Latino enclaves across California before and after the war.\u003c/p>\n\u003cp>“It’s a way of understanding the opportunities or lack of opportunities that existed,” says Sandoval. “It also tells us a lot about how the Vietnam War was reaching into a lot of poor barrios and in working-class communities all throughout California and in a disproportionate way.”\u003c/p>\n\u003cp>A lot of Latinos didn’t qualify for deferments because they were high school dropouts or were not enrolled in college.\u003c/p>\n\u003cp>In one of over a hundred interviews recorded by Summers Sandoval and student researchers, veteran David Lopez remembers what a high school counselor told him when he turned 17.\u003c/p>\n\u003cp>“He called me into his office and he said to me, 'You are so damn dumb you’ll never make it college,' ” remembered Lopez. “And that pretty much set the tone for what I was gonna do next.”\u003c/p>\n\u003cp>In a recording of this interview, Lopez explains how he went into a Marine recruiting office and told the recruiter he wanted to sign up right away. He wanted an infantry position and he wanted to ship out ASAP.\u003c/p>\n\u003cp>Summers Sandoval asks him why he chose the Marine Corps.\u003c/p>\n\u003cp>“You know, one thing about the Latino cultures, about Latinos in general, we’re warriors from the get-go,” said Lopez. “We’ve been fighting for our rights, for this country, forever. And I felt the Marines was the best way to go because the Marine Corps trains warriors to be better warriors.”\u003c/p>\n\u003cp>While thousands of young Latinos were swept into the military, others were fighting against the war.\u003c/p>\n\u003cp>This year also marks the 45\u003csup>th\u003c/sup> anniversary of the \u003ca href=\"https://www.youtube.com/watch?v=famNeiosTVk\">Chicano Moratorium\u003c/a>, when thousands of Latinos flooded into the streets of East L.A. in August 1970.\u003c/p>\n\u003cp>One veteran told Summers Sandoval that he returned from Vietnam just in time for the protest -- and the violent clash with police that shattered it.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Vietnam...certainly impacted my life, but it didn’t wreck my life. I think it motivated my life.'\u003ccite>Victor Chavez\u003c/cite>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003c/aside>\n\u003cp>“He saw a police officer start to hit an older woman with a baton and he went up to that officer and knocked him out,” says Summers Sandoval. “To him it was like, literally, war come home.”\u003c/p>\n\u003cp>In another recording from the oral history project, Victor Chavez said he never questioned going to war in Vietnam, until he got home.\u003c/p>\n\u003cp>“You know I sat there for a year really wondering what the hell did I do, what did we do,” says Chavez.\u003c/p>\n\u003cp>But Chavez says the military also gave him direction.\u003c/p>\n\u003cp>He got married and raised a family. He enrolled in college and eventually become a high school principal in the El Monte Union High School District.\u003c/p>\n\u003cp>“I think that’s a misperception about Vietnam veterans that somehow this war wrecked all our lives,” says Chavez. “I have very strong feelings about Vietnam and it certainly impacted my life, but it didn’t wreck my life. I think it motivated my life.”\u003c/p>\n\u003cp>Summers Sandoval says Latino veterans actually tended to do better economically than Latinos who didn’t serve.\u003c/p>\n\u003cp>“Higher income, more likely to have a college education, to be a homeowner, all these kinds of things we use to measure economic success,” says Summers Sandoval.\u003c/p>\n\u003cp>After Sunday Mass at Holy Name of Mary Church in the city of San Dimas, Joe Martinez shows off an enormous display of framed pictures. They’re portraits of Vietnam and World War II veterans, lined up alongside active-duty Marines and soldiers.\u003c/p>\n\u003cp>“This particular shelf here is the ones who are currently serving from our parish,” explains Martinez.\u003c/p>\n\u003cfigure id=\"attachment_10534287\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176.jpg\">\u003cimg class=\"wp-image-10534287 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-800x600.jpg\" alt=\"Vietnam War veteran Joe Martinez heads the Stars and Stripes Ministry at Holy Name of Mary Catholic Church in San Dimas, CA.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/latino-vets-pic-joe-IMG_5176.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vietnam War veteran Joe Martinez heads the Stars and Stripes Ministry at Holy Name of Mary Catholic Church in San Dimas, CA. \u003ccite>(Steven Cuevas /KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s an old sepia-colored picture of Martinez’s father from World War II. A more recent portrait of Joe Martinez is there too, in his Marine dress blues.\u003c/p>\n\u003cp>Martinez enlisted in the Marine Corp in the early '60s just before things heated up in Vietnam. He was among the first wave of troops to be deployed in the summer of 1965.\u003c/p>\n\u003cp>“And I volunteered to go flying as a gunner, and I flew 41 missions,” recalls Martinez\u003cstrong>. \u003c/strong>\u003c/p>\n\u003cp>After serving in Vietnam, Martinez spent about 25 years in the Marine reserves and launched a successful career in the insurance business. Now he helps run the parish’s Stars and Stripes Ministry, dedicated to veteran issues.\u003c/p>\n\u003cp>“There are a lot of people continuing to serve. They may not be wearing the uniform, but they’re serving our communities, serving our churches,” says Martinez. “Doesn’t matter whether you’re Hispanic or whoever you are, we’re all doing the same thing trying to help those around us. We’re serving.”\u003c/p>\n\u003cp>Heroism on the battlefield is widely celebrated in popular films and on national holidays.\u003c/p>\n\u003cp>But Summers Sandoval says his research also looks at the kind of quiet heroism that went on after these veterans returned home from Vietnam.\u003c/p>\n\u003cp>“To me they are all heroes,” says Summers Sandoval. \"Just for the ability to live their lives after the war in a society that was very often not even willing to recognize them, to even acknowledge their experience.”\u003c/p>\n\u003cp>Summers Sandoval’s book chronicling the experiences of Latinos in the Vietnam War is due out next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audio recordings of the veterans interviewed for the ongoing oral history project are being archived at the Library of Congress.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Filipino-Americans Spin Pop Music Into International Fame",
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"content": "\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206784445\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a teenager in the '80s, certain pop music might remind you of being in a nightclub — disco hits and remixes by bands like Menage and Boys Town Gang.\u003c/p>\n\u003cp>For Filipino-American communities putting down roots in California, pop hits from bands like these became a kind of soundtrack. They were remixed and played at weddings, birthdays, anniversaries, debuts or coming-of-age parties. The demand for music at all these events gave rise to a phenomenon, the Filipino-American DJ.\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/206784445&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/206784445'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A new book called \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>\" describes the cultural importance of the Filipino-American DJ scene that formed in the Bay Area during the '80s, and how it eventually led to the emergence of some internationally famous DJs. Today, young Filipino-Americans still look up to those DJs and aspire to spin records.\u003c/p>\n\u003cp>Orlando Madrid is part of the first generation of Filipino-American DJs in the Bay Area. At his garage in Daly City, south of San Francisco, he's hanging out with a bunch of DJs in their 20s. There is music equipment all around and stacks of records Madrid has digitized. He is playing us a classic from the '80s,\u003ca href=\"https://www.youtube.com/watch?v=GWHZxXuJFzw\"> \"Can't Take My Eyes Off Of You\" by Boys Town Gang.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10535153\" class=\"wp-caption alignleft\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut.jpg\">\u003cimg class=\"wp-image-10535153\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg\" alt=\"Orlando Madrid with an old mixer he used to deejay with back in the '80s.\" width=\"289\" height=\"386\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15258_IMG_2882.JPG-qut-e1432318395853-960x1280.jpg 960w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Orlando Madrid with an old mixer he used to deejay with back in the '80s. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s cha-cha, Madrid explains. Yes, cha-cha is a kind of ballroom dance, originally from Cuba. But electronic-disco versions from the '80s were big hits in the Filipino-American community. Madrid puts on another tune from his playlist. It’s a remix of the song \"\u003ca href=\"https://www.youtube.com/watch?v=VA4bKJUDn7o\">Memory\" \u003c/a>from the Broadway musical \"Cats.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kevin Brown is one of the young DJs crowded around Madrid. Brown says, “The DJ scene back in the day was legendary. People still talk about it.”\u003c/p>\n\u003cp>“The scene” back in Madrid's day was made up of mostly high schoolers, throwing parties in suburban garages, having competitions -- DJ battles. They formed groups, “Mobile DJ crews,” of four or five kids to do lighting, sound and music.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The DJ scene back in the day was legendary. People still talk about it.'\u003ccite>DJ Kevin Brown\u003c/cite>\u003c/aside>\n\u003cp>Oliver Wang is a professor of sociology at California State University, Long Beach and author of \"\u003ca href=\"http://legionsofboom.com/\">Legions of Boom\u003c/a>.\" The book traces the development and cultural importance of these mobile DJ crews. Wang says, “If you were a Filipino teenager growing up in the Bay Area, you probably had some connection to that scene.”\u003c/p>\n\u003cp>Wang says some of the young DJs following in Madrid’s footsteps eventually broke out and got famous -- people like Qbert, Mix Master Mike, Apollo, Shortkut. But instead of just playing records, they started scratching them.\u003c/p>\n\u003cp>DJ Shortkut, aka Jonathan Cruz, says, “Oh yeah, definitely. I credit a lot of what I do now to the mobile scene.”\u003c/p>\n\u003cp>Cruz says that, like most Filipino-American DJs, he got his start at family gigs, where people demanded those '80s hits. He says, “It's funny man, it's early '80s aerobic music.”\u003c/p>\n\u003cp>Now, Cruz remixes a wide variety of music and has won regional and national DJ battles. He says Filipino-Americans like him used to stand out at competitions.\u003c/p>\n\u003cp>Cruz says, “I heard people underneath their breath say, ' Who are these Chinese guys out of nowhere from the West Coast coming out here to battle?' ”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'The joke is, there's a lot of fog here because everyone is cooking rice.' \u003ccite>DJ Orlando Madrid\u003c/cite>\u003c/aside>\n\u003cp>Since then, the Filipino-American population has grown, becoming the largest Asian-American minority in California. About half of the country’s entire 3.4 million Filipino-Americans live in the state. Daly City has the highest concentration of any U.S. city.\u003c/p>\n\u003cp>Orlando Madrid says you can see the evidence in the air. He says, “The joke is, there's a lot of fog here because everyone is cooking rice.”\u003c/p>\n\u003cp>Madrid says the DJ scene here was about more than playing pop music. It was a way to form an identity as the kids of immigrants. He never got famous, but he says the music kept him away from drugs and violence -- fallout from the Filipino-American gangs here in the '80s.\u003c/p>\n\u003cp>“The way I've recognized it,” Madrid says, “deejaying kept me out of a lot of trouble I could have gotten into.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Madrid says his family, like many in the community, supported his deejaying. They bought him equipment and drove him to parties. It makes sense -- they were getting down to the music as well.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"title": "Why Don't Murals Get Covered By Graffiti in the Mission?",
"headTitle": "Bay Curious | News Fix | KQED News",
"content": "\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/206235578\" 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>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>[gallery type=\"circle\" ids=\"10530898,10530902,10530900\"]\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>[youtube http://www.youtube.com/watch?v=d2hgKsrOvkk&w=350&h=197]\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"IFXgmMgyVfNgDNvTR4VCHplNpLRdAeK7\"]\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jeremy Raff contributed to this report. Thanks, Jeremy!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series, \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we’re answering questions from KQED listeners and readers. This question comes from Mission District resident Rebecca Busch, who wanted to know:\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I think it’s interesting that murals don’t get covered in graffiti. Why do some murals stay up for a really long time, even in communities where there’s lots of graffiti on random walls and buildings? \u003c/strong>\u003c/p>\n\u003cp>San Francisco's Clarion Alley is considered by many to be the heart of the mural scene in the Bay Area. The street is lined with massive, vibrant murals that tackle subjects like gentrification, corporate greed and the environment.\u003c/p>\n\u003cp>\"Tags happen to some degree every week,\" says \u003ca href=\"http://www.meganwilson.com/index.php\" target=\"_blank\">Megan Wilson\u003c/a>, director of the \u003ca href=\"https://www.facebook.com/pages/Clarion-Alley-Mural-Project/127102311571\" target=\"_blank\">Clarion Alley Mural Project\u003c/a>, the group that curates the alleyway. \"It's generally younger artists who are just starting out and don't grasp the idea of respect.\"\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/206235578&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/206235578'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though graffiti often marks up the perimeter of the murals, it's rare to find a tag cutting directly across the detailed center of the artwork, says Wilson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At play is an unspoken set of rules that artists follow. To understand those rules you first need to know that there are three groups: graffiti writers, street artists and muralists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Graffiti writers work illegally, and primarily paint letters and symbols. Their creations can range from a small signature on a mailbox to a large, multicolored word on the side of a building.\u003c/p>\n\u003cp>Street artists are also working illegally, but their work tends to look more like an illustration or graphic. Things like wheatpaste, stencils or stickers are classified as street art.\u003c/p>\n\u003cp>Muralists almost always do legal paintings. In San Francisco, they need permission from the property owner. They use paintbrushes or spray paint to create their large-scale works.\u003c/p>\n\u003cp>Each group follows different etiquette, and if you break that etiquette, there can be consequences.\u003c/p>\n\u003cp>\u003cstrong>The Case of the Honey Bear\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10530903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10530903\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Slash2-400x533.jpg\" alt=\"After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Slash2-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">After painting over tags, street artist fnnch found his stencils slashed. (Courtesy of fnnch)\u003c/figcaption>\u003c/figure>\n\u003cp>In January, street artist\u003ca href=\"https://instagram.com/fnnch/\" target=\"_blank\"> fnnch\u003c/a> began creating stencils of honey bears within a four-block radius around the Mission District.\u003c/p>\n\u003cp>\"We all take this image for granted as being totally acceptable,\" says fnnch. \"But really it's a surreal idea that you would put honey into a container that's shaped like a bear.\"\u003c/p>\n\u003cp>On the first night he painted five honey bears, some of them directly on top of tags that graffiti writers had left on mailboxes. Within a week, someone had taken a blue spray-paint can and made a mark right through the center of the bears -- the ultimate sign of disrespect.\u003c/p>\n\u003cp>\"When I posted [photos of my work] on Instagram, people started to comment and say that I shouldn’t paint on top of tags for my own safety,\" says fnnch.\u003c/p>\n\u003cp>He had upset the graffiti hierarchy.\u003c/p>\n\u003cp>\u003cstrong>Playing By The Rules\u003c/strong>\u003c/p>\n\u003cp>Of the three groups, graffiti writers have the most structured hierarchy about what is OK and what is not OK to cover with new art.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Know Your Graffiti Vocab\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d2hgKsrOvkk'\n title='//www.youtube.com/embed/d2hgKsrOvkk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>\"Certain things can go over certain things, and writers understand that because it's pretty much basics in graffiti,\" says a San Francisco tagger who goes by the name Sinatra.\u003c/p>\n\u003cul>\n\u003cli class=\"p1\">\u003cstrong>Tag:\u003c/strong> At the bottom of the totem pole, tags are usually single-color signatures.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Throw-up: \u003c/strong>A quickly drawn name in big bubble letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Piece:\u003c/strong> Not as quick to execute as a throw-up. A piece will have cleaner lines and more detailed fill within the letters.\u003c/li>\n\u003cli class=\"p1\">\u003cstrong>Burner: \u003c/strong>The most respected type of work among graffiti writers. This art is a display of the best work a graffiti writer can do.\u003c/li>\n\u003c/ul>\n\u003cp>Generally, as long as what goes on top is bigger and more intricate, the community hums along.\u003c/p>\n\u003cp>But when someone upsets that hierarchy -- by putting a tag over a throw-up, or even a tag on top of another tag -- it's a sign of disrespect that could end in a fight, or ongoing efforts to destroy someone's work.\u003c/p>\n\u003cp>So what about fnnch's honey bears? Where do they fit into the hierarchy?\u003c/p>\n\u003caside class=\"alignleft\">\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">\u003cimg style=\"margin-bottom: 10px\" src=\"http://u.s.kqed.net/2015/04/20/baycurious.png\" alt=\"\">\u003c/a>\u003cbr>\nWhat do you wonder about the Bay Area, its culture or people that you want KQED to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\n\u003cp>\"I thought taggers would be fine with me painting over their tags because I thought what I was doing would be considered a piece,\" fnnch says. \"But what I came to learn is graffiti people don't view the street art people as being anywhere on the hierarchy.\"\u003c/p>\n\u003cp>I asked Sinatra what he thinks when a street artist puts his or her work on top of his tag.\u003c/p>\n\u003cp>\"That's beef. That's bad,\" Sinatra says. \"Every time I see that stencil, I'm going to put my name over it.\"\u003c/p>\n\u003cp>Alhough street artists and graffiti writers use similar materials and are competing for the same space, they aren't playing the same game. The rules are different.\u003c/p>\n\u003cfigure id=\"attachment_10530908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg\">\u003cimg class=\"size-medium wp-image-10530908\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg\" alt=\"A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15208_IMG_5843-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graffiti writer tags on top of a piece of street art. (Jeremy Raff/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Above Them All? Murals\u003c/strong>\u003c/p>\n\u003cp>So if each group is abiding by its own etiquette, why are murals often left alone by graffiti writers and street artists?\u003c/p>\n\u003cp>To put it simply, muralists are the most respected within the larger community. Many of them came out of graffiti writing or street art and now command the respect of their peers.\u003c/p>\n\u003cp>Still, murals are certainly not immune to being painted on. Work done by outside artists, or those who have done a lot of corporate work, are often targeted by taggers.\u003c/p>\n\u003cp>And because Clarion Alley attracts so many visitors, it's become a high-profile location for taggers to make their mark.\u003c/p>\n\u003cp>Sinatra points to the background of one mural, where taggers have squeezed their tags into the negative space between the detailed brushwork.\u003c/p>\n\u003cp>\"It’s not exactly on the mural. But it’s just off to the side. It’s just like free space. They can paint over that easily,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>To Sinatra, a tag on the artwork itself would be an affront, but a tag on the solid-colored background or side of the mural? Fair game.\u003c/p>\n\u003cp>\"If I go over a mural, it's not because I don't like you. It's not because I'm trying to disrespect you,\" Sinatra says. \"It's because I like that spot. I want my name on that spot. You just happen to be in the way.\"\u003c/p>\n\u003cp>Remember Megan Wilson, who leads the group that oversees the murals on Clarion Alley? She doesn't quite see it that way. When artists from \u003cem>any\u003c/em> of the three groups paint without permission, it's not cool to her.\u003c/p>\n\u003cp>\"It's like, 'Why are you doing this to other artists? You think you're badass? Go out and do this on a bank. Go do this on some really lame corporation,' \" she says.\u003c/p>\n\u003cp>To her, the etiquette is dead simple.\u003c/p>\n\u003cp>\"It's not a matter of, oh there's some sort of code we go by. The code is just respect,\" she says. \"You respect the artist. You respect the work. You respect one another.\"\u003c/p>\n\u003cp>To keep the alley looking its best, Wilson and other volunteers are out there every week repairing the murals.\u003c/p>\n\u003cp>That may be why so many visitors -- like Rebecca, who asked this week's Bay Curious question -- can enjoy the art unobscured.\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Ask!\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jeremy Raff contributed to this report. Thanks, Jeremy!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: How a Canoe Connects a Tongva Woman to Her Tribe",
"title": "Between Homelands: How a Canoe Connects a Tongva Woman to Her Tribe",
"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/205685563\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“Between Homelands” is a series produced in partnership with students from USC Annenberg’s School for Communication and Journalism. They’re bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>When Cindi Alvitre walks across the parking lot at California State University, Long Beach, she sees the asphalt, the buildings and the rows of cars. But she also sees something else. In her mind’s eye, she sees \u003ca href=\"https://www.youtube.com/watch?v=d6mXuBnmTms\" target=\"_blank\">Puvungna\u003c/a>, the sprawling tribal territory overlooking the Pacific Ocean that was once home to \u003ca href=\"http://www.tongvapeople.org/\" target=\"_blank\">Tongva \u003c/a>people.\u003c/p>\n\u003cp>\"When I walk around, I live in two worlds,” says Alvitre. “The other one is a constant conversation with nature and with the ancestors.\"\u003c/p>\n\u003cp>Alvitre’s ancestors were the dominant culture here until the Spanish conquest. In fact, the entire Los Angeles basin and beyond -- from the hills of downtown L.A. to the beaches of Catalina Island -- is the ancestral homeland of the Tongva.\u003c/p>\n\u003cp>Today, Alvitre is one of fewer than 2,000 remaining Tongvan descendants. The tribe is still seeking federal recognition. And in a region that’s been home for millennia, some contemporary Tongva struggle to find their place.\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/205685563&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/205685563'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who are struggling, Alvitre, 60, is a pillar of cultural strength, helping them to connect with their indigenous roots. She talks about how the Tongva were ocean people, living in huts by the beach, wearing grass skirts and shells, and diving for abalone. And when she needs to reconnect, she goes to the ocean.\u003c/p>\n\u003cp>“Nature is a comfort zone,” she says. “To sit on a rock, out at the end of the jetty, to go in the water, to watch the seals and the sea lions … [it’s healing] just to be back in the natural world.\"\u003c/p>\n\u003cp>Alvitre traces her sense of connection back to her father. He filled her childhood with stories of the past. On car rides through Southern California, he would point out Tongva burial sites and former villages, or spots where her Indian grandfather once foraged for medicinal plants.\u003c/p>\n\u003cp>“I was always told, ‘This is your home. Your ancestors are from this home, and this is where they are buried,’ ” she says, remembering hikes with her dad. “When he walked through there, he would tell us, ‘Shh, don’t talk loud. This is a sacred place.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10527442\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10527442\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/TiatSociety-800x523.jpg\" alt=\"A display at the Ti'at Society Artist Collective.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-400x261.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1440x941.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-1180x771.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety-960x628.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/TiatSociety.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A display at the Ti'at Society Artist Collective. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s how the beach sand and the grassy hills -- and even the land under L.A. high-rises and strip malls -- became embedded with ancestral meaning.\u003c/p>\n\u003cp>Alvitre took this knowledge into her life’s work. She is a professor of \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/\">American Indian Studies\u003c/a> at Cal State University, Long Beach. And she was the first female chair of the Gabrieleno/Tongva Tribal Council.\u003c/p>\n\u003cp>One night, nearly 30 years ago, her ancestors came to her in a dream.\u003c/p>\n\u003cp>In the dream, a massive Tongvan warrior emerged from the mounds of the Saddleback Mountains. Beneath the mountains, a lake formed. Native Americans paddled across the lake in wooden canoes while speaking to each other in the Tongva language.\u003c/p>\n\u003cp>As soon as the rowers found their cadence, paddling in synchronicity, the warrior’s eyes opened, the mountains parted and the canoes set forth onto the ocean, toward Catalina Island.\u003c/p>\n\u003cp>“It was this amazing vision of mountains that I grew up around in Orange County, but here [are] these boats I’ve never seen,” says Alvitre.\u003c/p>\n\u003cp>Two weeks later, she got a call from Jim Noyes of the California Indigenous Maritime Association. He asked if she’d be interested in reviving her tribe’s naval culture by building a \u003cem>ti’at\u003c/em> -- a traditional Tongvan canoe.\u003c/p>\n\u003cp>“He described the boat in my dreams,” Alvitre says. “I was really blown away.”\u003c/p>\n\u003cp>Noyes and Alvitre joined forces then to start the \u003ca href=\"http://www.cla.csulb.edu/departments/americanindianstudies/marcus-lopez-tiat-restoration-orientation/\" target=\"_blank\">Ti’at Society\u003c/a>. The group built Moomat Ahiko (Tongvan for “Breath of the Ocean”) -– the first and only modern \u003cem>ti’at\u003c/em> in Southern California.\u003c/p>\n\u003cfigure id=\"attachment_10526216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6.jpg\">\u003cimg class=\"wp-image-10526216 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg\" alt=\"The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/Case-5-of-6-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ti'at Moomat Ahiko, gleaming after a new coat of paint, was featured at the pow wow. \u003ccite>(Stephanie Case/USC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This spring, after more than two decades of use, Moomat Ahiko underwent repairs. At Cal State, Long Beach -- the former site of the village of Puvungna -- Ti’at Society members met every Sunday to restore the boat. They fixed leaks, gave it a chestnut-colored stain and painted a red ochre around its glittering abalone accents.\u003c/p>\n\u003cp>Alvitre and her group displayed the new and improved \u003cem>ti’at\u003c/em> at the \u003ca href=\"http://web.csulb.edu/divisions/students/sld/american_indian_services/pow_wow/\">45\u003csup>th\u003c/sup> Annual Cal State Puvugna Pow Wow\u003c/a> in March. Moomat Ahiko was a focal point amid the singers, drum circles and throngs of dancers dressed in the regalia of many tribes.\u003c/p>\n\u003cp>The next destination for Moomat Ahiko is the ocean. Members of the Ti’at Society plan to return the boat to the water in a ceremony this summer.\u003c/p>\n\u003cp>The ceremony will allow more Tongva to connect with the ocean -- and with their heritage. For Alvitre, that connection is so key to her identity that Moomat Ahiko is tattooed on her arm. Through immersing herself in Tongvan maritime culture, she’s unlocked a passion that feels like home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is my life,” says Alvitre. “This is the language I feel comfortable speaking.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The large yellow Edwardian on Folsom Street, between 24th and 25th, affectionately dubbed the Pigeon Palace, is the kind of building that is becoming increasingly rare in the Mission District: It is home to long-term tenants whose primary occupations are to advance arts and letters.\u003c/p>\n\u003cp>On the third floor, prolific public historian and founder of \u003ca href=\"http://www.shapingsf.org/\" target=\"_blank\">Shaping SF\u003c/a> Chris Carlsson lives with his partner, author Adriana Camarena, a leading organizer against police violence in the neighborhood.\u003c/p>\n\u003cp>Across the hall is Keith Hennessy, a pioneering choreographer in San Francisco’s queer performance scene. Artist and AIDS activist Kirk Read and his partner, Ed Wolf, an activist chronicled in the award-winning documentary \"We Were Here,\" live below. Cook and author Carin McKay resides on the first floor.\u003c/p>\n\u003cp>But all of their lives are about to change -- their home is up for sale and bids will be taken on Wednesday. Given the impending sale, all six of the Pigeon Palace’s tenants face the question of how much longer they’ll be able to remain in a building where most of them have lived for more than a decade.\u003c/p>\n\u003cp>While the group of tenants has banded together to form a nonprofit in hopes of buying the building from their elderly landlord, who they say always intended to keep them there, a contentious legal process is making that outcome increasingly unlikely. ...\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://missionlocal.org/2015/05/a-building-of-mission-luminaries-face-displacement/\" target=\"_blank\">Read full story at Mission Local.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The large yellow Edwardian on Folsom Street, between 24th and 25th, affectionately dubbed the Pigeon Palace, is the kind of building that is becoming increasingly rare in the Mission District: It is home to long-term tenants whose primary occupations are to advance arts and letters.\u003c/p>\n\u003cp>On the third floor, prolific public historian and founder of \u003ca href=\"http://www.shapingsf.org/\" target=\"_blank\">Shaping SF\u003c/a> Chris Carlsson lives with his partner, author Adriana Camarena, a leading organizer against police violence in the neighborhood.\u003c/p>\n\u003cp>Across the hall is Keith Hennessy, a pioneering choreographer in San Francisco’s queer performance scene. Artist and AIDS activist Kirk Read and his partner, Ed Wolf, an activist chronicled in the award-winning documentary \"We Were Here,\" live below. Cook and author Carin McKay resides on the first floor.\u003c/p>\n\u003cp>But all of their lives are about to change -- their home is up for sale and bids will be taken on Wednesday. Given the impending sale, all six of the Pigeon Palace’s tenants face the question of how much longer they’ll be able to remain in a building where most of them have lived for more than a decade.\u003c/p>\n\u003cp>While the group of tenants has banded together to form a nonprofit in hopes of buying the building from their elderly landlord, who they say always intended to keep them there, a contentious legal process is making that outcome increasingly unlikely. ...\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Between Homelands: Nigerian Pop Star Sings Her Way Home",
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"content": "\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512926\" 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>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her native country of Nigeria, CY Dieyi is a pop star. But she’s not well known in Los Angeles, where she currently lives. It’s a place where there are many talented musicians, but fame is often elusive. However, for CY, music isn’t necessarily about fame. It’s an expression of her identity, a connection to her roots.\u003c/p>\n\u003cp>To many of her friends from back home, CY’s music sounds “a bit too Western.” To counteract that claim, she has made choices in her songwriting to infuse the music with instrumental nuances that will connect to Nigerian culture.\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/203512926&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/203512926'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In two of her popular songs that have played on Nigerian radio, “Puzzle Pieces” and “One Day,” we can hear elaborate background vocals that evoke a tribal chorus and indigenous drums with ethnic cadences.\u003c/p>\n\u003cp>However, since coming to America, CY has struggled to hold onto that musical connection to home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My music is supposed to be me,\" CY says. \"It’s supposed to be my thing, and part of who I am is a Nigerian. And if I’m not able to do that in my music then, you know, it’s like, ‘What’s the point?' ”\u003c/p>\n\u003cfigure id=\"attachment_10508225\" class=\"wp-caption aligncenter\" style=\"max-width: 1103px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\">\u003cimg class=\"wp-image-10508225 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg\" alt='Singer CY is trying to crossover into the United States, while keeping what she calls her \"Nigerian sound.\"' width=\"1103\" height=\"1103\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook.jpg 1103w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/CY-Dieyi-from-Facebook-75x75.jpg 75w\" sizes=\"(max-width: 1103px) 100vw, 1103px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Singer CY is trying to cross over into the United States, while keeping what she calls her \"Nigerian sound.\" \u003ccite>(Cynthia Dieyi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a conference of the American Society of Composers, Authors and Publishers (ASCAP), CY says, she met a Chicago producer who was eager to work with her on a five-song EP. She flew to Chicago, and the first song they worked on together was called “Lazy Girl.” It’s an upbeat pop tune that turned out sounding more like something we might hear on the radio from Rihanna or Beyonce. CY says this particular producer wouldn’t take any of her creativity into account.\u003c/p>\n\u003cp>“He wouldn’t leave room for those things that I identify myself with,\" CY explains. So the end result was a version of “Lazy Girl” that was completely stripped of “her.”\u003c/p>\n\u003cp>“I’m on the outside looking in,” she says of her reaction to the finished product.\u003c/p>\n\u003cp>After that unsuccessful trip, CY came back to Los Angeles to regroup. Since then, she’s been performing at open mic nights around town and on campus at the University of Southern California, where she’s studying to earn a master’s degree in public relations. She’s continuing to write songs for her EP. Despite initial struggles to maintain her authentic Nigerian sound, she herself has noticed a shift in inspiration.\u003c/p>\n\u003cp>“I’m afraid I might be transitioning away from sounds that are that ethnic, and that bothers me,” CY admits. The song she’s currently working on, “Falling Into You,” explores a universal theme about unrequited love between friends.\u003c/p>\n\u003cp>“Falling Into You” is noticeably different from her other self-proclaimed “ethnic-sounding” songs, which signals a stylistic departure.\u003c/p>\n\u003cp>As her musicality evolves, CY says she never wants to stop creating. Her next major goal is to complete that EP, regardless of whether she finds a producer who understands her style or has to do it alone. After that, she hopes to partner with a nonprofit in the arts to promote the benefits of music for children and young adults by leading songwriting and performance workshops.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, CY wants to hold onto her love of music without compromising herself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Music Review: Mikal Cronin Takes Creative Step Forward on 'MCIII'",
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"content": "\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/203512805\" 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>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe we should have seen this coming. After all, \u003ca title=\"Mikal Cronin\" href=\"http://mikalcronin.com/news/\" target=\"_blank\">Mikal Cronin \u003c/a>began his \u003ca title=\"Pitchfork\" href=\"http://pitchfork.com/reviews/albums/15844-mikal-cronin/\" target=\"_blank\">debut album\u003c/a> four years ago with some stacked a cappella harmonies, like a precocious, young \u003ca title=\"L.A. Times \" href=\"http://www.latimes.com/entertainment/music/la-et-ms-brian-wilson-20150404-story.html#page=1\" target=\"_blank\">Brian Wilson\u003c/a>. And two years ago, his second album, \"MCII,\" opened with a lively solo piano bit leading to a bubbly pop song that could have almost been prime \u003ca title=\"Elton John\" href=\"http://www.eltonjohn.com/\" target=\"_blank\">Elton John\u003c/a>. So why would we be surprised to drop the proverbial needle on “Turn Around,” the opener of the new \"MCIII\" (Merge)\u003cem>,\u003c/em> and hear a lush, soaring string section?\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/203512805&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/203512805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With a couple dozen singles, EPs and albums in his own name and in various bands and collaborations, Cronin has already covered a lot of musical ground. And he’s just 29. But on his latest solo album, he not only gives us some delightful surprises, but seems to be fully coming into his own.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10505788\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg\" alt=\"550_mikalcronin_2500px\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/550_mikalcronin_2500px-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Still, no matter what Cronin has done, he’s often typecast as a garage-rocker, just like \u003ca title=\"Ty Segall\" href=\"http://ty-segall.com/index.html\" target=\"_blank\">Ty Segall\u003c/a>, his longtime pal and frequent co-conspirator. They’re sort of a pair of Southern California \u003ca href=\"http://www.npr.org/blogs/allsongs/2014/05/20/313991548/jack-whites-lazaretto-the-all-songs-interview\" target=\"_blank\">Jack Whites\u003c/a>: DIY polymaths for whom spirit has always been paramount over polish, even when buffed with strings, arranged by Cronin himself. And whether punk aggression or pop sentiment, the spirit is very Southern Californian. Just listen to the layered pop waves, and layered emotions, on “Feel Like.” It’s closer to \u003ca href=\"https://rockhall.com/inductees/fleetwood-mac/bio/\" target=\"_blank\">Fleetwood Mac\u003c/a> than to \u003ca title=\"Trouser Press\" href=\"http://www.trouserpress.com/entry.php?a=black_flag\">Black Flag\u003c/a>.\u003c/p>\n\u003cp>But neither Fleetwood Mac nor Black Flag — nor Jack White, for that matter — has done anything quite like “Circle,” the six-part song cycle that makes up \"MCIII’s\" second half. It’s not the unfolding majesty of \"\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">Abbe\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\">y\u003c/a>\u003ca title=\"The Beatles Abbey Road\" href=\"http://www.thebeatles.com/album/abbey-road\" target=\"_blank\"> Road\u003c/a>\" or anything, but it’s bracingly sweeping on its own terms. The songs trace a period of Cronin’s youth in which he left \u003ca href=\"http://www.lagunabeachcity.net/\" target=\"_blank\">Laguna Beach\u003c/a>, where he grew up, to go to school in the Northwest and found himself isolated and uncertain, exacerbated by intense pain from a back injury.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alone,” the song that starts the sequence, paints a troubled and troubling picture, with music suitably downcast and closed-in. Through the cycle there’s a rainbow of catharsis, from intimately fragile and moody to the punk fury of “Ready,” more in line with his garage-y Segall collaborations. At the close of the suite and the album, he’s looking ahead with optimism in the song “Circle,” the music itself embraced as his guide and salvation. His home.\u003c/p>\n\u003cp>Cronin isn’t reinventing any wheels here, let alone inventing some. He’s not even reinventing himself. Even with the strings and some horns, it’s still mostly a one-man venture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a sense of maturity, though, of determination to go with his ambition, a sense of an artist with new resolve and resolution — someone who, as one of the most expansive, engaging songs puts it, has \"Made My Mind Up.” And that bodes very well for \"MCIV.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Our “My Spot” series shares personal experiences with special places in California.\u003c/i>\u003c/p>\n\u003cp>Deval Thaker’s favorite food is \u003cem>pani puri\u003c/em>, a snack usually served by street vendors in India.\u003c/p>\n\u003cp>Thaker, an artist and mother, moved to California from India 14 years ago. She was pleasantly surprised to find this treat in her Fremont neighborhood -- at the Chaatpatta Corner. It's a tiny food stand tucked away in an Indian grocery store.\u003c/p>\n\u003cp>“I was very excited reading the name \u003cem>pani puri\u003c/em> because I was like, 'Oh finally, something nice from back home,' ” Thaker explains.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202439036\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>After she found the Chaatpatta Corner about 10 years ago, Thaker says, “I would be here, I think, every week and eating \u003cem>pani puri\u003c/em>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Pani puri\u003c/em> consists of a small crispy shell, called a \u003cem>puri\u003c/em>, filled with potatoes, garbanzo beans, a sweet chutney made of dates and tamarind, a green chutney made of green chilies and ginger. A tangy, light sauce with the consistency of water is poured over it -- it's made of mint, green chilies and black salt.\u003c/p>\n\u003cp>Thaker especially likes how crunchy the Chaatpatta Corner’s \u003cem>puris\u003c/em> are. “I have tried it at so many places, but it has never come out as good and as crunchy as they have it,” she says.\u003c/p>\n\u003cp>While her daughter was growing up, Thaker came here so often that the owner now knows both their orders and often takes extra care when preparing their food.\u003c/p>\n\u003cp>“They make you feel very special,” Thaker explains. “When my daughter had braces and she couldn't open her mouth wide open, whenever they would see her coming for her orders, [the server] would pick out the small ones and make sure it was comfortable for her eating it.”\u003c/p>\n\u003cp>Each time she visits, it’s a trip down memory lane and a tasty reminder of her roots. And although she now lives farther away in Tracy, Thaker makes sure to come get her \u003cem>pani puri\u003c/em> whenever she can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s very much like being at home,” she says. “Someone really takes care of you and serves you right in your plate, so all you have to do is take the \u003cem>puri\u003c/em> and put it in your mouth.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Our “My Spot” series shares personal experiences with special places in California.\u003c/i>\u003c/p>\n\u003cp>Deval Thaker’s favorite food is \u003cem>pani puri\u003c/em>, a snack usually served by street vendors in India.\u003c/p>\n\u003cp>Thaker, an artist and mother, moved to California from India 14 years ago. She was pleasantly surprised to find this treat in her Fremont neighborhood -- at the Chaatpatta Corner. It's a tiny food stand tucked away in an Indian grocery store.\u003c/p>\n\u003cp>“I was very excited reading the name \u003cem>pani puri\u003c/em> because I was like, 'Oh finally, something nice from back home,' ” Thaker explains.\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/202439036&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/202439036'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After she found the Chaatpatta Corner about 10 years ago, Thaker says, “I would be here, I think, every week and eating \u003cem>pani puri\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>Pani puri\u003c/em> consists of a small crispy shell, called a \u003cem>puri\u003c/em>, filled with potatoes, garbanzo beans, a sweet chutney made of dates and tamarind, a green chutney made of green chilies and ginger. A tangy, light sauce with the consistency of water is poured over it -- it's made of mint, green chilies and black salt.\u003c/p>\n\u003cp>Thaker especially likes how crunchy the Chaatpatta Corner’s \u003cem>puris\u003c/em> are. “I have tried it at so many places, but it has never come out as good and as crunchy as they have it,” she says.\u003c/p>\n\u003cp>While her daughter was growing up, Thaker came here so often that the owner now knows both their orders and often takes extra care when preparing their food.\u003c/p>\n\u003cp>“They make you feel very special,” Thaker explains. “When my daughter had braces and she couldn't open her mouth wide open, whenever they would see her coming for her orders, [the server] would pick out the small ones and make sure it was comfortable for her eating it.”\u003c/p>\n\u003cp>Each time she visits, it’s a trip down memory lane and a tasty reminder of her roots. And although she now lives farther away in Tracy, Thaker makes sure to come get her \u003cem>pani puri\u003c/em> whenever she can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s very much like being at home,” she says. “Someone really takes care of you and serves you right in your plate, so all you have to do is take the \u003cem>puri\u003c/em> and put it in your mouth.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Karina Deniké's Long Road to 'Under Glass'",
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"content": "\u003cfigure id=\"attachment_10501310\" class=\"wp-caption alignleft\" style=\"max-width: 745px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\">\u003cimg class=\"size-full wp-image-10501310\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg\" alt=\"Karina Deniké \" width=\"745\" height=\"577\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254.jpg 745w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RS14921_karina-staranova-du-nord.jpg-alt_254-400x310.jpg 400w\" sizes=\"(max-width: 745px) 100vw, 745px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.karinadenike.com/\" target=\"_blank\">Karina Deniké\u003c/a> spent her formative years on the move, so perhaps it’s not surprising that her songs are filled with travelers and seekers, restless wanderers and mordant observers.\u003c/p>\n\u003cp>Born in the United Kingdom to Czech artists in exile after the Soviet Union crushed the Prague Spring in 1968, she spent her childhood performing street theater across Europe, North Africa and India.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202438953\" 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>As a teen she settled with her family in Berkeley, falling in with jazz musicians and the punk scene around 924 Gilman. Over the past two decades she’s been an essential part of the Bay Area arts community, from providing powerhouse vocals in the ska-punk band Dance Hall Crashers in the 1990s to collaborating with Fat Mike and Jeff Marx on their recent rock musical \"Home Street Home.\"\u003c/p>\n\u003cp>But her new album, \"\u003ca href=\"https://karinadenike.bandcamp.com/album/under-glass\" target=\"_blank\">Under Glass\u003c/a>,\" is Deniké’s first project fully devoted to her own music and, not surprisingly, it’s impossible to pigeonhole.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web.jpg\">\u003cimg class=\"alignleft wp-image-10501308\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg\" alt=\"Karina+collage_web\" width=\"285\" height=\"285\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/Karina-collage_web.jpg 500w\" sizes=\"(max-width: 285px) 100vw, 285px\">\u003c/a>\u003c/p>\n\u003cp>While Deniké references at least half a dozen styles on the album’s 12 tracks, she uses a core group of players to provide a consistent play of textures, whether she’s delivering soaring girl-group harmonies with singer/songwriter Lily Taylor on \"Havin’ a Go,\" or taking a funhouse ride on the midway on \"Musée Mécanique.\"\u003c/p>\n\u003cp>There’s a dizzying quality to Deniké’s music, an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or an arresting original image. She’s joined on several tracks by horn players known for working with Tom Waits, an obvious influence. But where he makes do with his Louis Armstrong rasp, Deniké possesses a voice so rich and luxuriant she sounds like she was born to sing any song that comes her way.\u003c/p>\n\u003cp>One of the album’s consistent pleasures is that Deniké knows just how to frame her voice. She accompanies herself on various organs and keyboards and often uses Aaron Novik’s dry woody bass clarinet as a snaky counterpoint, like on the woozy ballad “Stop the Horses.\" It’s a mark of her tonal dexterity that she can assume so many different guises while being backed by the same excellent band. The shifts from track to track can be jarring, but each song creates its own little world.\u003c/p>\n\u003cp>Deniké can sound like a dangerous vixen from a film-noir nightclub (\"Golden Kimonos\"), a brassy show-tune belter (\"Boxing Glove\") or the leader of a Motownesque girl group (“Park It”).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deniké closes the album with \"Až Budeš Vélky\" a tender Czech lullaby that her mother used to sing. Is she taking us back home, and was it all just a dream? The title \"Under Glass\" suggests something fixed in place, but Karina Deniké’s musical world never seems to stop changing, and her tales of travel and exotic locales sound better with each spin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "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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