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"content": "\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202439110\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c1f1DATjZUg\u003c/p>\n\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Madeline Huberth could play Beethoven with the best of them. She studied cello in college and planned on going professional.\u003c/p>\n\u003cp>But then she started to get shooting pains in her left hand when she practiced. Her fingers were tingling. And surgery did nothing to help.\u003c/p>\n\u003cp>“I started losing muscle mass in my hand,” Huberth says.\u003c/p>\n\u003cp>By graduation, she couldn’t lift her pinky anymore or stretch her index finger back to play B flat.\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/202439110&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/202439110'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It became very apparent at the end of college that I couldn’t pursue performance anymore,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Huberth threw herself into studying the science of music. She’s now a Ph.D. student at Stanford University’s \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\">Center for Computer Research in Music and Acoustics\u003c/a>, where she’s become adept at a new musical instrument: her laptop.\u003c/p>\n\u003cp>“Using a laptop, you can do anything that isn’t even physically possible,” she explains. “You can have an incredibly wide vibrato. Or you could simulate the sound of a string that’s the length of the building,” to produce an incredibly low pitch.\u003c/p>\n\u003cp>Today, Huberth is the teaching assistant for the \u003ca href=\"http://slork.stanford.edu/\" target=\"_blank\">Stanford Laptop Orchestra\u003c/a>. This is a class that meets Wednesday nights during the spring semester. Students write code to create their own instrument on the computer, which they will score into a full orchestral work by the end of the semester.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/c1f1DATjZUg'\n title='//www.youtube.com/embed/c1f1DATjZUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several students in the class have a musical background, like Huberth, while several others come from computer science or engineering.\u003c/p>\n\u003cp>“I studied physics and I have kind of a tech background,” graduate student Tim O’Brien says. “But I loved music all my life, so it kind of combines everything.”\u003c/p>\n\u003cp>At a recent class meeting, he and 13 other students sat on rows of meditation pillows, fixing code on their laptops and fiddling with speakers made out of IKEA salad bowls.\u003c/p>\n\u003cp>They rehearsed ensemble pieces that they will perform at an \u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">upcoming chamber concert\u003c/a>, and demonstrated their individual solo instruments.\u003c/p>\n\u003cp>O’Brien began his demo by taking a big breath and blowing softly into his laptop. Then he jingled his car keys over the keyboard and tapped his water bottle. He programmed his computer’s microphone to translate these human actions into a morphed, electronic sound. The class loved it. And so did the orchestra director.\u003c/p>\n\u003cfigure id=\"attachment_10500180\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\">\u003cimg class=\"wp-image-10500180\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/photo4.jpg\" alt=\"Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/photo4-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ge Wang, assistant professor of music at Stanford's Center for Computer Research in Music and Acoustics, teaches a music coding lesson to students participating in the Stanford Laptop Orchestra. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was nothing short of magical,” says Ge Wang, assistant professor of music at Stanford. “Tim was able to really find this mix where human meets machine. And in that way, it was like this dialogue. But what came out of the computer was a sound that would not come anywhere except through a computer.”\u003c/p>\n\u003cp>Wang and Huberth also like when students get physical with the medium. For example, one student is programming an armband to produce sounds when he stretches or clenches his hand. Other students use Gametraks, little black boxes originally used as a video game control, that have two red retractable cables. Students connect them to their laptops and program them to produce different notes or rhythms when they pull them up, down, left or right.\u003c/p>\n\u003cp>“We can rapidly prototype physical gestures, interactions and map them to sound,” Wang explains. “It enables a way to quickly explore a whole world of new sounds, interactions, and performance practices.”\u003c/p>\n\u003cfigure id=\"attachment_10500181\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\">\u003cimg class=\"wp-image-10500181\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/laptop-orchestra-5.jpg\" alt=\" Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5.jpg 2448w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/laptop-orchestra-5-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erica Fearon demonstrates a piece of music she composed on her laptop. She programmed the cables to make different sounds when she moved them in different directions. \u003ccite>(April Dembosky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wang says this makes for a better experience for the audience – one that is both pleasing to listen to and also interesting to watch.\u003c/p>\n\u003cp>He says this is one of the ways laptop orchestra is evolving as a medium. Wang was a founding member of the first laptop orchestra, launched at Princeton University 10 years ago. He started the Stanford Laptop Orchestra, known affectionately as Slork, in 2008. Today, there are more than 70 laptop orchestras, but Wang says they’re still really just beginning.\u003c/p>\n\u003cp>“Ten years may be a long time in computer years. To really make it into an art form, it’s still quite early,” Wang says.\u003c/p>\n\u003cp>But some more advanced laptop musicians are pushing boundaries. Madeline Huberth helped form a chamber group called Sidelobe, which meets year-round and works on reinterpreting earlier compositions, choosing from a young but growing library of more than 300 works.\u003c/p>\n\u003cp>“We’ve been pulling pieces from the canon, from the laptop orchestra canon,” Huberth says. “Pieces that have done very well, that have been written by more seasoned composers, and we’re giving these performances new life.”\u003c/p>\n\u003cp>The biggest challenge laptop musicians face is the same challenge all artists confront, Wang says.\u003c/p>\n\u003cp>“Whether a violin, cello, piano or a laptop, we’re all looking for a different way to represent that spark of humanity,” he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stanford Laptop Orchestra will perform a chamber music concert on April 30 and a full orchestral concert on May 30. The \u003c/em>\u003ca href=\"http://slork.stanford.edu/events/2015/slorktastic/\">\u003cem>events\u003c/em>\u003c/a>\u003cem> are both free and open to the public. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
"title": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
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"content": "\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: Armenians Struggle to Preserve Their Language",
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"content": "\u003cp>\u003cem>This week we’re launching a new series called “Between Homelands.” We’ve teamed up 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>April 24 marks the centennial of the massacre of nearly 1.5 million Armenians that caused thousands of others to flee what is now Turkey. Many refer to this as the Armenian genocide.\u003c/p>\n\u003cp>Today, Los Angeles is home to the largest population of Armenians in the U.S. While their communities continue to thrive, Western Armenian, the dialect they brought with them, is in severe danger.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202438862\" 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>Hratch Sepetjian teaches at \u003ca class=\"pseudolink annotate\" href=\"http://www.agbumds.org/apps/pages/index.jsp?uREC_ID=74461&type=u\" target=\"_blank\">AGBU Manoogian-Demirdjian School\u003c/a>, a private Armenian school in Los Angeles. It works to promote and preserve Armenian language and culture.\u003c/p>\n\u003cfigure id=\"attachment_10500239\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8.jpg\">\u003cimg class=\"wp-image-10500239 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8-e1429891134591.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (6 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A student asks Hratch Sepetjian a question after his ninth-grade English class. The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its endangered languages list. Sepetjian hopes his class will help keep the language alive. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its \u003ca href=\"www.unesco.org/languages-atlas/\">endangered languages list\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Every day languages die,\" Sepetjian says. \"I'm not saying it's close, or soon, or in 10 years, but that day will come.\"\u003c/p>\n\u003cp>Western Armenian came close to dying on April 24, 1915. That is when the Ottoman Empire began systematically killing Armenians in their ancestral homeland.\u003c/p>\n\u003cp>“After the genocide, Western Armenian experienced a rebirth,” Sepetjian explains. “We opened schools and orphanages everywhere, and our mothers and fathers, grandmothers and grandfathers, who were Turkish-speaking, they taught their children Armenian.\"\u003c/p>\n\u003cp>But that didn’t last, and now some descendants of the survivors have assimilated to the point where they rarely speak Armenian.\u003c/p>\n\u003cfigure id=\"attachment_10500240\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8.jpg\">\u003cimg class=\"wp-image-10500240 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8-e1429891524741.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (1 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students in Hratch Sepetjian's class listen to a lecture in Armenian. The high school is one of about 10 Armenian schools in Los Angeles. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sepetjian's student, Erika Saringulian, transferred into the school last year. Although she’s now closer to the Armenian community, she’s worried about getting further from the language. She says she speaks Armenian only in class.\u003c/p>\n\u003cp>\"I don’t talk Armenian with my friends,\" Saringulian explains. \"None of us do.\"\u003c/p>\n\u003cp>Michael Culhaoglu has been at the school for years. He’s already looking to the next generation to keep the language alive.\u003c/p>\n\u003cp>\"At most, two or three people in this class are going to teach their kids Armenian,\" he says. Another student in the class interrupts him, and insists Culhaoglu will eventually speak to his children in Armenian.\u003c/p>\n\u003cp>\"No,\" Culhaoglu counters, \"because right now you speak to your family in English. So why would you teach it? It's going to be very difficult, unless you send them to an Armenian school.\"\u003c/p>\n\u003cp>Despite the fact that many of Hratch Sepetjian's students speak Armenian only in the classroom, he says he refuses to give up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As much as we can, we have to keep trying,” he says. “We can't give up, even if it's inevitable. We must not despair, we must try to remain Armenian, and Armenian-speaking.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week we’re launching a new series called “Between Homelands.” We’ve teamed up 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>April 24 marks the centennial of the massacre of nearly 1.5 million Armenians that caused thousands of others to flee what is now Turkey. Many refer to this as the Armenian genocide.\u003c/p>\n\u003cp>Today, Los Angeles is home to the largest population of Armenians in the U.S. While their communities continue to thrive, Western Armenian, the dialect they brought with them, is in severe danger.\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/202438862&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/202438862'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hratch Sepetjian teaches at \u003ca class=\"pseudolink annotate\" href=\"http://www.agbumds.org/apps/pages/index.jsp?uREC_ID=74461&type=u\" target=\"_blank\">AGBU Manoogian-Demirdjian School\u003c/a>, a private Armenian school in Los Angeles. It works to promote and preserve Armenian language and culture.\u003c/p>\n\u003cfigure id=\"attachment_10500239\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8.jpg\">\u003cimg class=\"wp-image-10500239 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8-e1429891134591.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (6 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A student asks Hratch Sepetjian a question after his ninth-grade English class. The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its endangered languages list. Sepetjian hopes his class will help keep the language alive. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its \u003ca href=\"www.unesco.org/languages-atlas/\">endangered languages list\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Every day languages die,\" Sepetjian says. \"I'm not saying it's close, or soon, or in 10 years, but that day will come.\"\u003c/p>\n\u003cp>Western Armenian came close to dying on April 24, 1915. That is when the Ottoman Empire began systematically killing Armenians in their ancestral homeland.\u003c/p>\n\u003cp>“After the genocide, Western Armenian experienced a rebirth,” Sepetjian explains. “We opened schools and orphanages everywhere, and our mothers and fathers, grandmothers and grandfathers, who were Turkish-speaking, they taught their children Armenian.\"\u003c/p>\n\u003cp>But that didn’t last, and now some descendants of the survivors have assimilated to the point where they rarely speak Armenian.\u003c/p>\n\u003cfigure id=\"attachment_10500240\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8.jpg\">\u003cimg class=\"wp-image-10500240 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8-e1429891524741.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (1 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students in Hratch Sepetjian's class listen to a lecture in Armenian. The high school is one of about 10 Armenian schools in Los Angeles. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sepetjian's student, Erika Saringulian, transferred into the school last year. Although she’s now closer to the Armenian community, she’s worried about getting further from the language. She says she speaks Armenian only in class.\u003c/p>\n\u003cp>\"I don’t talk Armenian with my friends,\" Saringulian explains. \"None of us do.\"\u003c/p>\n\u003cp>Michael Culhaoglu has been at the school for years. He’s already looking to the next generation to keep the language alive.\u003c/p>\n\u003cp>\"At most, two or three people in this class are going to teach their kids Armenian,\" he says. Another student in the class interrupts him, and insists Culhaoglu will eventually speak to his children in Armenian.\u003c/p>\n\u003cp>\"No,\" Culhaoglu counters, \"because right now you speak to your family in English. So why would you teach it? It's going to be very difficult, unless you send them to an Armenian school.\"\u003c/p>\n\u003cp>Despite the fact that many of Hratch Sepetjian's students speak Armenian only in the classroom, he says he refuses to give up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As much as we can, we have to keep trying,” he says. “We can't give up, even if it's inevitable. We must not despair, we must try to remain Armenian, and Armenian-speaking.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" target=\"_blank\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created such a position. And a couple years ago, Sarah Kobrinsky, a Winnipeg native who came to Emeryville by way of Fargo, North Dakota, was appointed to the position.\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘Seeing human beings as dollar signs and not as human beings — that’s a sickness.’\u003ccite>Sarah Kobrinsky\u003c/cite>\u003c/aside>\n\u003cp>“Wherever I’ve lived, I’ve loved to connect somehow to the artistic community and to play a part in that,” Kobrinsky says. “I like to bring people together and organize events and make things happen.” \u003c/p>\n\u003cp>Kobrinsky’s day job is helping run her family’s small ceramics business. She applied for the poet laureate’s post after she saw a posting on a local bakery bulletin board. In addition to writing poetry for community events, she conducts workshops for residents and has started a project to distribute poems on the Emery-Go-Round, the city’s shuttle bus service. \u003c/p>\n\u003cp>But now, Emeryville’s poet laureate, whose verse touches on subjects like the town’s \u003ca href=\"http://www.ci.emeryville.ca.us/DocumentCenter/View/6316\" target=\"_blank\">long-vanished Native American shellmounds\u003c/a> and the presence of that \u003ca href=\"http://www.ci.emeryville.ca.us/DocumentCenter/View/6317\" target=\"_blank\">big Swedish furniture store\u003c/a>, can no longer afford to live there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kobrinsky recently joined the growing ranks of Bay Area artists who have been priced out of their homes — in this case, a 1-bedroom flat she shared with her husband, a potter, and their young son. At the end of last year, their landlords, who live in an adjacent home, notified them via letter of a 38 percent rent increase. They had 60 days to move from their home of five years.\u003c/p>\n\u003cp>“It was actually very scary,” Kobrinsky says. “I remember getting the letter and breaking down in tears because its something so primal — your sense of shelter, your home.” \u003c/p>\n\u003cp>She and her family landed just up the Eastshore Freeway in Richmond. She recognizes there are plenty of people in the same boat. \u003c/p>\n\u003cp>“A lot of the young creative folks I’ve met recently — the ones who are able to stay are the ones who are lucky enough to secure a situation,” Kobrinsky says. “Either they end up living in a warehouse or they find a room in a house that people have been able to hang onto for years so the rent has stayed low. I know people who are at the top of their fields who are struggling every month to make their ends meet.” \u003c/p>\n\u003cp>And she wonders aloud about the health of a region that’s seeing so many people, artists and non-artists alike, pushed out. \u003c/p>\n\u003cp>“It’s a real sickness in the Bay Area,” she says. “Seeing human beings as dollar signs and not as human beings — that’s a sickness.” \u003c/p>\n\u003cp>Kairee Tann, one of Kobrinsky’s landlords, said Tuesday she didn’t want to discuss the situation. A\u003ca href=\"http://www.mercurynews.com/breaking-news/ci_27951888/housing-crisis-emeryville-planning-official-uses-huge-rent\" target=\"_blank\"> Bay Area News Group story\u003c/a> on Kobrinsky earlier this week quoted Tann as saying the rent hike was “standard operating procedure” and that she was not “aware of any issue regarding the rent increase.” \u003c/p>\n\u003cp>Kobrinsky’s response might also be regarded as standard operating procedure, for her. Reflecting on her experience and what’s happening across the Bay Area, she wrote about it. In the audio clip below, she reads her poem “Aftershock”:\u003c/p>\n\u003cblockquote>\u003cp>In another time and place,\u003cbr>\nwe are better people.\u003cbr>\nNo one lies. The Earth\u003cbr>\nnever shakes.\u003cbr>\nSomewhere else,\u003cbr>\nwe are stronger still —\u003cbr>\nWhen we say we are sorry,\u003cbr>\nwe honestly mean it.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202085132&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Sarah Kobrinsky, town's poet in residence, says artists' displacement is sign of 'sickness' in Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, it’s a little bit of a surprise that Emeryville, a town that many Bay Area residents probably associate with the massive yellow-and-blue \u003ca href=\"http://photos.wikimapia.org/p/00/02/12/18/29_full.jpg\" target=\"_blank\">Swedish furniture store\u003c/a> adjacent to the MacArthur Maze, has a poet laureate. \u003c/p>\n\u003cp>But in the interest of enriching the local cultural landscape, the city created such a position. And a couple years ago, Sarah Kobrinsky, a Winnipeg native who came to Emeryville by way of Fargo, North Dakota, was appointed to the position.\u003c/p>\n\u003caside class=\"pullquote alignleft\">‘Seeing human beings as dollar signs and not as human beings — that’s a sickness.’\u003ccite>Sarah Kobrinsky\u003c/cite>\u003c/aside>\n\u003cp>“Wherever I’ve lived, I’ve loved to connect somehow to the artistic community and to play a part in that,” Kobrinsky says. “I like to bring people together and organize events and make things happen.” \u003c/p>\n\u003cp>Kobrinsky’s day job is helping run her family’s small ceramics business. She applied for the poet laureate’s post after she saw a posting on a local bakery bulletin board. In addition to writing poetry for community events, she conducts workshops for residents and has started a project to distribute poems on the Emery-Go-Round, the city’s shuttle bus service. \u003c/p>\n\u003cp>But now, Emeryville’s poet laureate, whose verse touches on subjects like the town’s \u003ca href=\"http://www.ci.emeryville.ca.us/DocumentCenter/View/6316\" target=\"_blank\">long-vanished Native American shellmounds\u003c/a> and the presence of that \u003ca href=\"http://www.ci.emeryville.ca.us/DocumentCenter/View/6317\" target=\"_blank\">big Swedish furniture store\u003c/a>, can no longer afford to live there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kobrinsky recently joined the growing ranks of Bay Area artists who have been priced out of their homes — in this case, a 1-bedroom flat she shared with her husband, a potter, and their young son. At the end of last year, their landlords, who live in an adjacent home, notified them via letter of a 38 percent rent increase. They had 60 days to move from their home of five years.\u003c/p>\n\u003cp>“It was actually very scary,” Kobrinsky says. “I remember getting the letter and breaking down in tears because its something so primal — your sense of shelter, your home.” \u003c/p>\n\u003cp>She and her family landed just up the Eastshore Freeway in Richmond. She recognizes there are plenty of people in the same boat. \u003c/p>\n\u003cp>“A lot of the young creative folks I’ve met recently — the ones who are able to stay are the ones who are lucky enough to secure a situation,” Kobrinsky says. “Either they end up living in a warehouse or they find a room in a house that people have been able to hang onto for years so the rent has stayed low. I know people who are at the top of their fields who are struggling every month to make their ends meet.” \u003c/p>\n\u003cp>And she wonders aloud about the health of a region that’s seeing so many people, artists and non-artists alike, pushed out. \u003c/p>\n\u003cp>“It’s a real sickness in the Bay Area,” she says. “Seeing human beings as dollar signs and not as human beings — that’s a sickness.” \u003c/p>\n\u003cp>Kairee Tann, one of Kobrinsky’s landlords, said Tuesday she didn’t want to discuss the situation. A\u003ca href=\"http://www.mercurynews.com/breaking-news/ci_27951888/housing-crisis-emeryville-planning-official-uses-huge-rent\" target=\"_blank\"> Bay Area News Group story\u003c/a> on Kobrinsky earlier this week quoted Tann as saying the rent hike was “standard operating procedure” and that she was not “aware of any issue regarding the rent increase.” \u003c/p>\n\u003cp>Kobrinsky’s response might also be regarded as standard operating procedure, for her. Reflecting on her experience and what’s happening across the Bay Area, she wrote about it. In the audio clip below, she reads her poem “Aftershock”:\u003c/p>\n\u003cblockquote>\u003cp>In another time and place,\u003cbr>\nwe are better people.\u003cbr>\nNo one lies. The Earth\u003cbr>\nnever shakes.\u003cbr>\nSomewhere else,\u003cbr>\nwe are stronger still —\u003cbr>\nWhen we say we are sorry,\u003cbr>\nwe honestly mean it.\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/202085132&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "California Foodways: Feeding the Trailblazers | KQED",
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"content": "\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/201327335″ 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 hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>[contextly_sidebar id=”fSu9GIDgULAADpkMNYluvfByflKgIFTJ”]\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Hard work, low pay, miserable conditions, and more!”\u003c/p>\n\u003cp>That’s the actual motto for the California Conservation Corps, the state program that puts young adults to work in emergency response, park improvements and fire protection. In Marin, many corps members — known affectionately as “C’s” – do hard physical work building and maintaining the world-class trails in places like Point Reyes, Mount Tamalpais and Muir Woods.\u003c/p>\n\u003cp>Because the young people burn thousands of calories a day, food plays a crucial role for a CCC crew, and their menu has barely changed since the ’30s.\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/201327335″&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/201327335″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After hiking a couple miles up a wooded path, 20-year-old Willy Parker shows me the huge drainage area he and the rest of the crew are shoring up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’ll last for a couple hundred years,” he tells me. “I think that’s pretty awesome.”\u003c/p>\n\u003cp>We’re on a section of trail near Devil’s Gulch Camp in West Marin. I’m trying to understand this puzzle of huge rocks that crew members maneuver to fill a huge hole.\u003c/p>\n\u003cp>Parker tells me we’re looking at about 30 rocks, each as heavy as 100 pounds. Crew members roll rocks down the trail and work in teams, using long metal poles to place them correctly. They mark and chisel the rocks to get the perfect size, so they’ll fit snugly.\u003c/p>\n\u003cp>“They all have to be contacting, one edge to another edge,” says Parker.\u003c/p>\n\u003cfigure id=\"attachment_10491691\" class=\"wp-caption alignright\" style=\"max-width: 495px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10491691 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg\" alt=\"California Conservation Corps members, “Cs” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit.\" width=\"495\" height=\"392\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-800x633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-400x317.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1440x1140.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-1180x934.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-768x608.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone-320x253.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RockAndStone.jpg 1920w\" sizes=\"auto, (max-width: 495px) 100vw, 495px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">California Conservation Corps members, “C’s” for short, roll rocks as heavy as 500 pounds to their work area, set them into place and chisel them for a snug fit. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s to support the tens of thousands of hikers, mountain bikers and horseback riders expected to use this trail. If you hike this trail in a year or two, Parker says, you won’t be able to see the work that went on here.\u003c/p>\n\u003cp>“Over time, the dirt, the leaves will fall over it to make it look natural,” he says.\u003c/p>\n\u003cp>Parker is part of what’s called a spike crew: Members will be working this site off and on for over a year. They spend eight days working, then six days at a residential center near Lake Tahoe. There they get time off and take classes. Like Parker, many work on their GEDs.\u003c/p>\n\u003cp>While these corps members prod heavy stones into place, Samantha Pack and Gabino Lopez have left the trail early to report to KP.\u003c/p>\n\u003cp>“KP stands for kitchen patrol, or kitchen police as we call it,” says Lopez. “It’s the person whose duty it is to take care of the kitchen and camp, all the chores like start the fire, clean around the kitchen.”\u003c/p>\n\u003cp>The kitchen’s really clean, but it’s not much to look at.\u003c/p>\n\u003cp>“Basically, it’s an old burlap tent,” says Pack. “It’s set up with our two stoves, both powered by propane. Two chests are filled with our pots, pans, dishes, and the top is our serving table. It’s a tight space!”\u003c/p>\n\u003cp>Lopez is getting creative, chopping onions and slicing oranges and lemon for the fish they’re serving the 20 crew members and two supervisors. “For us KP’s, we try to make something delicious, just to make the crew feel like they’re at their house.”\u003c/p>\n\u003cp>Each year, the California Conservation Corps hires about 3,000 men and women between 18 and 25. Each has his or her own reasons for joining, but many here, like Samantha Pack, told me they needed some direction.\u003c/p>\n\u003cp>“Everybody has their different problems, but I was very defiant,” she says. “I didn’t know what I wanted. I was always taught to run from my problems. When I started to realize that running wasn’t getting anything done, my mentality changed.”\u003c/p>\n\u003cfigure id=\"attachment_10491694\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491694\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg\" alt=\"Gabino Lopez, left, and Samantha Pack hard at work on 'kitchen patrol.' \" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-400x284.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1440x1023.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin-320x227.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/TentCookin.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez, left, and Samantha Pack hard at work on ‘kitchen patrol.’ \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An alumna told her about the program, and the Bakersfield native found she really loves hands-on trail work.\u003c/p>\n\u003cp>“I had never done any labor at all. I grew up not going to school, sitting on the couch,” Pack says. “Then all of a sudden being told, ‘Dig this hole, move this there,’ it really gave me what I guess I always needed. Not only that discipline, but having that urgency to get things done the right way.”\u003c/p>\n\u003cp>“It’s like we’re a big machine as a group, and the KP’s are the batteries to the machine,” says Lopez.\u003c/p>\n\u003cp>Since they’re out here for more than a week, the food for each meal is planned and packed ahead. KP’s can use ingredients creatively, but they have to consider coming meals. Lopez pulls out the eight-day food calendar, labeled for breakfast and dinner.\u003c/p>\n\u003cp>“Today, we’re having fish fillet, rice pilaf, carrots and salad,” he explains. “Day Four, we’re having pork chops, red potatoes, with broccoli and salad.”\u003c/p>\n\u003cp>A few miles away, in his office on Mount Tamalpais, I meet Victor Bjelajac, who oversees maintenance of state parks in Marin. He’s flipping through pages in a binder, looking at old food orders.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This was a group of Civilian Conservation Corps members that were working at Mount Tamalpais. This one was from 1939.”\u003c/p>\n\u003cp>And guess what? It sounds a lot like what the KP crew is making tonight.\u003c/p>\n\u003cp>“For supper, there was fillet of sole, mashed potatoes, creamed carrots, bread, butter,” Bjelajac reads.\u003c/p>\n\u003cp>The similarities in the menu aren’t sentimental. Camp food has always had to fuel large groups for hard labor. Launched in 1933 as a response to the Great Depression, the Civilian Conservation Corps employed millions of young men, many of them veterans, to work on remote, government-owned lands — planting trees, building roadways, updating parks.\u003c/p>\n\u003cp>In Marin, they built trails and camps and a beautiful amphitheater, still in use today. The Corps accepted only men, and the crews were segregated by race.\u003c/p>\n\u003cp>“It seems inconceivable today when you look at California Conservation Corps,” says Bjelajac.\u003c/p>\n\u003cp>The CCC is about a quarter women, and very diverse. But he says what the two have in common is young people, doing important work as a group for the public good. That, and the food.\u003c/p>\n\u003cp>“Part of the culture that’s built around a camp gets built around meals,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10491700\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10491700\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg\" alt=\"Gabino Lopez tends the fire, also known as the camp TV.\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1440x1178.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-1180x966.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-768x628.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV-320x262.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/CampTV.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gabino Lopez tends the fire, also known as the camp TV. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back at camp, Gabino Lopez tends a fire as his fellow corps members start to come off the trail.\u003c/p>\n\u003cp>“I would honestly rather sit at the fire and watch it for three hours than sit at home on a couch and just watch TV,” Lopez says. “I’d rather bathe in a creek than shower in a bathroom. It makes me feel more alive, I think.”\u003c/p>\n\u003cp>And he’s happy pan-frying fish and sauteing carrots in a tent. Willy Parker says that after working all day and hiking down, KP is a life-saver.\u003c/p>\n\u003cp>“Just to get to camp, and the food is smelling good, and everybody just be walking around the KP tent ready to eat,” he says. “So it’s pretty good, we got that right there.”\u003c/p>\n\u003cp>Like a lot of this crew, Parker never went camping or fishing as a kid.\u003c/p>\n\u003cp>“Camping is amazing,” he says with a laugh. “It’s amazing. I hadn’t done none of that till I joined the CCC.”\u003c/p>\n\u003cp>But it’s not just about trying new things. Parker has a 2-year-old daughter at home in Sacramento, and he says being a C gives him purpose, and pride.\u003c/p>\n\u003cp>“To me, I feel like it’s a great experience,” he says. “I can bring my daughter up here when she gets older to understand, and be like, ‘I built this.’ It just opens my heart and my mind. I can do something I never thought I could do.”\u003c/p>\n\u003cp>He says he used to look at trails and ask, “I wonder how you build this? Or who built this? Now, I find myself actually answering my own question.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\" rel=\"noopener\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\" rel=\"noopener\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\" rel=\"noopener\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Pan Am Mystique Lives on -- in Pacoima",
"title": "The Pan Am Mystique Lives on -- in Pacoima",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327631\" 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>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n",
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"excerpt": "In a warehouse miles from Hollywood, you can relive the golden years of aviation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Want to relive the golden years of aviation? In a warehouse miles from Hollywood, you’ll find a high-class tribute to the beloved airline Pan Am.\u003c/p>\n\u003cp>Every other Saturday night, customers line up outside a warehouse in Pacoima to relive a nostalgic experience.\u003c/p>\n\u003cp>As a small boy, said Anthony Toth, “I started collecting airplane models, and small things like timetables and luggage tags. But as I got older, the desire to have more and more aircraft things became greater and greater.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'Tears came to my eyes, because it was so real.'\u003c/aside>\n\u003cp>So much so that Toth visited so-called airport graveyards in the deserts that sold larger pieces of fuselage … “sidewall panels, and overhead bins, and galley modules and seats. And as I became a young adult, no matter where I lived, I always had a small aircraft mockup in my house. And fast forward about 20 years later, this is what happens.”\u003c/p>\n\u003cp>What happened was Pan Am Experience, Toth’s tribute to the beloved Pan American Airways, complete with original Boeing 747 parts, first-class and coach-section seating, staircase to a dining and cocktail area and a crew in full retro stewardess attire.\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/201327631&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/201327631'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Pan Am flew to destinations all around the world, at a time when the rest of the world hadn’t started flying. Only the affluent got to spin around the globe.\u003c/p>\n\u003cp>Flying was different then, and the Pan Am experience recreates it for paying customers -- many of whom have their own stowed memories.\u003c/p>\n\u003cp>Josh Defelice and Brent Kaspar are flight attendants who live in West Hollywood, and came to see what flying used to be like when it was “actually glamorous,” they say.\u003c/p>\n\u003cp>Barbara Norberg worked as an attendant on the real Pan Am, from 1970 until the company went out of business in 1991, handling Clipper service customers who meandered throughout the cabin, in and out of first class.\u003c/p>\n\u003cfigure id=\"attachment_10494067\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2.jpg\">\u003cimg class=\"size-medium wp-image-10494067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam2-800x600.jpg\" alt=\"History buffs Andrea and Anthony Welch came from Houston, Texas for the Pan Am Experience\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam2-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">History buffs Andrea and Anthony Welch came from Houston, Texas, for the Pan Am Experience \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Passengers were different,” Norberg, the Pan Am Experience hospitality director, said. “You see tonight, everyone’s here, dressed up, looking nice, looking like they’re going to travel around the world. Now you get on an airplane, people barely dress, let alone dress up, so, it’s a kind of a different atmosphere on airplanes. It’s a bus with wings.”\u003c/p>\n\u003cp>Norberg, like others who are here, reminisce in this experience. One that begins at the front of the sound stage, in Pacoima, before passengers are gently shooed onto the plane.\u003c/p>\n\u003cp>Uniformed attendants Holly Gray and Roger Garcia check passengers into this mock journey to the past. Both are actors, and they’re fully dressed in 1960s Pan Am blue and white.\u003c/p>\n\u003cp>“We’re flying all over the world, so every day is new,” Garcia said.\u003c/p>\n\u003cp>“Plus, it’s different every night. You meet new people with interesting jobs. People that have worked in the airline industry before, and you get to hear wonderful memories,” Grey said. “So, it’s a really cool experience to feel like you’re part of this big family that was Pan Am.”\u003c/p>\n\u003cp>Inside the plane, in first class, the velvet blue and red seats, the passenger information cards, even the glasses and silverware, it’s all vintage Pan Am.\u003c/p>\n\u003cp>And, of course, there’s the food.\u003c/p>\n\u003cp>“You have a plate with caprese or you can get shrimp. And then we serve either the pasta or we have the meat with the chateaubriand sauce, or we have the chicken. And then we have a plate of fruit and cheese, and then we serve the cake. Five-course meal, yes,” said our attendant, Melorine Adler.\u003c/p>\n\u003cp>The flight attendant actually carves a roast on a rolling cart. Similar to how it was done onboard a flight, decades ago.\u003c/p>\n\u003cp>The Pan Am Experience is actually part of a complex of old airplane cabins and cockpits. You see an inside airplane scene on TV or in a movie? Chances are it was filmed here, in Pacoima, at a place called Air Hollywood.\u003c/p>\n\u003cfigure id=\"attachment_10494069\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3.jpg\">\u003cimg class=\"size-medium wp-image-10494069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/panam3-800x1067.jpg\" alt=\"Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/panam3-320x427.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Betsy Holt serves up shrimp salad and other appetizers aboard the Pan Am Experience. \u003ccite>(Avishay Artsy/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We did the pilot for LOST. We did the movie 'Bridesmaids',” said Air Hollywood general manager Rob Shalhoub. “We have a wide body jet, it’s a 767, we have two narrow-body jets, a 757 and a 737, we have a G3 private jet, we have a Lear jet, a bunch of cockpits, a lot of props, an airport terminal.”\u003c/p>\n\u003cp>There’s even the cockpit to the famous comedy \"Airplane,\" where a version of Otto, the automatic pilot, still sits.\u003c/p>\n\u003cp>But who cares about the big screen, when this experience feeds the memories of a grateful employee?\u003c/p>\n\u003cp>The real-life movie that plays in the mind of Barbara Norberg, who wore the outfit, served the drinks, made passengers and customers smile -- this experience keeps Pan Am alive.\u003c/p>\n\u003cp>“I walked into the first-class door there, and tears came to my eyes, because it was so real. It was so well done. It was really amazing,” said Norberg. “Now I’m over that, because I just enjoy watching people have a good time.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That good time is first class, in price and experience. A glimpse -- even if for an evening -- of what it was like up there … way back when.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Century-Old Player Pianos Come to Life at Stanford",
"title": "Century-Old Player Pianos Come to Life at Stanford",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201327486\" 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>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xsuPVBAwg4s&w=640&h=360]\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Player pianos that are 100 years old will come to life this Saturday at Stanford University, reproducing historic performances by composers like George Gershwin and Igor Stravinksy. The \u003ca href=\"https://events.stanford.edu/events/495/49503/\">concert\u003c/a> is part of the university's new \u003ca href=\"http://library.stanford.edu/projects/player-piano-project\">Player Piano Project\u003c/a>.\u003c/p>\n\u003cp>Player pianos were “capable of reproducing the nuances of touch and timing of a pianist who recorded in real time,” explains Kumaran Arul, a music instructor at Stanford. The pianos play music recorded on perforated rolls.\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/201327486&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/201327486'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Arul led the effort to acquire and preserve the more than 7,500 rolls and 10 player pianos from a collector in Australia.\u003c/p>\n\u003cp>The pianos became very popular in the late 19\u003csup>th\u003c/sup> and early 20\u003csup>th\u003c/sup> centuries and then died out as phonographs improved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In listening to the rolls, Arul and his colleagues are finding that old pianists were not as tied to sheet music as today’s musicians are. They were willing to take more risks, and be more flexible with rhythm and tempo changes.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xsuPVBAwg4s'\n title='//www.youtube.com/embed/xsuPVBAwg4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Nayantara Jain, a senior piano student at Stanford, is using the rolls to inform her own playing.\u003c/p>\n\u003cp>“These actual composers playing their own pieces do things that teachers will tell you are not OK,” Jain says. “It just opens a whole world of expressive possibility and it’s really exciting.”\u003c/p>\n\u003cp>On Saturday, the Stanford Symphony Orchestra, composed of student players, will accompany Percy Grainger, a pianist who died in 1961, as his 1921 roll runs on a player piano. Rex Lawson, a player piano expert from London, will play a foot-operated version of a player piano, manipulating the roll as it plays.\u003c/p>\n\u003cfigure id=\"attachment_10494122\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll.jpg\">\u003cimg class=\"size-medium wp-image-10494122\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg\" alt=\"A player piano roll containing the touch and timing of a performance by Arthur Rubinstein.\" width=\"800\" height=\"503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-400x252.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1440x906.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/RubensteinRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A player piano roll containing the touch and timing of a performance by Arthur Rubinstein. \u003ccite>(Courtesy Stanford University)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lawson is optimistic that the concert and the Player Piano Project will bring much-needed attention to the old pianos and rolls.\u003c/p>\n\u003cp>“These things are not toys,” Lawson says. “They’re serious musical instruments, and it’s jolly good, finally, that people are beginning to take them seriously.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Soon the rolls will also be available to musicians beyond the Stanford community. Kumaran Arul and his colleagues are in the process of building a custom scanner that will digitize the rolls and make them available online.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Museum Show That Uncovers the Many Identities of Oakland",
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"content": "\u003cp>Who is Oakland?\u003c/p>\n\u003cp>That’s the question the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\">Oakland Museum of California\u003c/a> put to 10 artists, all residents of the city.\u003c/p>\n\u003cp>And their answers, including portraits of residents and neighborhoods from the hills to the flatlands are the basis for a new show called \"Who is Oakland?\" that opened last weekend.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chrisjohnsonphotographer.com/\" target=\"_blank\">Christopher Johnson\u003c/a> is the show's co-curator and lead artist. He says the museum came to him last fall with the idea for the exhibit and a short timetable.\u003c/p>\n\u003cp>“I thought it was a little crazy, because we know that a show of this magnitude would usually take a year,\" Johnson says. \"But they said they wanted it to be an experiment in how responsive the museum could be to the issues that are really on the street in Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So Johnson, a long time Oakland resident and professor of photography at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\">California College of the Arts,\u003c/a> turned to his colleagues and former students to fill the gallery.\u003c/p>\n\u003cp>“It’s not so hard,” he says, “if you’re basing the project on the lived experiences of real people.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/201288315\" 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 instance \u003ca href=\"http://adiamillett.com/\" target=\"_blank\">Adia Millet\u003c/a> scattered a murder of crows around the gallery as a metaphor for gentrification.\u003c/p>\n\u003cp>Crows thrive in a disrupted and changing environment -- a situation that’s tough, Johnson says, on the artists themselves.\u003c/p>\n\u003cp>“My students really struggle to find a way to like continue living here,\" Johnson says. \"On the other hand it’s such a vibrant place, there’s so much going on.”\u003c/p>\n\u003cp>Gentrification is also on the mind of artist \u003ca href=\"http://www.favianna.com/\" target=\"_blank\">Favianna Rodriguez\u003c/a>, whose work often focuses on social justice and immigration.\u003c/p>\n\u003cp>“There’s a lot of pain,” Rodriguez says. “There’s a lot of anger because of the rising housing costs, because of how people are being displaced.”\u003c/p>\n\u003cp>Still Rodriguez' \"Who is Oakland?\" piece focuses not on the city’s problems but on the survival of what’s here.\u003c/p>\n\u003cp>“For example, people think that the \u003ca href=\"http://en.wikipedia.org/wiki/San_Antonio,_Oakland,_California\" target=\"_blank\">San Antonio\u003c/a> is an Asian community,” she says. “Well there’s Cambodians, there’s Filipinos, there’s Chinese. There’s now Jamaicans. There's newcomers every single year, and that’s a beautiful complexity.”\u003c/p>\n\u003cp>Rodriguez shopped corner groceries in San Antonio and its neighbor, the mostly Latino Fruitvale district, to assemble her own tiny international grocery, featuring items like a can of Café Bustelo, Hup Seng cream crackers and bags of rice.\u003c/p>\n\u003cp>“And the chicken bouillon there,” she says, pointing to the packets, “you see it in three different languages. It was not uncommon to go into the supermarket and see the same exact item marketed to three different constituents.”\u003c/p>\n\u003cp>Rodriguez also visited a piñata maker to see how cultures blend.\u003c/p>\n\u003cp>“Here we have a Japanese icon,” said Rodriguez, “Hello Kitty, created in a piñata and sold in East Oakland. Culture does not recognize borders.”\u003c/p>\n\u003cp>Immigration is also a theme for \u003ca href=\"http://susanfelterart.com/\" target=\"_blank\">Susan Felter\u003c/a>.\u003c/p>\n\u003cp>She’s created three huge photo collages depicting Oakland’s natural environment, an aspect of the city she says \"that we often maybe don’t think about too much. But we actually share this environment with a lot of creatures.\"\u003c/p>\n\u003cp>Felter’s depiction of \u003ca href=\"http://www.lakemerritt.org/\" target=\"_blank\">Lake Merritt\u003c/a> is populated by California gulls, pelicans, mallards, a dragon kite and Canada geese. Another collage pairs raccoons and taco trucks in her neighborhood near \u003ca href=\"http://www.mills.edu/\" target=\"_blank\">Mills College\u003c/a>.\u003c/p>\n\u003cp>Much of the work in the show is a counternarrative to the stereotypes so many people have about Oakland as a dangerous and gritty city.\u003c/p>\n\u003cp>That's true for Christopher Johnson's piece, “The Best Way to Find a Hero.”\u003c/p>\n\u003cp>Johnson cut up a map of the city and taped together what he calls “all the bad neighborhoods. All the places that are in the so-called kill zone.”\u003c/p>\n\u003cp>And then he threw darts at the map, visited the homes his darts chose for him, and videotaped interviews with the “heroes” who lived there.\u003c/p>\n\u003cp>“I live in the Eastmont hills, above East Oakland,\" Johnson says. \"So my wife and I hear gunshots just about every day and sirens. But when you drive through, you see properties that are beautifully maintained and when you knock on the doors, you see people who are raising their families, and proud to have lived and survived.”\u003c/p>\n\u003cp>With the touch of a button on a kiosk, you can watch Johnson’s interview with Michael Nelson and his wife Chestine.\u003c/p>\n\u003cp>“This block here is cool,\" Michael Nelson says of his East Oakland neighborood. \"I cut the neighbors grass, we go out and pick up trash. We all know one another and look out for each other and stuff.”\u003c/p>\n\u003cp>“That’s what we got to get back to,” Chestine Nelson interrupts. Michael picks up without a pause, “And you got to go from this block to that block to that block. That’s how we get our neighborhoods back.”\u003c/p>\n\u003cp>Don’t visit \"Who is Oakland?\" if you’re expecting a definitive answer to that question. But here’s Favianna Rodriguez's take.\u003c/p>\n\u003cp>“Oakland is the past and the present,\" she says. \"It’s the collision of cultures. It’s what emerges when migrants come together to form a new reality, to form a new community.\"\u003c/p>\n\u003cp>\"Who is Oakland?\" continues through July 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/radio/programs/forum/\" target=\"_blank\">KQED's Forum\u003c/a> will do a remote broadcast next Wednesday, April 22, from the Oakland Museum of California and feature some of the artists in the \"Who is Oakland?\" show.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who is Oakland?\u003c/p>\n\u003cp>That’s the question the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\">Oakland Museum of California\u003c/a> put to 10 artists, all residents of the city.\u003c/p>\n\u003cp>And their answers, including portraits of residents and neighborhoods from the hills to the flatlands are the basis for a new show called \"Who is Oakland?\" that opened last weekend.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chrisjohnsonphotographer.com/\" target=\"_blank\">Christopher Johnson\u003c/a> is the show's co-curator and lead artist. He says the museum came to him last fall with the idea for the exhibit and a short timetable.\u003c/p>\n\u003cp>“I thought it was a little crazy, because we know that a show of this magnitude would usually take a year,\" Johnson says. \"But they said they wanted it to be an experiment in how responsive the museum could be to the issues that are really on the street in Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Johnson, a long time Oakland resident and professor of photography at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\">California College of the Arts,\u003c/a> turned to his colleagues and former students to fill the gallery.\u003c/p>\n\u003cp>“It’s not so hard,” he says, “if you’re basing the project on the lived experiences of real people.”\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/201288315&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/201288315'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For instance \u003ca href=\"http://adiamillett.com/\" target=\"_blank\">Adia Millet\u003c/a> scattered a murder of crows around the gallery as a metaphor for gentrification.\u003c/p>\n\u003cp>Crows thrive in a disrupted and changing environment -- a situation that’s tough, Johnson says, on the artists themselves.\u003c/p>\n\u003cp>“My students really struggle to find a way to like continue living here,\" Johnson says. \"On the other hand it’s such a vibrant place, there’s so much going on.”\u003c/p>\n\u003cp>Gentrification is also on the mind of artist \u003ca href=\"http://www.favianna.com/\" target=\"_blank\">Favianna Rodriguez\u003c/a>, whose work often focuses on social justice and immigration.\u003c/p>\n\u003cp>“There’s a lot of pain,” Rodriguez says. “There’s a lot of anger because of the rising housing costs, because of how people are being displaced.”\u003c/p>\n\u003cp>Still Rodriguez' \"Who is Oakland?\" piece focuses not on the city’s problems but on the survival of what’s here.\u003c/p>\n\u003cp>“For example, people think that the \u003ca href=\"http://en.wikipedia.org/wiki/San_Antonio,_Oakland,_California\" target=\"_blank\">San Antonio\u003c/a> is an Asian community,” she says. “Well there’s Cambodians, there’s Filipinos, there’s Chinese. There’s now Jamaicans. There's newcomers every single year, and that’s a beautiful complexity.”\u003c/p>\n\u003cp>Rodriguez shopped corner groceries in San Antonio and its neighbor, the mostly Latino Fruitvale district, to assemble her own tiny international grocery, featuring items like a can of Café Bustelo, Hup Seng cream crackers and bags of rice.\u003c/p>\n\u003cp>“And the chicken bouillon there,” she says, pointing to the packets, “you see it in three different languages. It was not uncommon to go into the supermarket and see the same exact item marketed to three different constituents.”\u003c/p>\n\u003cp>Rodriguez also visited a piñata maker to see how cultures blend.\u003c/p>\n\u003cp>“Here we have a Japanese icon,” said Rodriguez, “Hello Kitty, created in a piñata and sold in East Oakland. Culture does not recognize borders.”\u003c/p>\n\u003cp>Immigration is also a theme for \u003ca href=\"http://susanfelterart.com/\" target=\"_blank\">Susan Felter\u003c/a>.\u003c/p>\n\u003cp>She’s created three huge photo collages depicting Oakland’s natural environment, an aspect of the city she says \"that we often maybe don’t think about too much. But we actually share this environment with a lot of creatures.\"\u003c/p>\n\u003cp>Felter’s depiction of \u003ca href=\"http://www.lakemerritt.org/\" target=\"_blank\">Lake Merritt\u003c/a> is populated by California gulls, pelicans, mallards, a dragon kite and Canada geese. Another collage pairs raccoons and taco trucks in her neighborhood near \u003ca href=\"http://www.mills.edu/\" target=\"_blank\">Mills College\u003c/a>.\u003c/p>\n\u003cp>Much of the work in the show is a counternarrative to the stereotypes so many people have about Oakland as a dangerous and gritty city.\u003c/p>\n\u003cp>That's true for Christopher Johnson's piece, “The Best Way to Find a Hero.”\u003c/p>\n\u003cp>Johnson cut up a map of the city and taped together what he calls “all the bad neighborhoods. All the places that are in the so-called kill zone.”\u003c/p>\n\u003cp>And then he threw darts at the map, visited the homes his darts chose for him, and videotaped interviews with the “heroes” who lived there.\u003c/p>\n\u003cp>“I live in the Eastmont hills, above East Oakland,\" Johnson says. \"So my wife and I hear gunshots just about every day and sirens. But when you drive through, you see properties that are beautifully maintained and when you knock on the doors, you see people who are raising their families, and proud to have lived and survived.”\u003c/p>\n\u003cp>With the touch of a button on a kiosk, you can watch Johnson’s interview with Michael Nelson and his wife Chestine.\u003c/p>\n\u003cp>“This block here is cool,\" Michael Nelson says of his East Oakland neighborood. \"I cut the neighbors grass, we go out and pick up trash. We all know one another and look out for each other and stuff.”\u003c/p>\n\u003cp>“That’s what we got to get back to,” Chestine Nelson interrupts. Michael picks up without a pause, “And you got to go from this block to that block to that block. That’s how we get our neighborhoods back.”\u003c/p>\n\u003cp>Don’t visit \"Who is Oakland?\" if you’re expecting a definitive answer to that question. But here’s Favianna Rodriguez's take.\u003c/p>\n\u003cp>“Oakland is the past and the present,\" she says. \"It’s the collision of cultures. It’s what emerges when migrants come together to form a new reality, to form a new community.\"\u003c/p>\n\u003cp>\"Who is Oakland?\" continues through July 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/radio/programs/forum/\" target=\"_blank\">KQED's Forum\u003c/a> will do a remote broadcast next Wednesday, April 22, from the Oakland Museum of California and feature some of the artists in the \"Who is Oakland?\" show.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Vanessa Kenoyer stopped by San Francisco’s Grace Cathedral last summer, curious to check out an art exhibit she’d heard about. She lives three hours away, in Northern California’s mountainous Lake County, and on her occasional trips to the city, she likes to go to art galleries and soak up some of the city’s urban culture.\u003c/p>\n\u003cp>However, walking into Grace Cathedral, she found something even more profound -- a connection with the divine.\u003c/p>\n\u003cp>An intricate labyrinth is inlaid in the floor of the cathedral. “It instantly just caught my breath,” she says.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/200246952\" 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>Labyrinths have always been special to Kenoyer. To her, they represent a journey that all humans go through and can be found across cultures and continents. This symbol of the labyrinth is so special to Kenoyer that she had it tattooed on the back of her neck, like a subconscious guide to her path in life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she comes to San Francisco, Kenoyer makes a point to visit Grace Cathedral and walk the labyrinth, feeling this human pattern of interconnection.\u003c/p>\n\u003cp>[contextly_sidebar id=\"bkqBH49kD6jGGDNK0AXWiKl0uwP4sLrk\"]\u003c/p>\n\u003cp>“It’s just something you start to drop into and this magic starts to happen. Some people start at the beginning of the labyrinth, and it’s fun to watch them. Some people just jump right in,” she says.\u003c/p>\n\u003cp>For Kenoyer, even though she is not Christian, the cathedral is a special place full of light and spirit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can always feel when you walk into a place that is special, of people’s invocation of the divine, no matter what your faith is or what your path is,\" she says. \"When it’s set aside, you can just feel it when you walk inside. And this is one of those places.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Vanessa Kenoyer stopped by San Francisco’s Grace Cathedral last summer, curious to check out an art exhibit she’d heard about. She lives three hours away, in Northern California’s mountainous Lake County, and on her occasional trips to the city, she likes to go to art galleries and soak up some of the city’s urban culture.\u003c/p>\n\u003cp>However, walking into Grace Cathedral, she found something even more profound -- a connection with the divine.\u003c/p>\n\u003cp>An intricate labyrinth is inlaid in the floor of the cathedral. “It instantly just caught my breath,” she says.\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/200246952&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/200246952'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Labyrinths have always been special to Kenoyer. To her, they represent a journey that all humans go through and can be found across cultures and continents. This symbol of the labyrinth is so special to Kenoyer that she had it tattooed on the back of her neck, like a subconscious guide to her path in life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she comes to San Francisco, Kenoyer makes a point to visit Grace Cathedral and walk the labyrinth, feeling this human pattern of interconnection.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s just something you start to drop into and this magic starts to happen. Some people start at the beginning of the labyrinth, and it’s fun to watch them. Some people just jump right in,” she says.\u003c/p>\n\u003cp>For Kenoyer, even though she is not Christian, the cathedral is a special place full of light and spirit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can always feel when you walk into a place that is special, of people’s invocation of the divine, no matter what your faith is or what your path is,\" she says. \"When it’s set aside, you can just feel it when you walk inside. And this is one of those places.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>OK, now listen to this.\u003c/p>\n\u003cp>Any idea what it might be? You may have driven or walked on it before. Sound artist \u003ca href=\"https://singingbridgesmusic.bandcamp.com/\">Jodi Rose\u003c/a> recorded it with contact microphones, and then she loaded up the audio to a website called Aporee.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/200246035″ 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>\u003ca href=\"http://aporee.org\" target=\"_blank\" rel=\"noopener\">Aporee\u003c/a> is a crowdsourced sound map with audio from all over the world. It’s as if Google Maps had audio. You can hear recordings made in different places by clicking on locations where sounds have been uploaded.\u003c/p>\n\u003cp>So, what’s on \u003ca href=\"http://aporee.org/maps/work/?clat=36.734250&clng=-121.988733&z=7&m=hybrid\">the map from California\u003c/a>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aporee has many recordings one might imagine when thinking of the state’s sound profile — nature audio like \u003ca href=\"http://aporee.org/maps/?loc=12666&m=satellite\" target=\"_blank\" rel=\"noopener\">waves crashing\u003c/a> in Santa Barbara, \u003ca href=\"http://aporee.org/maps/?loc=14321&m=satellite\" target=\"_blank\" rel=\"noopener\">sea lions\u003c/a> on the Sonoma Coast and \u003ca href=\"http://aporee.org/maps/?loc=22352&m=satellite\" target=\"_blank\" rel=\"noopener\">birds chirping\u003c/a> in Point Reyes. But there are also urban soundscapes — \u003ca href=\"http://aporee.org/maps/?loc=24642&m=satellite\" target=\"_blank\" rel=\"noopener\">downtown San Francisco\u003c/a> with street performers and cable cars, \u003ca href=\"http://aporee.org/maps/?loc=15708&m=satellite\" target=\"_blank\" rel=\"noopener\">a casino in San Diego\u003c/a>, the \u003ca href=\"http://aporee.org/maps/?loc=8476&m=satellite\" target=\"_blank\" rel=\"noopener\">101 freeway\u003c/a> in Los Angeles, a \u003ca href=\"http://aporee.org/maps/?loc=9038&m=satellite\" target=\"_blank\" rel=\"noopener\">mall Starbucks\u003c/a>.\u003c/p>\n\u003cp>Some contributors have focused on capturing sounds of particular things — \u003ca href=\"http://aporee.org/maps/?loc=20385&m=satellite\" target=\"_blank\" rel=\"noopener\">oil derricks\u003c/a>, \u003ca href=\"http://aporee.org/maps/?loc=8045&m=satellite\" target=\"_blank\" rel=\"noopener\">irrigation pumps\u003c/a> and \u003ca href=\"http://aporee.org/maps/?loc=14841&m=satellite\" target=\"_blank\" rel=\"noopener\">sprinkler systems\u003c/a>. Often the recordings are of the kind of background noises many of us ignore or tune out altogether.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://aporee.org/maps/work/?clat=37.107765&clng=-121.624146&z=7&m=hybrid\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Aporee was created by Berlin-based sound artist Udo Noll. He wanted to make a site where people could share audio and preserve it for the future. The website is part archive, part art project, part community space. The sounds are free to listen to, download and remix under Creative Commons licenses.\u003c/p>\n\u003cp>All of the places on Aporee have been captured visually at the very least by Google’s cameras or satellite images. But most of these locations have never been documented sonically.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/200246823″]\u003c/p>\n\u003c/aside>\n\u003cp>Sound is often overlooked, Noll says, which is a shame because audio can transport someone in different ways than images. “Sound puts you right at the place,” he says, and “you have a kind of landscape that opens up.”\u003c/p>\n\u003cp>Most of Aporee’s audio clips are several minutes long. A majority are soundscapes, kind of audio snapshots. When you listen to recordings like these, Noll says you are “sharing ears” with the person who gathered the audio.\u003c/p>\n\u003cp>Noll has always been fascinated with sound. When he was growing up in Berlin, his aunt had a big old radio that could pick up distant signals. There was a dial on the front, a magic eye Noll says. It would display where the frequencies were coming from — places around Germany, France, Eastern European countries still under Soviet control, and far-off cities like Daventry. It’s the place in Northern England where the BBC Empire Service built its first radio antenna.\u003c/p>\n\u003cp>Noll would tune in to these frequencies and listen. In a way, he says, those radios were the first sound maps.\u003c/p>\n\u003cfigure id=\"attachment_10485838\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10485838 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg\" alt=\"Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-320x427.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone can upload audio to Aporee. There are musicians like Jodi Rose, who did the Golden Gate Bridge recording at the top of the story, and people like Dan Dugan. He invents audio equipment and makes nature recordings, such as a dawn chorus of birds in \u003ca href=\"http://aporee.org/maps/?loc=13252&m=satellite\" target=\"_blank\" rel=\"noopener\">San Francisco’s Presidio\u003c/a>.\u003c/p>\n\u003cp>Many contributors, though, are just hobbyists, recording sounds the way one might take a picture — amateur “phonographers,” like Karel Sidorjak.\u003c/p>\n\u003cp>Sidorjak is a carpenter by trade, but he carries around a small inexpensive recorder. At first he was gathering lots of nature audio—birds, creeks and ocean waves. Now he is more interested in urban sounds. He goes out to record \u003ca href=\"http://aporee.org/maps/?loc=8766&m=satellite\" target=\"_blank\" rel=\"noopener\">BART stations\u003c/a>, industrial noises and the \u003ca href=\"http://aporee.org/maps/?loc=8721&m=satellite\" target=\"_blank\" rel=\"noopener\">“horrible music” at Home Depot\u003c/a>.\u003c/p>\n\u003cp>I went with Sidorjak to see a phonographer in action. We planned to visit one of his favorite places to record in Berkeley. First, though, we had to gather up his recyclables.\u003c/p>\n\u003cp>Sidorjak had been saving bottles for months. They are mostly Pilsner Urquells. It’s his hometown beer. Sidorjak is originally from Pilsen, Czech Republic. As we poured the bottles into plastic bags, they made a deafening crash.\u003c/p>\n\u003cp>“That is a nice sound, right?” he asked and laughed.\u003c/p>\n\u003cp>We took Sidorjak’s bottles \u003ca href=\"http://aporee.org/maps/work/?loc=27533\">to a nearby recycling center\u003c/a>. He had his recorder on, and so did I.\u003c/p>\n\u003cp>Sidorjak wants to document the gritty sounds that fill our urban landscape. Over the din of crunching glass and plastic, he said, “The sound environment we spend a lot of time in is just plain bad.”\u003c/p>\n\u003cp>Sidorjak has made several recordings in the recycling center. He always notes how little money he makes returning the bottles. I like\u003ca href=\"http://aporee.org/maps/?loc=15359&m=satellite\"> this trip the best\u003c/a> –it’s something about the songs he captured playing on the radio in the background.\u003c/p>\n\u003cp>For Sidorjak, Aporee is a place to put the different sounds he gathers — ones that grate on him, like the crash of bottles or music at Home Depot, and ones he loves, like \u003ca href=\"http://aporee.org/maps/?loc=6300&m=satellite\" target=\"_blank\" rel=\"noopener\">the creeks behind his house\u003c/a>.\u003c/p>\n\u003cp>So far, Aporee has almost 30,000 recordings, about 63 days of sound. It’s actually not that much, says founder Udo Noll, especially compared with something like the number of tweets sent out every day into the ether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sounds are we missing, Noll wonders. Which ones will vanish before we ever hear them?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OK, now listen to this.\u003c/p>\n\u003cp>Any idea what it might be? You may have driven or walked on it before. Sound artist \u003ca href=\"https://singingbridgesmusic.bandcamp.com/\">Jodi Rose\u003c/a> recorded it with contact microphones, and then she loaded up the audio to a website called Aporee.\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/200246035″&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/200246035″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://aporee.org\" target=\"_blank\" rel=\"noopener\">Aporee\u003c/a> is a crowdsourced sound map with audio from all over the world. It’s as if Google Maps had audio. You can hear recordings made in different places by clicking on locations where sounds have been uploaded.\u003c/p>\n\u003cp>So, what’s on \u003ca href=\"http://aporee.org/maps/work/?clat=36.734250&clng=-121.988733&z=7&m=hybrid\">the map from California\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aporee has many recordings one might imagine when thinking of the state’s sound profile — nature audio like \u003ca href=\"http://aporee.org/maps/?loc=12666&m=satellite\" target=\"_blank\" rel=\"noopener\">waves crashing\u003c/a> in Santa Barbara, \u003ca href=\"http://aporee.org/maps/?loc=14321&m=satellite\" target=\"_blank\" rel=\"noopener\">sea lions\u003c/a> on the Sonoma Coast and \u003ca href=\"http://aporee.org/maps/?loc=22352&m=satellite\" target=\"_blank\" rel=\"noopener\">birds chirping\u003c/a> in Point Reyes. But there are also urban soundscapes — \u003ca href=\"http://aporee.org/maps/?loc=24642&m=satellite\" target=\"_blank\" rel=\"noopener\">downtown San Francisco\u003c/a> with street performers and cable cars, \u003ca href=\"http://aporee.org/maps/?loc=15708&m=satellite\" target=\"_blank\" rel=\"noopener\">a casino in San Diego\u003c/a>, the \u003ca href=\"http://aporee.org/maps/?loc=8476&m=satellite\" target=\"_blank\" rel=\"noopener\">101 freeway\u003c/a> in Los Angeles, a \u003ca href=\"http://aporee.org/maps/?loc=9038&m=satellite\" target=\"_blank\" rel=\"noopener\">mall Starbucks\u003c/a>.\u003c/p>\n\u003cp>Some contributors have focused on capturing sounds of particular things — \u003ca href=\"http://aporee.org/maps/?loc=20385&m=satellite\" target=\"_blank\" rel=\"noopener\">oil derricks\u003c/a>, \u003ca href=\"http://aporee.org/maps/?loc=8045&m=satellite\" target=\"_blank\" rel=\"noopener\">irrigation pumps\u003c/a> and \u003ca href=\"http://aporee.org/maps/?loc=14841&m=satellite\" target=\"_blank\" rel=\"noopener\">sprinkler systems\u003c/a>. Often the recordings are of the kind of background noises many of us ignore or tune out altogether.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"http://aporee.org/maps/work/?clat=37.107765&clng=-121.624146&z=7&m=hybrid\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Aporee was created by Berlin-based sound artist Udo Noll. He wanted to make a site where people could share audio and preserve it for the future. The website is part archive, part art project, part community space. The sounds are free to listen to, download and remix under Creative Commons licenses.\u003c/p>\n\u003cp>All of the places on Aporee have been captured visually at the very least by Google’s cameras or satellite images. But most of these locations have never been documented sonically.\u003c/p>\n\u003caside class=\"alignleft\">\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/tracks/200246823″&visual=true&undefined'\n title='”https://api.soundcloud.com/tracks/200246823″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>Sound is often overlooked, Noll says, which is a shame because audio can transport someone in different ways than images. “Sound puts you right at the place,” he says, and “you have a kind of landscape that opens up.”\u003c/p>\n\u003cp>Most of Aporee’s audio clips are several minutes long. A majority are soundscapes, kind of audio snapshots. When you listen to recordings like these, Noll says you are “sharing ears” with the person who gathered the audio.\u003c/p>\n\u003cp>Noll has always been fascinated with sound. When he was growing up in Berlin, his aunt had a big old radio that could pick up distant signals. There was a dial on the front, a magic eye Noll says. It would display where the frequencies were coming from — places around Germany, France, Eastern European countries still under Soviet control, and far-off cities like Daventry. It’s the place in Northern England where the BBC Empire Service built its first radio antenna.\u003c/p>\n\u003cp>Noll would tune in to these frequencies and listen. In a way, he says, those radios were the first sound maps.\u003c/p>\n\u003cfigure id=\"attachment_10485838\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10485838 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg\" alt=\"Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel-320x427.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/Karel.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karel Sidorjak records sounds that grate on him, like the crash of bottles at a recycling center. \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anyone can upload audio to Aporee. There are musicians like Jodi Rose, who did the Golden Gate Bridge recording at the top of the story, and people like Dan Dugan. He invents audio equipment and makes nature recordings, such as a dawn chorus of birds in \u003ca href=\"http://aporee.org/maps/?loc=13252&m=satellite\" target=\"_blank\" rel=\"noopener\">San Francisco’s Presidio\u003c/a>.\u003c/p>\n\u003cp>Many contributors, though, are just hobbyists, recording sounds the way one might take a picture — amateur “phonographers,” like Karel Sidorjak.\u003c/p>\n\u003cp>Sidorjak is a carpenter by trade, but he carries around a small inexpensive recorder. At first he was gathering lots of nature audio—birds, creeks and ocean waves. Now he is more interested in urban sounds. He goes out to record \u003ca href=\"http://aporee.org/maps/?loc=8766&m=satellite\" target=\"_blank\" rel=\"noopener\">BART stations\u003c/a>, industrial noises and the \u003ca href=\"http://aporee.org/maps/?loc=8721&m=satellite\" target=\"_blank\" rel=\"noopener\">“horrible music” at Home Depot\u003c/a>.\u003c/p>\n\u003cp>I went with Sidorjak to see a phonographer in action. We planned to visit one of his favorite places to record in Berkeley. First, though, we had to gather up his recyclables.\u003c/p>\n\u003cp>Sidorjak had been saving bottles for months. They are mostly Pilsner Urquells. It’s his hometown beer. Sidorjak is originally from Pilsen, Czech Republic. As we poured the bottles into plastic bags, they made a deafening crash.\u003c/p>\n\u003cp>“That is a nice sound, right?” he asked and laughed.\u003c/p>\n\u003cp>We took Sidorjak’s bottles \u003ca href=\"http://aporee.org/maps/work/?loc=27533\">to a nearby recycling center\u003c/a>. He had his recorder on, and so did I.\u003c/p>\n\u003cp>Sidorjak wants to document the gritty sounds that fill our urban landscape. Over the din of crunching glass and plastic, he said, “The sound environment we spend a lot of time in is just plain bad.”\u003c/p>\n\u003cp>Sidorjak has made several recordings in the recycling center. He always notes how little money he makes returning the bottles. I like\u003ca href=\"http://aporee.org/maps/?loc=15359&m=satellite\"> this trip the best\u003c/a> –it’s something about the songs he captured playing on the radio in the background.\u003c/p>\n\u003cp>For Sidorjak, Aporee is a place to put the different sounds he gathers — ones that grate on him, like the crash of bottles or music at Home Depot, and ones he loves, like \u003ca href=\"http://aporee.org/maps/?loc=6300&m=satellite\" target=\"_blank\" rel=\"noopener\">the creeks behind his house\u003c/a>.\u003c/p>\n\u003cp>So far, Aporee has almost 30,000 recordings, about 63 days of sound. It’s actually not that much, says founder Udo Noll, especially compared with something like the number of tweets sent out every day into the ether.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What sounds are we missing, Noll wonders. Which ones will vanish before we ever hear them?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "For the Schlep-Resistant, Site Lists Events Near BART Stations",
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"content": "\u003cp>Ever want to go somewhere, but not somewhere \u003cem>too far\u003c/em> from a BART station?\u003c/p>\n\u003cp>OK, let's put it another way. Ever want to \u003cem>not\u003c/em> subject yourself to the vicissitudes of an additional transit agency for those last few miles or so, after already schlepping on BART?\u003c/p>\n\u003cp>Then have we got a site for you! It's BART's new \u003ca href=\"http://www.bart.gov/bartable\" target=\"_blank\">BARTable\u003c/a>, launched Wednesday.\u003c/p>\n\u003cp>According to Bay City News, the site ...\u003c/p>\n\u003cblockquote>\n\u003cp>...will serve as a one-stop shop for events and destinations close to a station, offering discounts and giveaways in a few clicks. The website will be updated daily to show destinations in San Francisco, the East Bay and northern Peninsula that can be reached by BART.\u003c/p>\n\u003cp>The site utilizes information from business review website Yelp to show places a half-mile away from a specified station once a user enters a search term for what they're looking for, such as \"picnic spots\" or \"museums.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>[contextly_sidebar id=\"l1IuU6qgmxyBZ8kToz6DpZon8svQpHSM\"]\u003c/p>\n\u003cp>Partners include event websites FunCheapSF and Goldstar, which will offer event discounts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can check out the \u003ca href=\"http://bartable.bart.gov/events\" target=\"_blank\">calendar of upcoming BARTable events\u003c/a> here. A pulldown menu lets you specify which BART stops you'd like to stick close to, though come to think of it, that may not be the best way to plan an unforgettable evening.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, check it out ...\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever want to go somewhere, but not somewhere \u003cem>too far\u003c/em> from a BART station?\u003c/p>\n\u003cp>OK, let's put it another way. Ever want to \u003cem>not\u003c/em> subject yourself to the vicissitudes of an additional transit agency for those last few miles or so, after already schlepping on BART?\u003c/p>\n\u003cp>Then have we got a site for you! It's BART's new \u003ca href=\"http://www.bart.gov/bartable\" target=\"_blank\">BARTable\u003c/a>, launched Wednesday.\u003c/p>\n\u003cp>According to Bay City News, the site ...\u003c/p>\n\u003cblockquote>\n\u003cp>...will serve as a one-stop shop for events and destinations close to a station, offering discounts and giveaways in a few clicks. The website will be updated daily to show destinations in San Francisco, the East Bay and northern Peninsula that can be reached by BART.\u003c/p>\n\u003cp>The site utilizes information from business review website Yelp to show places a half-mile away from a specified station once a user enters a search term for what they're looking for, such as \"picnic spots\" or \"museums.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Partners include event websites FunCheapSF and Goldstar, which will offer event discounts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "new-project-confronts-citizens-on-surveillance-in-oakland",
"title": "New Project Confronts Citizens on Surveillance in Oakland",
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"content": "\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the First Friday gallery walk in Uptown Oakland, Peter Foucault is doing live screen-printing on the hood of a tricked-out Ford Falcon van. But before the prints can even dry, he’s waving them at passers-by.\u003c/p>\n\u003cp>What he’s got is a short quiz, testing people’s knowledge about surveillance in the city.\u003c/p>\n\u003cp>The quiz starts off asking about the \u003ca href=\"https://localwiki.org/oakland/Domain_Awareness_Center\" target=\"_blank\" rel=\"noopener\">Domain Awareness Center\u003c/a> — a controversial project to collect data across Oakland, \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/oakland-mayor-jean-quan-suggests-scaling-back-domain-awareness-center\" target=\"_blank\" rel=\"noopener\">scaled back last year\u003c/a> in the face of community opposition. Then the test moves on to more general laws about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483456\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483456 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg\" alt=\"RS14798_fresh screenprint-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14798_fresh-screenprint-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The project has elicited a wide range of answers. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“True or false? Surveillance cameras purchased by private citizens and neighborhood associations can be linked up to the Oakland Police Department’s network.”\u003c/p>\n\u003cp>“True or false? Private citizens can purchase license plate readers and can send data about the plates they scan to the Oakland Police Department.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first is false, the second is true. But the point isn’t whether one’s answers are right or wrong.\u003c/p>\n\u003cp>“We give this to kind of prime people, get the conversation started,” Foucault tells a curious participant. “We just want to give you some education, get you some facts. Get you thinking in the mindset of surveillance and how it may or may not affect you.”\u003c/p>\n\u003cp>After answering the questions, participants can go to a makeshift recording booth inside the van to share their thoughts about surveillance.\u003c/p>\n\u003cfigure id=\"attachment_10483452\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483452 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg\" alt=\"Mobile Arts Projects's Chris Treggiari speaks with Darren Bom Nguyen.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14803_Nyguen-taking-survey-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mobile Arts Project’s Chris Treggiari speaks with Darren Bom Nguyen. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have various opinions on surveillance,” says Greg Brenner, who’s visiting from Indianapolis. “When I need it, when I want to know what’s out in front of my business or shop, I think it’s a great thing. But I think its also an invasion of privacy. So I’m torn on the subject.”\u003c/p>\n\u003cp>Foucault says the project has elicited a wide range of answers, often based on where he has set up.\u003c/p>\n\u003cp>“People have a different take on how surveillance impacts their lives in a different way in Fruitvale than it’s happening downtown here,” he says. “We had people that say surveillance is protection, comfort, keeping people on their toes to just be aware of what’s happening in their neighborhoods. And then on the far end of the spectrum, there’s obviously the responses that are going to be surveillance is a little bit more invasive.”\u003c/p>\n\u003cfigure id=\"attachment_10483454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10483454 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg\" alt=\"RS14800_van with screen from side-qut\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14800_van-with-screen-from-side-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland residents are tested on their knowledge of surveillance. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project is called “\u003ca href=\"https://twitter.com/eyesonoak\" target=\"_blank\" rel=\"noopener\">Eyes on Oakland\u003c/a>” — a collaboration between \u003ca href=\"https://mobileartsplatform.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Mobile Arts Platform\u003c/a> and the \u003ca href=\"http://cironline.org/\" target=\"_blank\" rel=\"noopener\">Center for Investigative Reporting\u003c/a>. “They’re giving us the content that we’re looking for and we’re giving them an experience,” says Aaron McKenzie of Mobile Arts Platform.\u003c/p>\n\u003cp>“Investigative reporting happens in many ways, and part of how we see engagement and work in journalism is talking to people in advance of what we even know a story will be,” says Meghann Farnsworth, director of distribution and engagement at CIR.\u003c/p>\n\u003cp>“So one of the goals here is to find out how much people know about surveillance. What information would they want to know more about, what issues do they care about? So that way, as our reporters and editors are looking at stories, we have some baseline of understanding (of) what Oakland residents know … what they’re interested about, and that can help influence our looking at different topics and issues.”\u003c/p>\n\u003cp>Participants can also fill out a card that says “Surveillance is —” by finishing the phrase . They then have their photo taken, with the card blocking their face — a reference to the concept of privacy.\u003c/p>\n\u003cp>Stephen Nienu fills in the blank with the word “dangerous.”\u003c/p>\n\u003cp>“I’m a political science major. I’m a person that researches and is somewhat aware with the things that are going on, such as surveillance and current events regarding the NSA, Snowden, etc. Surveillance is dangerous.”\u003c/p>\n\u003cfigure id=\"attachment_10483453\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10483453\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg\" alt=\"Stephen Nienu after taking the quiz.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/04/RS14801_Dangerous-qut-320x180.jpg 320w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephen Nienu after taking the quiz. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some people may argue that it’s a necessary evil, but the point that we’re at right now, I think it’s a huge violation of privacy,” says Pele Tapaatoutai, who recently moved back to the Bay Area from New York City. She wrote “surveillance is … a major violation of privacy.”\u003c/p>\n\u003cp>Jared Mitchell, who grew up in Oakland, did poorly on the quiz, which he says scares him.\u003c/p>\n\u003cp>“I’ve got a lot to learn and a lot to research going forward,” he said. “It’s important that the citizens being surveyed and being watched, they should be aware of the means in which they’re being watched and the technologies that are being used to conduct the police activities that we pay for. Unfortunately, there aren’t always those opportunities for that conversation to take place, so I think that them being on the streets and getting people engaged and even thinking in that direction is a beautiful thing.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The recordings and answers from the public will become part of the \u003ca href=\"http://museumca.org/exhibit/who-is-oakland\" target=\"_blank\" rel=\"noopener\">“Who is Oakland” exhibit at the Oakland Museum\u003c/a>, which opens Saturday, April 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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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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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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