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"content": "\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photojournalist Paul Kitagaki Jr. is trying to keep history alive.\u003c/p>\n\u003cp>It's been harder than he ever imagined.\u003c/p>\n\u003cp>His exhibition at the \u003ca href=\"http://www.californiamuseum.org\" target=\"_blank\">California Museum\u003c/a> in Sacramento reflects a decade of work. It explores the World War II \u003ca href=\"http://www.densho.org\" target=\"_blank\">internment\u003c/a> of 120,000 people of Japanese descent -- two-thirds of them U.S. citizens -- months after Japan bombed \u003ca href=\"http://www.history.com/topics/world-war-ii/pearl-harbor\" target=\"_blank\">Pearl Harbor\u003c/a> on Dec. 7, 1941. But it doesn't just look at the past: Historic photos by \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/dorothea-lange/dorothea-lange-biography-with-photo-gallery/3097/\" target=\"_blank\">Dorothea Lange, \u003c/a>\u003ca href=\"http://www.anseladams.com\" target=\"_blank\">Ansel Adams\u003c/a> and others are juxtaposed with contemporary images of the same people, taken by Kitagaki.\u003c/p>\n\u003cp>\"A lot of them right now are in their 80s and 90s,\" he says. \"And soon they’ll be gone, and the stories will be lost forever.\"\u003c/p>\n\u003cfigure id=\"attachment_10482641\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter.jpg\">\u003cimg class=\"size-medium wp-image-10482641\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg\" alt=\"Paul Kitagaki Jr and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/pk-and-daughter-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Paul Kitagaki Jr. and his daughter, Naomi Kitagaki, at his exhibition at the California Museum in Sacramento. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are 30 sets of then-and-now photographs in the exhibition. At a reception in the museum, several of Kitagaki's subjects are taking it all in, looking at their past and present selves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>'It Was Just Bare Nothing'\u003c/b>\u003c/p>\n\u003cp>Mitsuo \"Mits\" Mori gazes at a photograph shot by \u003ca href=\"http://www.nytimes.com/2004/08/18/arts/carl-mydans-life-photographer-who-chronicled-wars-and-the-depression-dies-at-97.html\" target=\"_blank\">Carl Mydans\u003c/a> at the \u003ca href=\"http://www.janm.org/projects/clasc/tule.htm\" target=\"_blank\">Tule Lake Segregation Center\u003c/a>. It ran in the February 1944 issue of Life Magazine. It's next to one taken by Kitagaki in 2012.\u003c/p>\n\u003cp>\"There I'm in the barbershop getting a haircut,\" Mori says. \"But here I am with no hair anymore.\"\u003c/p>\n\u003cp>He was 9 -- a San Francisco kid whose parents were forced to sell their South of Market dry-cleaning business for $450 when they were hauled off to an internment camp. He's 80 now, a retired architect who lives near San Francisco State. He still remembers when he and his family arrived at Tule Lake.\u003c/p>\n\u003cfigure id=\"attachment_10482635\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits.jpg\">\u003cimg class=\"size-medium wp-image-10482635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/mits-800x600.jpg\" alt=\"Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/mits-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mitsuo 'Mits' Mori stands next to a 2012 portrait of him by Paul Kitagaki Jr. and one by Carl Mydans in 1944 in the Tule Lake barbershop. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"When they walked into that room, it was just bare nothing,\" Mori says. \"A mattress and a cot bed and a potbelly stove. And that was it -- that's all they had. My father, my mom, myself, my sister and my uncle lived in that space for two years.\"\u003c/p>\n\u003cp>The people in the photographs are the personification of \u003cem>gambatte,\u003c/em> a Japanese word that means \"don't give up, do your best.\" It inspired the name of the exhibition: \u003ca href=\"http://www.californiamuseum.org/gambatte\" target=\"_blank\">\"Gambatte! Legacy of an Enduring Spirit.\"\u003c/a>\u003c/p>\n\u003cp>\"It speaks to the spirit of (those) who were incarcerated during World War II,\" says Kitagaki, who is a photographer with the Sacramento Bee. \"And it’s how, from their inner spirit, they did not let anything hold them back, and they persevered and moved beyond the internment.\"\u003c/p>\n\u003cp>\u003cb>'So Many Nameless People'\u003c/b>\u003c/p>\n\u003cp>Kitagaki has persevered, too. Remarkably, he had never heard of the internment until he was a teenager.\u003c/p>\n\u003cp>\"My family didn’t talk about their experience being interned,\" says Kitagaki, a Bay Area native who is almost 61. \"I really didn’t find out until I learned in a high school class in 1970 when I was 16. And then I went home and basically asked my parents: What was going on? What happened? Why didn’t you talk about this?\"\u003c/p>\n\u003cp>Almost a decade later, he got another big surprise: His uncle mentioned that Lange -- a famed documentary photographer -- had taken a picture of Kitagaki's grandparents, father and aunt in Oakland, waiting for a bus that would bring them to an assembly center at \u003ca href=\"http://encyclopedia.densho.org/Tanforan_(detention_facility)/\" target=\"_blank\">Tanforan Racetrack\u003c/a>, where the San Bruno BART Station now stands.\u003c/p>\n\u003cp>In 1984, Kitagaki visited the \u003ca href=\"http://www.archives.gov/research/alic/reference/military/japanese-internment.html\" target=\"_blank\">National Archives\u003c/a> in Washington and went through boxes and boxes of photographs taken by Lange for the \u003ca href=\"http://www.sfmuseum.org/hist10/relocbook.html\" target=\"_blank\">War Relocation Authority.\u003c/a> Finally, he found the one she'd shot of his family.\u003c/p>\n\u003cp>\"There (were) so many faces ... looking up at me when I was flipping through the pictures,\" he says. \"And there were so many nameless people. And I really wanted to find out what happened to their lives.\"\u003c/p>\n\u003cp>In 2005, his quest began. He was determined to locate the people in the historic photos and photograph them again, often where the original image had been taken. He went to Japanese churches, summer bazaars and other gatherings where someone might recognize their pictures. His first subjects were his father and aunt, at the same building in Oakland where Lange had encountered them.\u003c/p>\n\u003cp>\"It's one of the most challenging projects of my career,\" Kitagaki says. \"I'm working with pictures that are more than 70 years old. There's barely any caption information, and almost no names. It's quite challenging to put a name with the person, and then try to track them down and see if they're alive. The other challenge is that they're Japanese, and they like to hold their emotions inside.\"\u003c/p>\n\u003cp>It wasn't easy to get people to agree to be photographed -- and also to be interviewed at length.\u003c/p>\n\u003cp>\"They thought I was going to come in and snap a picture and be out of their hair in a second,\" Kitagaki says. \"Instead, I was using a 4x5 camera and black-and-white film, and my setups were taking longer than they thought. It might be an hour to figure out a location and have them stand for a picture.\"\u003c/p>\n\u003cp>He says some of his subjects became very emotional.\u003c/p>\n\u003cp>\"It did bring back memories,\" says Gladys Matsumoto Katsuki, 88, of Sacramento. \"I still wonder why all of this happened to us.\"\u003c/p>\n\u003cp>Of course it happened to \u003ca href=\"http://www.gaic.info\" target=\"_blank\">German-Americans\u003c/a> and \u003ca href=\"http://www.sfgate.com/magazine/article/A-SECRET-HISTORY-The-harassment-of-Italians-2866287.php\" target=\"_blank\">Italian-Americans,\u003c/a> too, to a much lesser extent. And it could happen again to other groups, say some internees, who are acutely mindful of how civil rights \u003ca href=\"http://www.usccr.gov/pubs/ARAB_MUSLIM_9-30-14.pdf\" target=\"_blank\">have been violated\u003c/a> in the years since 9/11.\u003c/p>\n\u003cp>\u003cb>Leaving Everything Behind\u003c/b>\u003c/p>\n\u003cp>In 1943, Ansel Adams ran across the 15-year-old Katsuki in \u003ca href=\"http://www.nps.gov/manz/learn/historyculture/japanese-americans-at-manzanar.htm\" target=\"_blank\">Manzanar\u003c/a> as she was walking home from school with two other girls. Her parents were farmers in Elk Grove on Feb. 19, 1942, when President \u003ca href=\"http://www.fdrlibrary.marist.edu/education/resources/bio_fdr.html\" target=\"_blank\">Franklin D. Roosevelt\u003c/a> issued \u003ca href=\"http://www.loc.gov/teachers/classroommaterials/connections/manzanar/history2.html\" target=\"_blank\">Executive Order 9066,\u003c/a> which led to the internment.\u003c/p>\n\u003cp>\"When we left, the strawberries were red, ripe,\" she says. \"And we had to leave everything behind. ... It was devastating because they worked so hard to get this property – and then to have it taken away from you. When we came back, it was all gone.\"\u003c/p>\n\u003cp>She looks again at Adams' Manzanar photo. It was lunchtime, she says, and she was the one in the middle. There were often sudden winds and lots of sand, which would gust around and matte her hair.\u003c/p>\n\u003cp>\"I have two kids,\" she says. \"I've told them about what we went through, but they can't seem to visualize it. They just say, 'Why?' \"\u003c/p>\n\u003cfigure id=\"attachment_10482637\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys.jpg\">\u003cimg class=\"size-medium wp-image-10482637\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/gladys-800x600.jpg\" alt=\"Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/gladys-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gladys Matsumoto Katsuki stands in front of a 1943 Manzanar photo by Ansel Adams, top left, where she's in the middle. To its right is her portrait by Paul Kitagaki Jr. in 2012. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Willie Hayashida’s wartime portrait was also shot at Manzanar by Ansel Adams. He’s 3 years old in the picture, eating a meal in a mess hall with another young boy.\u003c/p>\n\u003cp>At the museum, he laughs at the sight of the full plates of food.\u003c/p>\n\u003cp>\"It's been propped up,\" he says. \"Normally, we won't get this much food for little kids.\"\u003c/p>\n\u003cp>\u003cb>'A Loss of Innocence'\u003c/b>\u003c/p>\n\u003cp>Hayashida grew up to be an engineer at Intel. Now he's 74. Like Kitagaki, he recalls how reluctant his family was to talk about what had happened.\u003c/p>\n\u003cp>When he bought his mother a computer to write her autobiography, her account of the internment took up just a few sentences. \"I said, 'Mom, there's more than that. We were there for 3½ years. There's more than that.' \"\u003c/p>\n\u003cp>For a long time, he tried to find Takashi Uchida, the other boy in the mess-hall photograph. It turned out that Uchida had suffered a stroke and was in a nursing home in Las Vegas. Hayashida paid a visit and presented him with a gift: a custom-made T-shirt with the Ansel Adams photo of the two of them at Manzanar.\u003c/p>\n\u003cp>Another retired engineer, 81-year-old Andrew Nozaka of Saratoga, was almost 9 when he and his family were incarcerated. He still remembers the route the bus took, going past his house on Ashby Avenue in Berkeley on its way to San Bruno. That's where Lange saw them, standing in front of the grandstand. His mother, in Lange's photograph, is asking for help finding their barracks. He's holding her purse and a metal mess kit.\u003c/p>\n\u003cp>\"That day was a loss of innocence,\" Nozaka says, as he stares at the photo.\u003c/p>\n\u003cfigure id=\"attachment_10482639\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka.jpg\">\u003cimg class=\"size-medium wp-image-10482639\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/nozaka-800x600.jpg\" alt=\"Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/nozaka-320x240.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrew Nozaka visits the California Museum in Sacramento. He's next to a photo of him and his mother taken by Dorothea Lange at Tanforan in 1942. \u003ccite>(Patricia Yollin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He remembers canned string beans, boiled potatoes, canned Vienna sausages and outbreaks of diarrhea at camp. Postwar life was also a struggle. He especially dreaded going to school on Dec. 7, the anniversary of the Pearl Harbor bombing.\u003c/p>\n\u003cp>\"Man, that was hard, especially during the '50s,\" says Nozaka.\u003c/p>\n\u003cp>His eyes scan other photographs on the wall. Topaz, Poston, Heart Mountain, Tule Lake -- some of the camp names that live in infamy for the people incarcerated during the war.\u003c/p>\n\u003cp>\"We were kind of the silent generation,\" Nozaka says. \"We were told to study hard and achieve. Looking back on it, maybe we should have protested a hell of a lot more.\"\u003c/p>\n\u003cp>Kitagaki's exhibition eventually will include audio and video, and he wants to produce a book. Meanwhile, he's looking for more people. He has interviewed and photographed 31 so far, with seven more lined up. He's hoping for 50 total.\u003c/p>\n\u003cp>Pictures of people he's searching for can be found on his \u003ca href=\"http://www.kitagakiphoto.com/#!/p/japanese-american-in\" target=\"_blank\">website, \u003c/a>along with some sets of then-and-now photos. If you know who they are, just email him at paul@kitagakiphoto.com.\u003c/p>\n\u003cp>The California Museum exhibition runs through May 3. Twenty-one of the photos will then be on display at the \u003ca href=\"https://www.viewpointgallery.org/exhibit/paul-kitagaki-jr.%E2%80%94japanese-american-internees-today\" target=\"_blank\">Viewpoint Photographic Art Center\u003c/a> in Sacramento from May 7 to June 7.\u003c/p>\n\u003cp>One of Lange's \u003ca href=\"http://www.getty.edu/art/collection/objects/128393/dorothea-lange-pledge-of-allegiance-raphael-weill-elementary-school-san-francisco-american-negative-april-20-1942-print-about-1960s/\" target=\"_blank\">best-known photographs\u003c/a> shows two little girls saying the Pledge of Allegiance at Raphael Weill School in San Francisco in 1942. One of those girls, Mary Ann Yahiro, is 80 now and lives in Illinois. Three years ago, I interviewed her by phone for a story I was doing on \u003ca href=\"http://www.sfgate.com/art/article/Photos-illustrate-effects-of-WWII-internment-camps-3552117.php\" target=\"_blank\">Kitagaki's earlier exhibition\u003c/a>, now permanent, at the San Bruno BART Station.\u003c/p>\n\u003cp>Yahiro was interned at \u003ca href=\"http://www.topazmuseum.org/topaz-camp\" target=\"_blank\">Topaz,\u003c/a> where she was separated from her mother and didn't see her again until she was lying in a casket, after dying in camp at age 51. In 2007, Yahiro and her classmate returned to their old school, now Rosa Parks Elementary, to be photographed by Kitagaki. Even then, he had a sense of urgency in finding more people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"He's got to hurry,\" said Yahiro. \"Everybody's getting old.\"\u003c/p>\n\u003cfigure id=\"attachment_10482643\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk.jpg\">\u003cimg class=\"size-medium wp-image-10482643\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg\" alt=\"Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \" width=\"800\" height=\"1038\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-800x1038.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-400x519.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-1180x1532.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-768x997.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk-320x415.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/yahiro-by-pk.jpg 1389w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Ann Yahiro, right, and Helene Nakamoto return in 2007 to what used to be Raphael Weill School in San Francisco, 65 years after Dorothea Lange took their picture. \u003ccite>(Photo by Paul Kitagaki Jr.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "African-American Hiking Group Turns to Nature For Beauty and Community",
"title": "African-American Hiking Group Turns to Nature For Beauty and Community",
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"content": "\u003cp>Rue Mapp grew up spending her summers playing outside on her family’s ranch in Lake County. But as an adult, she kept finding herself the only African-American on organized hikes. Tired of being “the only one,\" she started \u003ca href=\"http://www.outdoorafro.com\">Outdoor Afro\u003c/a> and found out she wasn’t.\u003c/p>\n\u003cp>“I realized that when you identify all the only ones, and people did identify themselves as such, we were actually quite numerous,” she says.\u003c/p>\n\u003cp>Now there are Outdoor Afro chapters across the country. Volunteers like Zoe Polk lead hikes, camping trips and bird walks to help African-Americans reconnect with the outdoors and with each other. The group uses social media, too -- to post resources, tips and photos of black people enjoying the outdoors.\u003c/p>\n\u003cp>Mapp is challenging the myth that African-Americans don’t get out in nature. Sure, she says, if you're hiking through Yellowstone or even Yosemite, places far from cities, you don’t see a lot of black people. But if you take a place like Lake Merritt in the heart of downtown Oakland, she says, “It looks like the United Nations. So that’s a classic example of here’s a place that’s right in the middle of where people live, where people work, that they can access, and they’re using it.”\u003c/p>\n\u003cp>\u003cstrong>Heading to Oakland Hills\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a recent Friday evening, 30 people, most of them African- American, headed to the Oakland Hills for a hike.\u003c/p>\n\u003cp>Trip leader Zoe Polk tells them what to expect.\u003c/p>\n\u003cp>“If this is your first time with Outdoor Afro, a couple of things to know about us,” she says. “We are not a competitive hiking group. Our purpose is to have community in nature and share with each other. So we’re not going to be leaving anyone behind today!”\u003c/p>\n\u003cp>The group starts uphill through the woods, chatting and laughing along the way. The trail soon opens up into rolling grassy hills. There’s Mount Diablo to the east and the sun setting over the Golden Gate Bridge to the west. Polk stops the group by a lupine bush, its purple flowers in bloom. She asks if anyone has read Alice Walker’s \"The Color Purple.\"\u003c/p>\n\u003cp>“\u003ca href=\"http://www.goodreads.com/quotes/110038-i-think-it-pisses-god-off-if-you-walk-by\">Is there a famous line in that book that talks about nature\u003c/a>?” she asks.\u003c/p>\n\u003cp>“It’s like the color purple,” shouts one participant, paraphrasing the famous quote. “You just don’t walk past it and not notice it!” Everyone cheers in approval.\u003c/p>\n\u003cp>\"I think it pissed God off if you walked by the color purple in a field and didn't notice it,\" Polk paraphrases from the book. “We’re going to pass by the color purple. And I invite you to notice it.”\u003c/p>\n\u003cp>\u003cstrong>Harriet Tubman, Outdoorswoman\u003c/strong>\u003c/p>\n\u003cp>African-Americans have a long history of connecting to nature. Mapp tells her group to think about someone like Harriet Tubman. “She was a wilderness leader,” she says. “She’s someone who led people in the cover of night through the wild. Think about all the skill sets you have to have in order to do that.”\u003c/p>\n\u003cp>On this hike, Outdoor Afro is partnering with \u003ca href=\"http://www.girltrek.org\">GirlTrek\u003c/a>, a black women’s walking group, to honor Tubman, the leader of the Underground Railroad.\u003c/p>\n\u003cp>Zoe Polk stops the group at a view along the trail. She asks everyone to think of one word that represents Tubman. They go around in a circle and share: “Inspiration. Liberation. Courage…”\u003c/p>\n\u003cp>Polk adds a few words of her own that we don’t normally associate with Tubman: hiker, botanist, astronomer. She reminds everyone that Tubman collected wild plants to treat the underground passengers' illnesses and she used the stars to navigate her way to freedom. “I actually love it when I remember to think of Harriet Tubman when I’m looking up in the sky,” Polk says.\u003c/p>\n\u003cp>\u003cstrong>Hiking to Heal\u003c/strong>\u003c/p>\n\u003cp>Outdoor Afro has always turned to nature as a tool to connect African-Americans with history and community. So when the nation was shaken by the violent events in Ferguson and Staten Island, Rue Mapp again turned to nature.\u003c/p>\n\u003cp>“It was this moment where I wanted to do something, and I knew that going to the streets was not something that felt right for me,” Mapp says.\u003c/p>\n\u003cp>So she organized healing hikes here in the Bay Area and called on Outdoor Afro groups across the country to do the same. The hikes have given people a chance to come together, talk and grieve. “I wanted to get away from people with other agendas and just create a platform where people could share and be heard,” says Mapp.\u003c/p>\n\u003cp>For Zoe Polk, being out in nature is always healing. Getting out on a hike “just allows you to put some breath into your life and just be honored and inspired by the beauty in the world and be able to hold that as well as the ugliness in the world that we also have to endure.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polk leads the group back to the parking lot just as it's getting dark. People say their goodbyes and drive off, taking a little bit of this peace and beauty with them.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rue Mapp grew up spending her summers playing outside on her family’s ranch in Lake County. But as an adult, she kept finding herself the only African-American on organized hikes. Tired of being “the only one,\" she started \u003ca href=\"http://www.outdoorafro.com\">Outdoor Afro\u003c/a> and found out she wasn’t.\u003c/p>\n\u003cp>“I realized that when you identify all the only ones, and people did identify themselves as such, we were actually quite numerous,” she says.\u003c/p>\n\u003cp>Now there are Outdoor Afro chapters across the country. Volunteers like Zoe Polk lead hikes, camping trips and bird walks to help African-Americans reconnect with the outdoors and with each other. The group uses social media, too -- to post resources, tips and photos of black people enjoying the outdoors.\u003c/p>\n\u003cp>Mapp is challenging the myth that African-Americans don’t get out in nature. Sure, she says, if you're hiking through Yellowstone or even Yosemite, places far from cities, you don’t see a lot of black people. But if you take a place like Lake Merritt in the heart of downtown Oakland, she says, “It looks like the United Nations. So that’s a classic example of here’s a place that’s right in the middle of where people live, where people work, that they can access, and they’re using it.”\u003c/p>\n\u003cp>\u003cstrong>Heading to Oakland Hills\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent Friday evening, 30 people, most of them African- American, headed to the Oakland Hills for a hike.\u003c/p>\n\u003cp>Trip leader Zoe Polk tells them what to expect.\u003c/p>\n\u003cp>“If this is your first time with Outdoor Afro, a couple of things to know about us,” she says. “We are not a competitive hiking group. Our purpose is to have community in nature and share with each other. So we’re not going to be leaving anyone behind today!”\u003c/p>\n\u003cp>The group starts uphill through the woods, chatting and laughing along the way. The trail soon opens up into rolling grassy hills. There’s Mount Diablo to the east and the sun setting over the Golden Gate Bridge to the west. Polk stops the group by a lupine bush, its purple flowers in bloom. She asks if anyone has read Alice Walker’s \"The Color Purple.\"\u003c/p>\n\u003cp>“\u003ca href=\"http://www.goodreads.com/quotes/110038-i-think-it-pisses-god-off-if-you-walk-by\">Is there a famous line in that book that talks about nature\u003c/a>?” she asks.\u003c/p>\n\u003cp>“It’s like the color purple,” shouts one participant, paraphrasing the famous quote. “You just don’t walk past it and not notice it!” Everyone cheers in approval.\u003c/p>\n\u003cp>\"I think it pissed God off if you walked by the color purple in a field and didn't notice it,\" Polk paraphrases from the book. “We’re going to pass by the color purple. And I invite you to notice it.”\u003c/p>\n\u003cp>\u003cstrong>Harriet Tubman, Outdoorswoman\u003c/strong>\u003c/p>\n\u003cp>African-Americans have a long history of connecting to nature. Mapp tells her group to think about someone like Harriet Tubman. “She was a wilderness leader,” she says. “She’s someone who led people in the cover of night through the wild. Think about all the skill sets you have to have in order to do that.”\u003c/p>\n\u003cp>On this hike, Outdoor Afro is partnering with \u003ca href=\"http://www.girltrek.org\">GirlTrek\u003c/a>, a black women’s walking group, to honor Tubman, the leader of the Underground Railroad.\u003c/p>\n\u003cp>Zoe Polk stops the group at a view along the trail. She asks everyone to think of one word that represents Tubman. They go around in a circle and share: “Inspiration. Liberation. Courage…”\u003c/p>\n\u003cp>Polk adds a few words of her own that we don’t normally associate with Tubman: hiker, botanist, astronomer. She reminds everyone that Tubman collected wild plants to treat the underground passengers' illnesses and she used the stars to navigate her way to freedom. “I actually love it when I remember to think of Harriet Tubman when I’m looking up in the sky,” Polk says.\u003c/p>\n\u003cp>\u003cstrong>Hiking to Heal\u003c/strong>\u003c/p>\n\u003cp>Outdoor Afro has always turned to nature as a tool to connect African-Americans with history and community. So when the nation was shaken by the violent events in Ferguson and Staten Island, Rue Mapp again turned to nature.\u003c/p>\n\u003cp>“It was this moment where I wanted to do something, and I knew that going to the streets was not something that felt right for me,” Mapp says.\u003c/p>\n\u003cp>So she organized healing hikes here in the Bay Area and called on Outdoor Afro groups across the country to do the same. The hikes have given people a chance to come together, talk and grieve. “I wanted to get away from people with other agendas and just create a platform where people could share and be heard,” says Mapp.\u003c/p>\n\u003cp>For Zoe Polk, being out in nature is always healing. Getting out on a hike “just allows you to put some breath into your life and just be honored and inspired by the beauty in the world and be able to hold that as well as the ugliness in the world that we also have to endure.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Polk leads the group back to the parking lot just as it's getting dark. People say their goodbyes and drive off, taking a little bit of this peace and beauty with them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Weeks Later, Fatal Fire in West Oakland Still Hurts",
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"content": "\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland's deadliest fire in nearly three years continues to have an impact on the friends of the two artists who died in the blaze, dozens of displaced residents, and several businesses that have been forced to shut down for weeks.\u003c/p>\n\u003cp>Investigators believe the March 21 three-alarm blaze at 669 24th St. in West Oakland was probably caused accidentally, after one of the men found dead in the unit where the fire started fell asleep while smoking, said Oakland Deputy Fire Chief Darin White.\u003c/p>\n\u003cp>Fire officials want to know if one of the men was intoxicated. \"We do believe it's possible that alcohol or other drugs could have played a part in the individuals' inability to find themselves able to remove themselves from the situation,\" White said in an interview.\u003c/p>\n\u003cp>The fire department got word of the blaze at around 3 a.m. but did not see smoke or fire when they arrived minutes later. However, as crews searched the two-story brick building, a smoke alarm began to sound and smoke started coming out the top of the door leading to Apartment D on the second floor, White said.\u003c/p>\n\u003cp>Firefighters broke into the unit and \"encountered an apartment charged with black smoke all the way to the floor,\" White said. \"Heavy flame was coming from the back of the apartment.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The building is connected to an adjacent structure at 674 23rd St. that houses two publishing firms and a printing company. They share a common wall, and the fire spread rapidly to the building next door. The two structures started out as one space -- a National Guard armory built in 1930 -- but they were eventually divided into live/work units.\u003c/p>\n\u003cp>The firefighters' aggressive fire attack helped save the second building, White said. But the blaze killed 27-year-old Davis Letona and 36-year-old Daniel \"Moe\" Thomas, roommates in Apartment D. It destroyed a large part of 669 24th St. and gutted several units on the second floor of 674 23rd St.\u003c/p>\n\u003cp>The fire marks the first time since June 2012 that Oakland experienced at least two fatalities in a fire, according to Cynthia Perkins, the Oakland Fire Department's chief of staff.\u003c/p>\n\u003cp>The cause of the blaze -- smoking -- is fairly common, and federal officials say it's the leading cause of fatal residential fires. According to the \u003ca href=\"http://www.usfa.fema.gov/downloads/pdf/statistics/res_bldg_fire_estimates.pdf\" target=\"_blank\">U.S. Fire Administration's latest report\u003c/a>, 330 people throughout the country died in residential blazes caused by smoking in 2012.\u003c/p>\n\u003cp>In general, one out of every four people who dies in smoking-related fires is not the smoker who started the fire, according to a \u003ca href=\"http://www.nfpa.org/research/reports-and-statistics/fire-causes/smoking-materials\" target=\"_blank\">report \u003c/a>by the National Fire Protection Association, a nonprofit fire prevention advocacy organization.\u003c/p>\n\u003cp>Fire officials have not said which man in the unit where the blaze began was smoking before it started.\u003c/p>\n\u003cp>Letona, who perished in the fire, had moved into the apartment in the weeks before the blaze, according to Jonah Strauss, a tenant and recording engineer who lived and worked below the two men, as well as Alex Ramos, one of Letona's close friends.\u003c/p>\n\u003cp>Letona was a digital videographer. \"His main passion was cinema,\" said Ramos, who organized an \u003ca href=\"http://www.gofundme.com/pjk2p0\" target=\"_blank\">online fundraising campaign\u003c/a> to pay for a recent memorial. Some of his work can be seen on his website, \u003ca href=\"https://davisletona.wordpress.com/\" target=\"_blank\">davislatona.wordpress.com\u003c/a>.\u003c/p>\n\u003cp>Thomas, the second victim, had \u003ca href=\"http://wesplittheatom.com/\" target=\"_blank\">artwork \u003c/a>featured in a number of exhibitions and collections in Oakland and San Francisco over the last six years, including the \u003ca href=\"http://www.mgart.com/index.php\" target=\"_blank\">McLoughlin Gallery\u003c/a> in Union Square.\u003c/p>\n\u003cp>According to the Alameda County Coroner's Office, Letona's cause of death was asphyxia and smoke inhalation. The cause of death for Thomas is under investigation pending toxicology tests.\u003c/p>\n\u003cp>In all, the fire displaced 34 residents. They are having a tough time finding housing, said Chuck Smuckler, a spokesman for the Red Cross in Alameda County, which has been coordinating aid for the displaced residents with officials at Oakland Mayor Libby Schaaf's office and the Salvation Army.\u003c/p>\n\u003cp>\"In the Bay Area we have such a problem with affordable housing,\" Smuckler said in an interview. \"When people suddenly get displaced, finding replacement housing that is affordable and accessible ... that's the key issue.\"\u003c/p>\n\u003cp>The Red Cross provided the residents who were turned out by the blaze with three nights free at local motels, but it is difficult for them to find long-term transitional housing or permanent places to live, Smuckler said.\u003c/p>\n\u003cp>The fire has also worsened what were already poor relations between the owner of the building and about a dozen of its residents, said Strauss in an interview.\u003c/p>\n\u003cp>Strauss said the landlord has done nothing to help him and the other tenants and has effectively asked the residents to give up returning to the building.\u003c/p>\n\u003cp>The owner/landlord is Kim Marienthal, a realtor at a Coldwell Banker residential brokerage firm in Berkeley. Marienthal said that he feels very sorry for the plight of his tenants. \"But the process to rebuild after a disaster like this is slow and arduous,\" he said in an email.\u003c/p>\n\u003cp>He did not respond to complaints brought up by tenants. \"I am advised by legal counsel not to discuss these matters,\" Marienthal said.\u003c/p>\n\u003cp>Strauss also said there were no sprinklers in the building, something fire and building officials as well as the landlord have yet to corroborate. There were reports that some of the smoke detectors were not working at the time of the fire, but several fire officials have said they have no evidence to suggest that an alarm was not operating properly.\u003c/p>\n\u003cp>Strauss' independent music recording business has been hit hard by the fire, and he has begun an online fundraising campaign at \u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\">www.gofundme.com/shipwreckoakland\u003c/a>.\u003c/p>\n\u003cp>Smoke and water used to battle the blaze damaged a well-known radical book publishing firm, AK Press, and two other businesses, 1984 Printing and Omnidawn, all in the adjacent structure on 23rd Street.\u003c/p>\n\u003cp>Thousands of AK Press's books are waterlogged, said Charles Weigl, one of the publisher's members, in a phone interview from the collective's office, which has been red-tagged.\u003c/p>\n\u003cp>\"The road ahead is unclear except that I'm sure that we will persevere,\" Weigl said.\u003c/p>\n\u003cp>AK Press has insurance, but it's not certain how much the policy will cover damages from the fire. The publisher will probably not make back the money it needs to have the books it had in stock before the blaze, Weigl said.\u003c/p>\n\u003cp>The collective is one of the oldest continuously running anarchist presses in the country. \"A lot of people first come to understand about anarchism and anti-state, communist literature through AK Press,\" Weigl said.\u003c/p>\n\u003cp>For years the worker-owned publisher has sent funds and free books to young radical bookstores to help them get started. Some of the people AK Press has helped over the years have been sending money to the collective. In the weeks after the fire, it has raised around $50,000 through an online campaign at \u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\">gofundme.com/akpressfire\u003c/a>.\u003c/p>\n\u003cp>\"Some of that karma is coming back to us,\" Weigl said. The money AK Press has received is going to replenish its books, but also to help the building's residents as well as 1984 Printing and Omnidawn.\u003c/p>\n\u003cp>Both Weigl at AK Press and Amy Watson, who runs 1984, expressed frustration that the city red-tagged their businesses, forcing them to shut down until building officials deem their space safe.\u003c/p>\n\u003cp>They also emphasized that their building had above the normal level of fire safety systems in place. In fact, it had 180 smoke detectors, Watson and Weigl said.\u003c/p>\n\u003cp>1984 resumed printing just days ago, according to the online fundraising campaign for the independent shop, \u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\">gofundme.com/1984printing\u003c/a>, which has raised some $11,000.\u003c/p>\n\u003cp>\"We're certainly not business as usual,\" Watson said of 1984. \"But, we're moving forward.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Omnidawn, a poetry publisher, experienced very minor water damage, according to its manager, Ken Keegan. The business lost only about two dozen water-damaged books.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Marking a Genocide's Anniversary by Celebrating Armenian Composers",
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"content": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036549\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">[soundcloud url=\"https://api.soundcloud.com/playlists/93272526\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\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/198036549&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/198036549'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/93272526&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/playlists/93272526'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Two Bay Area Jazz Groups Make Monk Their Muse on New Releases",
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"content": "\u003cp>\u003ca href=\"http://www.nytimes.com/2015/03/02/arts/music/orrin-keepnews-jazz-producer-and-record-executive-is-dead-at-91.html?_r=0\" target=\"_blank\">Orrin Keepnews\u003c/a>, the legendary jazz producer who died last month just shy of his 92\u003csup>nd\u003c/sup> birthday, often used to describe \u003ca href=\"http://monkinstitute.org/about-us/thelonious-monk/\" target=\"_blank\">Thelonious Monk\u003c/a> as a sort of guru. Keepnews, who spent the second half of his life in the Bay Area, didn’t mean this in any mystical sense.\u003c/p>\n\u003cp>As a studio novice in the mid-1950s, he jump-started Monk’s stalled career with a series of classic albums for his label \u003ca href=\"http://www.concordmusicgroup.com/labels/riverside/\" target=\"_blank\">Riverside\u003c/a>, and on those early recording sessions Keepnews said that contending with Monk’s trickster nature provided an invaluable education in the studio.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036677\" 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>Monk’s ingenious compositions have long served a similar function for musicians, like \u003ca href=\"http://www.evandermusic.com/artist_detail.asp?artist_id=236\" target=\"_blank\">The Lost Trio\u003c/a>, a collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans, and drummer Tom Hassett. Over the past two decades, they’re turned songs from a vast array of artists into vehicles for gruff improvisation, from \u003ca href=\"http://www.beck.com/index.php/homepage\" target=\"_blank\">Beck\u003c/a> and \u003ca href=\"http://hankwilliams.com/\" target=\"_blank\">Hank Williams\u003c/a> to \u003ca href=\"http://www.pjharvey.net/\" target=\"_blank\">PJ Harvey\u003c/a> and \u003ca href=\"http://www.juanamolina.com/\" target=\"_blank\">Juana Molina\u003c/a>. Every Lost Trio album has included a tune by Monk, and the band’s latest release \"MonkWork\" (Evander Music) is dedicated exclusive to his knotty, off-balance tunes.\u003c/p>\n\u003cfigure id=\"attachment_10468446\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork.jpg\">\u003cimg class=\"size-medium wp-image-10468446\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork-800x728.jpg\" alt=\"The Lost Trio's "MonkWork" release.\" width=\"800\" height=\"728\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1440x1310.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-320x291.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Lost Trio's \"MonkWork\" release.\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes The Lost Trio tackles Monk straight, like a loping midtempo jaunt through “Blues Five Spot” and a slalom over the rarely tackled “Work,” a coruscating melody that Monk recorded only once. But they’ve found a fresh approach by constructing a series of medleys, each linking three tunes together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their canny choices create a canny inter-Monk dialogue, like when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.”\u003c/p>\n\u003cp>The absence of a piano gives the music a transparent quality, offering a fascinating glimpse at the architecture of Monk’s rhythms and melodies. If The Lost Trio strips Monk down to the studs, Spanish-born pianist \u003ca href=\"http://www.alexconde.com/\" target=\"_blank\">Alex Conde\u003c/a> exposes his Gypsy soul on \"Descarga for Monk\" (ZOHO Music). A protege of the great Andalusian pianist \u003ca href=\"http://www.chanodominguez.info/\" target=\"_blank\">Chano Dominguez\u003c/a>, Conde is a rising star at 33, and he’s found an ideal cast of collaborators on this revelatory quartet session with bassist\u003ca href=\"http://www.jeffchambersjazz.com/\" target=\"_blank\"> Jeff Chambers\u003c/a>, drummer \u003ca href=\"http://www.jonarkin.net/bio.html\" target=\"_blank\">Jon Arkin\u003c/a> and percussion master \u003ca href=\"http://www.johnsantos.com/\" target=\"_blank\">John Santos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10468054\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg\">\u003cimg class=\"wp-image-10468054 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg\" alt=\"Alex Conde, Descarga for Monk\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-320x320.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Conde's “Descarga for Monk\"\u003c/figcaption>\u003c/figure>\n\u003cp>The album opens with Monk’s “Played Twice,” interpreted as a flamenco tour de force complete with intricate hand and foot percussion supplied by Amparo Conde and Carman Carrasco. Monk was \u003cem>all\u003c/em> about rhythm, and musicians who take a wrong turn interpreting his tunes often steamroller the essential pauses and accents that energize his grooves. That’s not a problem here.\u003c/p>\n\u003cp>While the uptempo pieces provide the thrills on Conde’s album, I keep coming back to the ballads. Monk wrote some of the most striking melodies in American music. Conde, the son of a great flamenco singer, taps into Monk’s intense but dreamy lyricism, like on Monk’s rarely played waltz, “Ugly Beauty.”\u003c/p>\n\u003cp>I never got a chance to ask Orrin Keepnews for his thoughts about \"MonkWork\" (Evander Music) and Alex Conde's \"Descarga for Monk.\" But we did talk about \"Monk’s Mood\" (EMusic), the Grammy-nominated 2000 album by Oakland drummer \u003ca href=\"http://www.anthonybrown.org/aao.html\" target=\"_blank\">Anthony Brown’s Asian American Orchestra\u003c/a> that he co-produced. No composer has ever possessed a more identifiable voice, and Monk’s compositions shine through on the arrangements for traditional Asian instruments and jazz horns. I think you can hear a similar process playing out on \"MonkWork\" and \"Descarga For Monk.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than three decades after his death in 1982, Monk still provides new paths for musical self-discovery, inspiration that has led the Lost Trio and Alex Conde deeper into their own musical identities.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.nytimes.com/2015/03/02/arts/music/orrin-keepnews-jazz-producer-and-record-executive-is-dead-at-91.html?_r=0\" target=\"_blank\">Orrin Keepnews\u003c/a>, the legendary jazz producer who died last month just shy of his 92\u003csup>nd\u003c/sup> birthday, often used to describe \u003ca href=\"http://monkinstitute.org/about-us/thelonious-monk/\" target=\"_blank\">Thelonious Monk\u003c/a> as a sort of guru. Keepnews, who spent the second half of his life in the Bay Area, didn’t mean this in any mystical sense.\u003c/p>\n\u003cp>As a studio novice in the mid-1950s, he jump-started Monk’s stalled career with a series of classic albums for his label \u003ca href=\"http://www.concordmusicgroup.com/labels/riverside/\" target=\"_blank\">Riverside\u003c/a>, and on those early recording sessions Keepnews said that contending with Monk’s trickster nature provided an invaluable education in the studio.\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/198036677&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/198036677'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Monk’s ingenious compositions have long served a similar function for musicians, like \u003ca href=\"http://www.evandermusic.com/artist_detail.asp?artist_id=236\" target=\"_blank\">The Lost Trio\u003c/a>, a collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans, and drummer Tom Hassett. Over the past two decades, they’re turned songs from a vast array of artists into vehicles for gruff improvisation, from \u003ca href=\"http://www.beck.com/index.php/homepage\" target=\"_blank\">Beck\u003c/a> and \u003ca href=\"http://hankwilliams.com/\" target=\"_blank\">Hank Williams\u003c/a> to \u003ca href=\"http://www.pjharvey.net/\" target=\"_blank\">PJ Harvey\u003c/a> and \u003ca href=\"http://www.juanamolina.com/\" target=\"_blank\">Juana Molina\u003c/a>. Every Lost Trio album has included a tune by Monk, and the band’s latest release \"MonkWork\" (Evander Music) is dedicated exclusive to his knotty, off-balance tunes.\u003c/p>\n\u003cfigure id=\"attachment_10468446\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork.jpg\">\u003cimg class=\"size-medium wp-image-10468446\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MonkWork-800x728.jpg\" alt=\"The Lost Trio's "MonkWork" release.\" width=\"800\" height=\"728\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1440x1310.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-1180x1073.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-768x698.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork-320x291.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MonkWork.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Lost Trio's \"MonkWork\" release.\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes The Lost Trio tackles Monk straight, like a loping midtempo jaunt through “Blues Five Spot” and a slalom over the rarely tackled “Work,” a coruscating melody that Monk recorded only once. But they’ve found a fresh approach by constructing a series of medleys, each linking three tunes together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their canny choices create a canny inter-Monk dialogue, like when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.”\u003c/p>\n\u003cp>The absence of a piano gives the music a transparent quality, offering a fascinating glimpse at the architecture of Monk’s rhythms and melodies. If The Lost Trio strips Monk down to the studs, Spanish-born pianist \u003ca href=\"http://www.alexconde.com/\" target=\"_blank\">Alex Conde\u003c/a> exposes his Gypsy soul on \"Descarga for Monk\" (ZOHO Music). A protege of the great Andalusian pianist \u003ca href=\"http://www.chanodominguez.info/\" target=\"_blank\">Chano Dominguez\u003c/a>, Conde is a rising star at 33, and he’s found an ideal cast of collaborators on this revelatory quartet session with bassist\u003ca href=\"http://www.jeffchambersjazz.com/\" target=\"_blank\"> Jeff Chambers\u003c/a>, drummer \u003ca href=\"http://www.jonarkin.net/bio.html\" target=\"_blank\">Jon Arkin\u003c/a> and percussion master \u003ca href=\"http://www.johnsantos.com/\" target=\"_blank\">John Santos\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10468054\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg\">\u003cimg class=\"wp-image-10468054 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg\" alt=\"Alex Conde, Descarga for Monk\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-320x320.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Alex-Conde-Descarga-for-Monk.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Conde's “Descarga for Monk\"\u003c/figcaption>\u003c/figure>\n\u003cp>The album opens with Monk’s “Played Twice,” interpreted as a flamenco tour de force complete with intricate hand and foot percussion supplied by Amparo Conde and Carman Carrasco. Monk was \u003cem>all\u003c/em> about rhythm, and musicians who take a wrong turn interpreting his tunes often steamroller the essential pauses and accents that energize his grooves. That’s not a problem here.\u003c/p>\n\u003cp>While the uptempo pieces provide the thrills on Conde’s album, I keep coming back to the ballads. Monk wrote some of the most striking melodies in American music. Conde, the son of a great flamenco singer, taps into Monk’s intense but dreamy lyricism, like on Monk’s rarely played waltz, “Ugly Beauty.”\u003c/p>\n\u003cp>I never got a chance to ask Orrin Keepnews for his thoughts about \"MonkWork\" (Evander Music) and Alex Conde's \"Descarga for Monk.\" But we did talk about \"Monk’s Mood\" (EMusic), the Grammy-nominated 2000 album by Oakland drummer \u003ca href=\"http://www.anthonybrown.org/aao.html\" target=\"_blank\">Anthony Brown’s Asian American Orchestra\u003c/a> that he co-produced. No composer has ever possessed a more identifiable voice, and Monk’s compositions shine through on the arrangements for traditional Asian instruments and jazz horns. I think you can hear a similar process playing out on \"MonkWork\" and \"Descarga For Monk.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than three decades after his death in 1982, Monk still provides new paths for musical self-discovery, inspiration that has led the Lost Trio and Alex Conde deeper into their own musical identities.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California Foodways: The Chinese-Mexican Cuisine You’ll Find Only Along the Border",
"title": "California Foodways: The Chinese-Mexican Cuisine You’ll Find Only Along the Border",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>If you ask people in the city of Mexicali, Mexico, about their most notable regional cuisine, they won’t say street tacos or mole. They’ll say Chinese food. There are as many as 200 Chinese restaurants in the city. North of the border, in Imperial County, the population is mostly Latino, but Chinese restaurants are packed. There are dishes in this region you won’t find anywhere else, and a history behind them that goes back more than 130 years.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036295\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Salcedo family sits in a coveted booth at the Fortune Garden restaurant in the city of El Centro. The mother and three adult sisters are almost drooling, waiting for their food to show up. They come from Yuma, Arizona -- over an hour away -- twice a month just to eat here.\u003c/p>\n\u003cp>A huge side order arrives, light-yellow deep-fried chilies, a dish I’ve never seen. Then a salt-and-pepper fish, which the Salcedos describe as “Baja-style,” with lots of bell peppers, chilies and onions. But have you ever heard of “Baja-style” dishes in a Chinese restaurant?\u003c/p>\n\u003cfigure id=\"attachment_10468383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SalcedosTable.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SalcedosTable-800x632.jpg\" alt=\"The Salcedo family drives over an hour to Fortune Garden restaurant from Yuma, Arizona twice a month just to eat there.\" width=\"800\" height=\"632\" class=\"size-medium wp-image-10468383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-800x632.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-400x316.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-1440x1138.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-1180x932.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-768x607.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-320x253.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Salcedo family drives over an hour to Fortune Garden restaurant from Yuma, Arizona twice a month just to eat there. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayra Salcedo explains, “It’s like a fusion, Mexican ingredients with the Chinese. It’s very different than if you go to any other Chinese restaurant, Americanized Chinese restaurant.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her sister, Marta, carefully mixes Chinese mustard, a little spicy Sriracha and ketchup into a special only-in-Imperial-Valley dipping sauce for barbecue pork.\u003c/p>\n\u003cp>“When they order, they don’t say barbecue pork,” says Fortune Garden co-owner Jenissa Zhou. “They say carnitas, carnitas colorada.” That’s “red pork” in Spanish.\u003c/p>\n\u003cp>Zhou came to the U.S. from southern China, and her husband, Carlos, from Mexicali. From the time he was a teenager, he worked in Chinese restaurants there. She says they opened their first restaurant in Imperial County in 1990. It took her awhile to get used to her customers’ taste buds.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The Chinese invented undocumented immigration from Mexico.'\u003ccite>Robert Chao Romero, UCLA professor\u003c/cite>\u003c/aside>\n\u003cp>“You can see, every table they have lemon and hot sauce. In Chinese food we don’t eat lemon.”\u003c/p>\n\u003cp>Those fried yellow chilies on almost every table, chile asado, are served in a lemon sauce with lots of salt, kind of a margarita flavor. If you believe the rumors, some chefs marinate pork in tequila. And they serve pato asado, roast duck, with lots of cilantro.\u003c/p>\n\u003cp>It’s not just on the plates where cultures combine. In the Fortune Garden kitchen, the cooks speak to each other in Cantonese. The waiters speak Spanish and English.\u003c/p>\n\u003cp>There’s a specific reason for all of this, according to Professor Robert Chao Romero.\u003c/p>\n\u003cp>“The restaurants you see now are remnants of the Chinese population that used to fill the U.S./Mexico borderlands in Mexicali and in Baja California,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10468385\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/FriedChiles.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/FriedChiles-800x432.jpg\" alt=\"These fried yellow chilies are ubiquitous in restaurants on both sides of the border. They're served in a lemon sauce with lots of salt.\" width=\"800\" height=\"432\" class=\"size-medium wp-image-10468385\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-800x432.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-400x216.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-1440x777.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-1180x637.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-768x414.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-320x173.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">These fried yellow chilies are ubiquitous in restaurants on both sides of the border. They're served in a lemon sauce with lots of salt. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Romero teaches in both the Chicano Studies and Asian American Studies departments at UCLA, and wrote the book, \"The Chinese in Mexico.\"\u003c/p>\n\u003cp>“The Chinese started to go to Mexico after the Chinese Exclusion Act was passed in the United States,” he says.\u003c/p>\n\u003cp>That was in 1882. The Chinese were the first ethnic group specifically singled out and banned from entry into the U.S. So tens of thousands went to Cuba, South America and Mexico.\u003c/p>\n\u003cp>“The Chinese invented undocumented immigration from Mexico,” says Romero, smuggling in with coyotes or guides hired to lead people across the border, “and smuggling with false papers, on boats and trains. The infrastructure for that was all invented by the Chinese.”\u003c/p>\n\u003cp>In fact, today’s Border Patrol grew out of the Mounted Guard of Chinese Inspectors, created to keep Chinese immigrants from entering the U.S. At the same time, the Mexican government welcomed Chinese immigrants to go to the sparsely populated border region, to work on farms and in mines and canals. Many Chinese immigrants settled in Mexicali, becoming grocers, merchants and restaurant owners. Others managed to smuggle across and make lives in the U.S., including Imperial County.\u003c/p>\n\u003cfigure id=\"attachment_10468438\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Zhou.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Zhou-800x559.jpg\" alt=\"Jenissa Zhou, co-owner of Fortune Garden restaurant in El Centro, California.\" width=\"800\" height=\"559\" class=\"size-medium wp-image-10468438\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-1440x1006.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-1180x824.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-320x224.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jenissa Zhou, co-owner of Fortune Garden restaurant in El Centro, California. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that history plays out in the family of Edmund Gee, whom I meet at his house in the town of Brawley. He’s a leader in the Imperial County Chinese-American community. Gee tells me that his great-grandfather came over with a few others from his village in southern China, and tried to cross into Texas at the Rio Grande.\u003c/p>\n\u003cp>“Unfortunately, he got caught in El Paso and they sent him back,” says Gee.\u003c/p>\n\u003cp>Years later, in the 1930s, Gee’s father made it, probably using fake papers to come through San Francisco, and finding his way to Imperial County, where he started working at a restaurant. Edmund Gee ran a grocery store here for 43 years, and he’s co-owned a couple Chinese restaurants in the county.\u003c/p>\n\u003cp>Since Gee’s great-grandfather first tried to cross, the border has been closed off to some groups of people. For others it feels fluid. Above and below the border, Imperial is all one valley geographically, and in some ways culturally. People joke that Mexicali is the biggest city in Imperial County -- it just happens to be in Mexico. Edmund Gee says that the Chinese communities on both sides of the border have always been pretty tight, inviting each other to special events and holiday celebrations.\u003c/p>\n\u003cfigure id=\"attachment_10468387\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/EggRoll.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/EggRoll-800x594.jpg\" alt=\"El Dragon Restaurante in Mexicali, Mexico serves an egg roll with shrimp, cilantro and cream cheese, a kind of Mexican-Chinese-American hybrid.\" width=\"800\" height=\"594\" class=\"size-medium wp-image-10468387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-1440x1069.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-1180x876.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-768x570.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-320x238.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dragon Restaurante in Mexicali, Mexico serves an egg roll with shrimp, cilantro and cream cheese, a kind of Mexican-Chinese-American hybrid. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People in Imperial County told me that it’s common for groups to cross the border for office parties or family celebrations in big Mexicali Chinese restaurants. Every day, Mexican farmworkers with special passes cross the border to work in Imperial County fields. Some have the opposite commute.\u003c/p>\n\u003cp>A block from the border in Calexico, California, George Lim pulls up in a big truck and drives a few minutes, crossing the international border into Mexicali.\u003c/p>\n\u003cp>Lim lives in the U.S., but he helps run one of the oldest and most grand Chinese restaurants in Mexicali, called El Dragon. There, he goes by Jorge Lim. I ask him: Why not run a restaurant in the U.S., where he lives? He first cites the population: Mexicali has close to a million residents, while there are only 170,000 in all of Imperial County.\u003c/p>\n\u003cp>“Just doing the math going to have a lot more customers here in Mexico,” he explains, while negotiating the streets of Mexicali. “And I hate to say it, but people in Mexico are more sophisticated than in Imperial about Chinese food.”\u003c/p>\n\u003cp>That sophistication may come from the decades of people eating Chinese food here, with some Mexican flavors. Seventy years ago it was a necessity: Chinese cooks used Mexican ingredients like chilies, jicama and certain cuts of meat because that was what was available. Now it’s part of a culinary legacy. Like this new dish on the menu at El Dragon: arrachera beef served with asparagus and black bean sauce. Lim says that’s the best meat for tacos, a clear Mexican influence. “Asparagus could be both Chinese and Mexican, but the sauce, the black bean, that’s Chinese.”\u003c/p>\n\u003cfigure id=\"attachment_10468389\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/DragonWaitress.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/DragonWaitress-800x503.jpg\" alt=\"A waitress in the back of the house at El Dragon restaurant in Mexicali.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10468389\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A waitress in the back of the house at El Dragon restaurant in Mexicali. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I try out a kind of Mexican/Chinese/American hybrid: an egg roll with shrimp, cilantro and cream cheese that seems like it shouldn’t be good, but is. And at El Dragon, they put avocado in the fried rice.\u003c/p>\n\u003cp>George Lim’s father, Canuto, came to Mexicali in 1954, and he has developed many of El Dragon’s inventive dishes. He tells my reporting partner, Vickie Ly: “Most people who open or work in the restaurants came to Mexicali with previous experience cooking and serving Chinese food. When these experienced chefs come here and put their heads together to share their knowledge of the trade, the Chinese cuisine gets to be really good. There’s no better Chinese food than in Mexicali.”\u003c/p>\n\u003cp>George Lim says a few restaurant employees recently arrived here from China under a “special skills” category. That skill? Cooking Chinese cuisine. Lim says sometimes these Mexicali-trained chefs move up north, to work in Chinese restaurants in Imperial County.\u003c/p>\n\u003cp>“One of the goals is to go to the U.S., have a better life for you and for your kids, give ’em a better education, better opportunity, maybe earning dollars instead of pesos,” he says.\u003c/p>\n\u003cp>They are the same reasons that drew their ancestors here from southern China 130 years ago.\u003c/p>\n\u003cp>\u003cem>Vickie Ly helped report and translate for this story. Chris Hoff helped with sound design. The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp class=\"p1\">\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you ask people in the city of Mexicali, Mexico, about their most notable regional cuisine, they won’t say street tacos or mole. They’ll say Chinese food. There are as many as 200 Chinese restaurants in the city. North of the border, in Imperial County, the population is mostly Latino, but Chinese restaurants are packed. There are dishes in this region you won’t find anywhere else, and a history behind them that goes back more than 130 years.\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/198036295&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/198036295'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Salcedo family sits in a coveted booth at the Fortune Garden restaurant in the city of El Centro. The mother and three adult sisters are almost drooling, waiting for their food to show up. They come from Yuma, Arizona -- over an hour away -- twice a month just to eat here.\u003c/p>\n\u003cp>A huge side order arrives, light-yellow deep-fried chilies, a dish I’ve never seen. Then a salt-and-pepper fish, which the Salcedos describe as “Baja-style,” with lots of bell peppers, chilies and onions. But have you ever heard of “Baja-style” dishes in a Chinese restaurant?\u003c/p>\n\u003cfigure id=\"attachment_10468383\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SalcedosTable.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SalcedosTable-800x632.jpg\" alt=\"The Salcedo family drives over an hour to Fortune Garden restaurant from Yuma, Arizona twice a month just to eat there.\" width=\"800\" height=\"632\" class=\"size-medium wp-image-10468383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-800x632.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-400x316.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-1440x1138.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-1180x932.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-768x607.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable-320x253.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SalcedosTable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Salcedo family drives over an hour to Fortune Garden restaurant from Yuma, Arizona twice a month just to eat there. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mayra Salcedo explains, “It’s like a fusion, Mexican ingredients with the Chinese. It’s very different than if you go to any other Chinese restaurant, Americanized Chinese restaurant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her sister, Marta, carefully mixes Chinese mustard, a little spicy Sriracha and ketchup into a special only-in-Imperial-Valley dipping sauce for barbecue pork.\u003c/p>\n\u003cp>“When they order, they don’t say barbecue pork,” says Fortune Garden co-owner Jenissa Zhou. “They say carnitas, carnitas colorada.” That’s “red pork” in Spanish.\u003c/p>\n\u003cp>Zhou came to the U.S. from southern China, and her husband, Carlos, from Mexicali. From the time he was a teenager, he worked in Chinese restaurants there. She says they opened their first restaurant in Imperial County in 1990. It took her awhile to get used to her customers’ taste buds.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The Chinese invented undocumented immigration from Mexico.'\u003ccite>Robert Chao Romero, UCLA professor\u003c/cite>\u003c/aside>\n\u003cp>“You can see, every table they have lemon and hot sauce. In Chinese food we don’t eat lemon.”\u003c/p>\n\u003cp>Those fried yellow chilies on almost every table, chile asado, are served in a lemon sauce with lots of salt, kind of a margarita flavor. If you believe the rumors, some chefs marinate pork in tequila. And they serve pato asado, roast duck, with lots of cilantro.\u003c/p>\n\u003cp>It’s not just on the plates where cultures combine. In the Fortune Garden kitchen, the cooks speak to each other in Cantonese. The waiters speak Spanish and English.\u003c/p>\n\u003cp>There’s a specific reason for all of this, according to Professor Robert Chao Romero.\u003c/p>\n\u003cp>“The restaurants you see now are remnants of the Chinese population that used to fill the U.S./Mexico borderlands in Mexicali and in Baja California,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10468385\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/FriedChiles.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/FriedChiles-800x432.jpg\" alt=\"These fried yellow chilies are ubiquitous in restaurants on both sides of the border. They're served in a lemon sauce with lots of salt.\" width=\"800\" height=\"432\" class=\"size-medium wp-image-10468385\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-800x432.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-400x216.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-1440x777.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-1180x637.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-768x414.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles-320x173.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/FriedChiles.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">These fried yellow chilies are ubiquitous in restaurants on both sides of the border. They're served in a lemon sauce with lots of salt. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Romero teaches in both the Chicano Studies and Asian American Studies departments at UCLA, and wrote the book, \"The Chinese in Mexico.\"\u003c/p>\n\u003cp>“The Chinese started to go to Mexico after the Chinese Exclusion Act was passed in the United States,” he says.\u003c/p>\n\u003cp>That was in 1882. The Chinese were the first ethnic group specifically singled out and banned from entry into the U.S. So tens of thousands went to Cuba, South America and Mexico.\u003c/p>\n\u003cp>“The Chinese invented undocumented immigration from Mexico,” says Romero, smuggling in with coyotes or guides hired to lead people across the border, “and smuggling with false papers, on boats and trains. The infrastructure for that was all invented by the Chinese.”\u003c/p>\n\u003cp>In fact, today’s Border Patrol grew out of the Mounted Guard of Chinese Inspectors, created to keep Chinese immigrants from entering the U.S. At the same time, the Mexican government welcomed Chinese immigrants to go to the sparsely populated border region, to work on farms and in mines and canals. Many Chinese immigrants settled in Mexicali, becoming grocers, merchants and restaurant owners. Others managed to smuggle across and make lives in the U.S., including Imperial County.\u003c/p>\n\u003cfigure id=\"attachment_10468438\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Zhou.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Zhou-800x559.jpg\" alt=\"Jenissa Zhou, co-owner of Fortune Garden restaurant in El Centro, California.\" width=\"800\" height=\"559\" class=\"size-medium wp-image-10468438\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-1440x1006.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-1180x824.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-768x536.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou-320x224.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Zhou.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jenissa Zhou, co-owner of Fortune Garden restaurant in El Centro, California. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All that history plays out in the family of Edmund Gee, whom I meet at his house in the town of Brawley. He’s a leader in the Imperial County Chinese-American community. Gee tells me that his great-grandfather came over with a few others from his village in southern China, and tried to cross into Texas at the Rio Grande.\u003c/p>\n\u003cp>“Unfortunately, he got caught in El Paso and they sent him back,” says Gee.\u003c/p>\n\u003cp>Years later, in the 1930s, Gee’s father made it, probably using fake papers to come through San Francisco, and finding his way to Imperial County, where he started working at a restaurant. Edmund Gee ran a grocery store here for 43 years, and he’s co-owned a couple Chinese restaurants in the county.\u003c/p>\n\u003cp>Since Gee’s great-grandfather first tried to cross, the border has been closed off to some groups of people. For others it feels fluid. Above and below the border, Imperial is all one valley geographically, and in some ways culturally. People joke that Mexicali is the biggest city in Imperial County -- it just happens to be in Mexico. Edmund Gee says that the Chinese communities on both sides of the border have always been pretty tight, inviting each other to special events and holiday celebrations.\u003c/p>\n\u003cfigure id=\"attachment_10468387\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/EggRoll.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/EggRoll-800x594.jpg\" alt=\"El Dragon Restaurante in Mexicali, Mexico serves an egg roll with shrimp, cilantro and cream cheese, a kind of Mexican-Chinese-American hybrid.\" width=\"800\" height=\"594\" class=\"size-medium wp-image-10468387\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-1440x1069.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-1180x876.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-768x570.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll-320x238.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/EggRoll.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">El Dragon Restaurante in Mexicali, Mexico serves an egg roll with shrimp, cilantro and cream cheese, a kind of Mexican-Chinese-American hybrid. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People in Imperial County told me that it’s common for groups to cross the border for office parties or family celebrations in big Mexicali Chinese restaurants. Every day, Mexican farmworkers with special passes cross the border to work in Imperial County fields. Some have the opposite commute.\u003c/p>\n\u003cp>A block from the border in Calexico, California, George Lim pulls up in a big truck and drives a few minutes, crossing the international border into Mexicali.\u003c/p>\n\u003cp>Lim lives in the U.S., but he helps run one of the oldest and most grand Chinese restaurants in Mexicali, called El Dragon. There, he goes by Jorge Lim. I ask him: Why not run a restaurant in the U.S., where he lives? He first cites the population: Mexicali has close to a million residents, while there are only 170,000 in all of Imperial County.\u003c/p>\n\u003cp>“Just doing the math going to have a lot more customers here in Mexico,” he explains, while negotiating the streets of Mexicali. “And I hate to say it, but people in Mexico are more sophisticated than in Imperial about Chinese food.”\u003c/p>\n\u003cp>That sophistication may come from the decades of people eating Chinese food here, with some Mexican flavors. Seventy years ago it was a necessity: Chinese cooks used Mexican ingredients like chilies, jicama and certain cuts of meat because that was what was available. Now it’s part of a culinary legacy. Like this new dish on the menu at El Dragon: arrachera beef served with asparagus and black bean sauce. Lim says that’s the best meat for tacos, a clear Mexican influence. “Asparagus could be both Chinese and Mexican, but the sauce, the black bean, that’s Chinese.”\u003c/p>\n\u003cfigure id=\"attachment_10468389\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/DragonWaitress.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/DragonWaitress-800x503.jpg\" alt=\"A waitress in the back of the house at El Dragon restaurant in Mexicali.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10468389\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-1440x905.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-1180x742.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-768x483.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress-320x201.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/DragonWaitress.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A waitress in the back of the house at El Dragon restaurant in Mexicali. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I try out a kind of Mexican/Chinese/American hybrid: an egg roll with shrimp, cilantro and cream cheese that seems like it shouldn’t be good, but is. And at El Dragon, they put avocado in the fried rice.\u003c/p>\n\u003cp>George Lim’s father, Canuto, came to Mexicali in 1954, and he has developed many of El Dragon’s inventive dishes. He tells my reporting partner, Vickie Ly: “Most people who open or work in the restaurants came to Mexicali with previous experience cooking and serving Chinese food. When these experienced chefs come here and put their heads together to share their knowledge of the trade, the Chinese cuisine gets to be really good. There’s no better Chinese food than in Mexicali.”\u003c/p>\n\u003cp>George Lim says a few restaurant employees recently arrived here from China under a “special skills” category. That skill? Cooking Chinese cuisine. Lim says sometimes these Mexicali-trained chefs move up north, to work in Chinese restaurants in Imperial County.\u003c/p>\n\u003cp>“One of the goals is to go to the U.S., have a better life for you and for your kids, give ’em a better education, better opportunity, maybe earning dollars instead of pesos,” he says.\u003c/p>\n\u003cp>They are the same reasons that drew their ancestors here from southern China 130 years ago.\u003c/p>\n\u003cp>\u003cem>Vickie Ly helped report and translate for this story. Chris Hoff helped with sound design. The series \u003ca href=\"http://www.californiafoodways.com/\" target=\"_blank\">California Foodways\u003c/a> is supported in part by \u003ca href=\"http://www.calhum.org/\" target=\"_blank\">Cal Humanities\u003c/a>. Reporter Lisa Morehouse produced it during a fellowship at \u003ca href=\"http://www.hedgebrook.org/\" target=\"_blank\">Hedgebrook\u003c/a>, a residency for women writers. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "L.A. Painter Finds Inspiration in Fire and Protest",
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"content": "\u003cp>Images of fire, protests and tear gas from Ferguson, Missouri, Mexico City and downtown Los Angeles have circled the globe through social media the last six months. They landed in the inbox of painter Sandy Rodriguez, who works out of a studio in South L.A.'s Leimert Park.\u003c/p>\n\u003cp>Sandy Rodriguez has a 9-to-5 job at the Getty’s education department. During her off hours, she paints at a former hair salon converted into an artist studio.\u003c/p>\n\u003cp>\"I'm one of three artists in residence with Art + Practice Foundation here in Leimert Park,\" Rodriguez says. \"This is the first year of the program. It is a 14-month residency, so I get to create and just work here for 14 months. Started in August of 2014.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/196903776\" 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>When she started the residency, she proposed a dozen paintings about Leimert Park’s revitalization. She painted a 1920s home, a street scene and the nighttime fog of nearby Mar Vista.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then Ferguson, Missouri, happened.\u003c/p>\n\u003cp>One of her paintings includes an image of a McDonald's restaurant.\u003c/p>\n\u003cp>\"A number of reporters and people had been arrested inside a McDonald's in Ferguson during the first few days of the demonstrations, and they were being accused of trespassing in a public space. You hope that you include just a little bit of information, that it’ll jog recent memory and conversations and think about a lot of topics that come up, right?\" Rodriguez says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.scpr.org/programs/offramp/2015/03/05/41737/ferguson-fire-mexico-city-protests-ignite-la-artis/\">\u003cstrong>\u003cem>Read the full story and see photos of Rodriguez's work via KPCC\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Images of fire, protests and tear gas from Ferguson, Missouri, Mexico City and downtown Los Angeles have circled the globe through social media the last six months. They landed in the inbox of painter Sandy Rodriguez, who works out of a studio in South L.A.'s Leimert Park.\u003c/p>\n\u003cp>Sandy Rodriguez has a 9-to-5 job at the Getty’s education department. During her off hours, she paints at a former hair salon converted into an artist studio.\u003c/p>\n\u003cp>\"I'm one of three artists in residence with Art + Practice Foundation here in Leimert Park,\" Rodriguez says. \"This is the first year of the program. It is a 14-month residency, so I get to create and just work here for 14 months. Started in August of 2014.\"\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/196903776&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/196903776'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When she started the residency, she proposed a dozen paintings about Leimert Park’s revitalization. She painted a 1920s home, a street scene and the nighttime fog of nearby Mar Vista.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then Ferguson, Missouri, happened.\u003c/p>\n\u003cp>One of her paintings includes an image of a McDonald's restaurant.\u003c/p>\n\u003cp>\"A number of reporters and people had been arrested inside a McDonald's in Ferguson during the first few days of the demonstrations, and they were being accused of trespassing in a public space. You hope that you include just a little bit of information, that it’ll jog recent memory and conversations and think about a lot of topics that come up, right?\" Rodriguez says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.scpr.org/programs/offramp/2015/03/05/41737/ferguson-fire-mexico-city-protests-ignite-la-artis/\">\u003cstrong>\u003cem>Read the full story and see photos of Rodriguez's work via KPCC\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/196906315″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Maybe start somewhere,” sings Sarah Bethe Nelson on the frisky song, “Start Somewhere,” which starts her album, “Fast-Moving Clouds” (Burger Records). If there’s a hesitancy to the statement, it fits.\u003c/p>\n\u003cp>This is someone just now making her solo debut at age 38. This comes after years of slogging away in the Bay Area roots-rock band \u003ca title=\"last.fm Prairiedog\" href=\"http://www.last.fm/music/Prairiedog\" target=\"_blank\" rel=\"noopener\">Prairiedog \u003c/a>while tending bar at the \u003ca title=\"Make Out Room\" href=\"http://www.makeoutroom.com/\" target=\"_blank\" rel=\"noopener\">Make Out Room\u003c/a>, a Mission District dive. All of that provides background for this album’s vivid tableaux.\u003c/p>\n\u003cp>Toward the end of the title song she sings, “So you be \u003ca href=\"http://www.biography.com/people/sam-cooke-9256129#tragic-death-and-legacy\" target=\"_blank\" rel=\"noopener\">Sam Cooke\u003c/a> and I’ll be you.” Suggesting that her lover be the tragic soul singer who was \u003ca href=\"http://www.rollingstone.com/movies/news/sam-cookes-family-approves-biopic-focusing-on-singers-death-20150318\" target=\"_blank\" rel=\"noopener\">killed\u003c/a> under sordid circumstances? It’s part whimsical musing, part convoluted escape plan.\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/196906315″&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/196906315″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The whole album is populated with people itching to get out of whatever situation they’re in, mostly relationships. But unable or unwilling to make those leaps, they say hurtful things, they kick and they scratch, they lie to each other, they lie to themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe — there’s that maybe again — they expect too much. One of the key songs here, after all, is called “Impossible Love.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-10460461 alignleft\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg\" alt=\" \" width=\"334\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1440x1440.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-320x320.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/03/RS14535_SarahBetheNelson_CoverArt-qut.jpg 1500w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/a>Whether Nelson is singing about herself or recounting things she’s witnessed, and it’s hard to say most of the time, she takes the role of dry observer. She’s got the voice for it — more bemused than bored, less distant than dispassionate. Which is not to say passion\u003cem>less\u003c/em>. She’s a sharp storyteller, a turner of phrases that can be at once glibly clever and deeply revealing.\u003c/p>\n\u003cp>In the relatively lush “Paying,” as with many of the songs nominally set in the bar, she tells — or at least \u003cem>thinks\u003c/em> of telling — a swaggering swain that his drinks won’t be on the house anymore. But, uh, we’re not really talking about drinks, are we?\u003c/p>\n\u003cp>Producer \u003ca title=\"Kelley Stoltz\" href=\"http://www.kelleystoltz.com/\">Kelley Stoltz\u003c/a>, who in his own albums deals in this kind of multi-hued melancholy, helps Nelson craft settings that enhance the scenes, like finely used lighting on a bare-bones theater stage. Nothing fancy, nothing excessive, but a rich variety of rock/Americana tones with little touches that make the tales pop — the almost harp or harpsichord-like plucked lines at the beginning of “Impossible Love,” for example, giving way to a jaunty tune. “Snake Shake” is as bare-bones as it gets, the music as spare as the words, just three brittle lines of Nelson saying she’d rather be a snake in the desert than to “keep living like this.”\u003c/p>\n\u003cp>Cheerful, huh? But for all that, “Fast-Moving Clouds” \u003cem>is\u003c/em> full of life, the work of an artist as engaged, and engaging, as her often-delightful tunes. It even ends on a note of optimism. Well, in context.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With the final song, sounding somewhere between Morrissey and the Go-Go’s, she affirms that for whatever else might be going on, “We’re Not Dead.” And that’s a good place to start whatever comes next — no maybes about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "S.F. Symphony Entices New Audiences With SoundBox Venue",
"title": "S.F. Symphony Entices New Audiences With SoundBox Venue",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>You walk into \u003ca href=\"http://sfsoundbox.com/\">SoundBox\u003c/a>, \u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\">the San Francisco Symphony\u003c/a>’s 4-month-old experimental music venue, through a back door of Louise M. Davies Hall, and go down.\u003c/p>\n\u003cp>So it’s got that underground club vibe.\u003c/p>\n\u003cp>In fact, it feels less like a music club than a happening from the '60s, with videos on big screens and sound sculptures. At the most recent concert, the wailing drone of \u003ca href=\"https://www.youtube.com/watch?v=cBjMQL24uEk\" target=\"_blank\">Oliver DiCicco’s \"Sirens\u003c/a>\" lured us in.\u003c/p>\n\u003cp>The space is a \u003ca href=\"http://www.sfwmpac.org/zellerbach-rehearsal-hall\" target=\"_blank\">rehearsal hall\u003c/a>, still used by the symphony and the San Francisco Opera. It’s a huge warehouse of a room, with 50-foot ceilings, two stages and a bar at the back.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/196903469\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>It’s definitely not your grandmother’s concert hall. People sip their drinks, and perch on cushions or lie on the scarred floor, tweeting, shooting selfies and chatting away until the music starts. And then the crowd of 500 gets as quiet as any audience at a more formal concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Symphony orchestras are among the most traditional of the performing arts. But around the country a few are trying to reinvent themselves, worried that audiences are graying and fading away.\u003c/p>\n\u003cfigure id=\"attachment_10461719\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxEntrance.jpg\">\u003cimg class=\"wp-image-10461719 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxEntrance-800x660.jpg\" alt=\"The entrance to SoundBox .\" width=\"800\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-800x660.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-400x330.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-1440x1188.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-1180x974.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-768x634.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-320x264.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to SoundBox . \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Los Angeles Philharmonic has its \u003ca href=\"http://www.laphil.com/tickets/series-detail/green-umbrella\" target=\"_blank\">Green Umbrella\u003c/a>. The Chicago Symphony is doing \u003ca href=\"https://cso.org/TicketsAndEvents/SeriesDetails.aspx?cid=22552\" target=\"_blank\">Music Now\u003c/a>. SoundBox is the San Francisco Symphony’s effort, and its first season is finishing \u003ca href=\"http://sfsoundbox.com/#the-show\" target=\"_blank\">April 9-10\u003c/a> and looking like a hit.\u003c/p>\n\u003cp>“It was really quite a piece of magic, I thought,\" said Joshua Kosman, classical music critic for the San Francisco Chronicle. He’s one of many who have praised SoundBox’s repertoire and sound.\u003c/p>\n\u003cp>“The electronics could make it sound just like it was supposed to sound,” said Kosman. “All in this old barn.”\u003c/p>\n\u003cp>The electronics are one of SoundBox’s secret weapons, transforming what was once a notoriously dead space into whatever acoustical environment the musicians want.\u003c/p>\n\u003cp>The room is equipped with a\u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\"> Meyer Sound Constellation Acoustic System\u003c/a>, a network of 25 microphones and 85 speakers tucked away above our heads, run by an expensive sound-mixing processor remotely controlled by an iPad.\u003c/p>\n\u003cp>“SoundBox encourages people to come for the experience of the space itself,\" said Michael Tilson Thomas, conductor and music director, in a recent interview.\u003c/p>\n\u003cp>“They know it's about a lot of music that perhaps they haven't heard, but it's that sense of adventure that's very much a part of it.\"\u003c/p>\n\u003cfigure id=\"attachment_10461722\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxBrighter.jpg\">\u003cimg class=\"wp-image-10461722 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxBrighter-800x481.jpg\" alt=\"Edwin Outwater conducts Nicole Lizée’s Kool-Aid Acid Test #17 at Soundbox.\" width=\"800\" height=\"481\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-800x481.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-400x240.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-1440x866.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-1180x709.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-768x462.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-320x192.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts Nicole Lizée’s \"Kool-Aid Acid Test #17\" at SoundBox. \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SoundBox was Tilson Thomas’ idea, a successor to a similar experiment he started at the\u003ca href=\"http://www.nws.edu/\" target=\"_blank\"> New World Symphony\u003c/a>, his other artistic directing gig in Miami.\u003c/p>\n\u003cp>“SoundBox was an opportunity to take a space no one wanted to be, in a very dead rehearsal hall,” Tilson Thomas said, “and make it into a place everyone wanted to be.”\u003c/p>\n\u003cp>The videos, shorter programs and long intermissions, the drinking, the casual seating, no tails or black gowns for the musicians -- they’re all designed to attract elusive younger audiences more familiar with rock clubs and DJs.\u003c/p>\n\u003cp>“People really feel the public has a barrier to entry,” said San Francisco Symphony President Sakurako Fisher.\u003c/p>\n\u003cp>“They don't know when to clap, how they should dress, how you buy a drink here,” Fisher said. “These are things that, actually, can change your mind between buying a ticket to this or buying something to Bill Graham Music Hall. You know how to do that.”\u003c/p>\n\u003cp>The\u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\"> League of American Orchestras \u003c/a>did a \u003ca href=\"http://www.americanorchestras.org/knowledge-research-innovation/audience-engagement/nea-research.html\" target=\"_blank\">national study \u003c/a>with the \u003ca href=\"http://arts.gov/\" target=\"_blank\">National Endowment for the Arts\u003c/a> in 2009, and found that symphony attendance has declined, no matter how you measure it, from the early 1980s to 2008. One key statistic: Attendance fell off within every generation as it aged, defying the conventional idea that people eventually discover classical music as they go gray.\u003c/p>\n\u003cp>The San Francisco Symphony has a more diverse audience than some orchestras, but the average age of attendees in the main concert hall is 64, and the largest percentage is 65 to 74. (Symphony staff noted with excitement that more than half of new subscribers in the 2014/2015 season were between the ages of 35 and 64.)\u003c/p>\n\u003cp>So here’s a recipe for a younger audience, according to league president Jesse Rosen:\u003c/p>\n\u003cp>“A greater emphasis on intimacy, being in smaller spaces, increased priority on being able to socialize, and have an environment conducive to visiting and talking and drinking.”\u003c/p>\n\u003cp>Which sounds a lot like SoundBox.\u003c/p>\n\u003cfigure id=\"attachment_10461724\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MTT.jpg\">\u003cimg class=\"wp-image-10461724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MTT-800x478.jpg\" alt=\"Michael Tilson Thomas conducts members of the SF Symphony and Chorus.\" width=\"800\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-400x239.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-1440x860.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-1180x705.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-768x459.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-320x191.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts members of the S.F. Symphony and Chorus. \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every one of the SoundBox shows has sold out this year, with social media, not advertising, driving ticket sales.\u003c/p>\n\u003cp>In fact, the symphony treats SoundBox a little like what music critic Kosman calls “a crazy cousin that they don’t want to be associated with.”\u003c/p>\n\u003cp>Kosman asked the marketing department at the symphony why you can’t even find a link to SoundBox on the symphony’s own website: “It’s sort of an anti-marketing strategy for regulars. ‘What we’re trying to do is keep those people at bay so we can make room for these other folks who might not otherwise come.’ ”\u003c/p>\n\u003cp>The symphony doesn’t have any hard data yet, but there are a lot of 20- and 30-somethings in this SoundBox crowd, like Mary Goree, who was at the March concert. She said she usually goes to rock or hip-hop shows, but SoundBox “blew her mind.”\u003c/p>\n\u003cp>“From the first moment walking in, the visuals, the art installation incorporated with the music, and the whole experience, the different stages, all of the pieces and the video that correlated with the pieces. It's been an incredible experience.”\u003c/p>\n\u003cp>Words that are music to the ears of Michael Tilson Thomas.\u003c/p>\n\u003cp>“I can't tell you what it meant for me to have some people, young people, coming up at the end of the '\u003ca href=\"https://www.youtube.com/watch?v=6YmJLIZaFMU%20\" target=\"_blank\">Monteverdi Magnificat\u003c/a>’ (from the SoundBox January concert) and saying, you know, ‘I never heard Monteverdi, and this has now become my most favorite piece.’\u003c/p>\n\u003cp>“Extraordinary to think of something 400 years old could have that powerful effect on someone who's a 21st century person.”\u003c/p>\n\u003cp>SoundBox reverts to its more mundane role as a rehearsal hall after the April concerts, but Tilson Thomas promises it will be back next year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"The big advance,\" Tilson Thomas said, \"for me would be that I'll have an opportunity to present to you some of the video pieces I've been making over the last years. I script videos which have to do with what the music is really about. It's the ultimate challenge because music is about a lot of things, it doesn't necessarily have a story. But how to create imagery in an environment which allows the audience to enter into that aboutness, which may be quite apart from their usual reality.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You walk into \u003ca href=\"http://sfsoundbox.com/\">SoundBox\u003c/a>, \u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\">the San Francisco Symphony\u003c/a>’s 4-month-old experimental music venue, through a back door of Louise M. Davies Hall, and go down.\u003c/p>\n\u003cp>So it’s got that underground club vibe.\u003c/p>\n\u003cp>In fact, it feels less like a music club than a happening from the '60s, with videos on big screens and sound sculptures. At the most recent concert, the wailing drone of \u003ca href=\"https://www.youtube.com/watch?v=cBjMQL24uEk\" target=\"_blank\">Oliver DiCicco’s \"Sirens\u003c/a>\" lured us in.\u003c/p>\n\u003cp>The space is a \u003ca href=\"http://www.sfwmpac.org/zellerbach-rehearsal-hall\" target=\"_blank\">rehearsal hall\u003c/a>, still used by the symphony and the San Francisco Opera. It’s a huge warehouse of a room, with 50-foot ceilings, two stages and a bar at the back.\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/196903469&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/196903469'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s definitely not your grandmother’s concert hall. People sip their drinks, and perch on cushions or lie on the scarred floor, tweeting, shooting selfies and chatting away until the music starts. And then the crowd of 500 gets as quiet as any audience at a more formal concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Symphony orchestras are among the most traditional of the performing arts. But around the country a few are trying to reinvent themselves, worried that audiences are graying and fading away.\u003c/p>\n\u003cfigure id=\"attachment_10461719\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxEntrance.jpg\">\u003cimg class=\"wp-image-10461719 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxEntrance-800x660.jpg\" alt=\"The entrance to SoundBox .\" width=\"800\" height=\"660\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-800x660.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-400x330.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-1440x1188.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-1180x974.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-768x634.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance-320x264.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxEntrance.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The entrance to SoundBox . \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Los Angeles Philharmonic has its \u003ca href=\"http://www.laphil.com/tickets/series-detail/green-umbrella\" target=\"_blank\">Green Umbrella\u003c/a>. The Chicago Symphony is doing \u003ca href=\"https://cso.org/TicketsAndEvents/SeriesDetails.aspx?cid=22552\" target=\"_blank\">Music Now\u003c/a>. SoundBox is the San Francisco Symphony’s effort, and its first season is finishing \u003ca href=\"http://sfsoundbox.com/#the-show\" target=\"_blank\">April 9-10\u003c/a> and looking like a hit.\u003c/p>\n\u003cp>“It was really quite a piece of magic, I thought,\" said Joshua Kosman, classical music critic for the San Francisco Chronicle. He’s one of many who have praised SoundBox’s repertoire and sound.\u003c/p>\n\u003cp>“The electronics could make it sound just like it was supposed to sound,” said Kosman. “All in this old barn.”\u003c/p>\n\u003cp>The electronics are one of SoundBox’s secret weapons, transforming what was once a notoriously dead space into whatever acoustical environment the musicians want.\u003c/p>\n\u003cp>The room is equipped with a\u003ca href=\"http://www.meyersound.com/product/constellation/\" target=\"_blank\"> Meyer Sound Constellation Acoustic System\u003c/a>, a network of 25 microphones and 85 speakers tucked away above our heads, run by an expensive sound-mixing processor remotely controlled by an iPad.\u003c/p>\n\u003cp>“SoundBox encourages people to come for the experience of the space itself,\" said Michael Tilson Thomas, conductor and music director, in a recent interview.\u003c/p>\n\u003cp>“They know it's about a lot of music that perhaps they haven't heard, but it's that sense of adventure that's very much a part of it.\"\u003c/p>\n\u003cfigure id=\"attachment_10461722\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxBrighter.jpg\">\u003cimg class=\"wp-image-10461722 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/SoundBoxBrighter-800x481.jpg\" alt=\"Edwin Outwater conducts Nicole Lizée’s Kool-Aid Acid Test #17 at Soundbox.\" width=\"800\" height=\"481\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-800x481.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-400x240.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-1440x866.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-1180x709.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-768x462.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter-320x192.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/SoundBoxBrighter.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts Nicole Lizée’s \"Kool-Aid Acid Test #17\" at SoundBox. \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SoundBox was Tilson Thomas’ idea, a successor to a similar experiment he started at the\u003ca href=\"http://www.nws.edu/\" target=\"_blank\"> New World Symphony\u003c/a>, his other artistic directing gig in Miami.\u003c/p>\n\u003cp>“SoundBox was an opportunity to take a space no one wanted to be, in a very dead rehearsal hall,” Tilson Thomas said, “and make it into a place everyone wanted to be.”\u003c/p>\n\u003cp>The videos, shorter programs and long intermissions, the drinking, the casual seating, no tails or black gowns for the musicians -- they’re all designed to attract elusive younger audiences more familiar with rock clubs and DJs.\u003c/p>\n\u003cp>“People really feel the public has a barrier to entry,” said San Francisco Symphony President Sakurako Fisher.\u003c/p>\n\u003cp>“They don't know when to clap, how they should dress, how you buy a drink here,” Fisher said. “These are things that, actually, can change your mind between buying a ticket to this or buying something to Bill Graham Music Hall. You know how to do that.”\u003c/p>\n\u003cp>The\u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\"> League of American Orchestras \u003c/a>did a \u003ca href=\"http://www.americanorchestras.org/knowledge-research-innovation/audience-engagement/nea-research.html\" target=\"_blank\">national study \u003c/a>with the \u003ca href=\"http://arts.gov/\" target=\"_blank\">National Endowment for the Arts\u003c/a> in 2009, and found that symphony attendance has declined, no matter how you measure it, from the early 1980s to 2008. One key statistic: Attendance fell off within every generation as it aged, defying the conventional idea that people eventually discover classical music as they go gray.\u003c/p>\n\u003cp>The San Francisco Symphony has a more diverse audience than some orchestras, but the average age of attendees in the main concert hall is 64, and the largest percentage is 65 to 74. (Symphony staff noted with excitement that more than half of new subscribers in the 2014/2015 season were between the ages of 35 and 64.)\u003c/p>\n\u003cp>So here’s a recipe for a younger audience, according to league president Jesse Rosen:\u003c/p>\n\u003cp>“A greater emphasis on intimacy, being in smaller spaces, increased priority on being able to socialize, and have an environment conducive to visiting and talking and drinking.”\u003c/p>\n\u003cp>Which sounds a lot like SoundBox.\u003c/p>\n\u003cfigure id=\"attachment_10461724\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MTT.jpg\">\u003cimg class=\"wp-image-10461724 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/MTT-800x478.jpg\" alt=\"Michael Tilson Thomas conducts members of the SF Symphony and Chorus.\" width=\"800\" height=\"478\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-400x239.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-1440x860.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-1180x705.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-768x459.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT-320x191.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/MTT.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts members of the S.F. Symphony and Chorus. \u003ccite>(Stefan Cohen/S.F. Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every one of the SoundBox shows has sold out this year, with social media, not advertising, driving ticket sales.\u003c/p>\n\u003cp>In fact, the symphony treats SoundBox a little like what music critic Kosman calls “a crazy cousin that they don’t want to be associated with.”\u003c/p>\n\u003cp>Kosman asked the marketing department at the symphony why you can’t even find a link to SoundBox on the symphony’s own website: “It’s sort of an anti-marketing strategy for regulars. ‘What we’re trying to do is keep those people at bay so we can make room for these other folks who might not otherwise come.’ ”\u003c/p>\n\u003cp>The symphony doesn’t have any hard data yet, but there are a lot of 20- and 30-somethings in this SoundBox crowd, like Mary Goree, who was at the March concert. She said she usually goes to rock or hip-hop shows, but SoundBox “blew her mind.”\u003c/p>\n\u003cp>“From the first moment walking in, the visuals, the art installation incorporated with the music, and the whole experience, the different stages, all of the pieces and the video that correlated with the pieces. It's been an incredible experience.”\u003c/p>\n\u003cp>Words that are music to the ears of Michael Tilson Thomas.\u003c/p>\n\u003cp>“I can't tell you what it meant for me to have some people, young people, coming up at the end of the '\u003ca href=\"https://www.youtube.com/watch?v=6YmJLIZaFMU%20\" target=\"_blank\">Monteverdi Magnificat\u003c/a>’ (from the SoundBox January concert) and saying, you know, ‘I never heard Monteverdi, and this has now become my most favorite piece.’\u003c/p>\n\u003cp>“Extraordinary to think of something 400 years old could have that powerful effect on someone who's a 21st century person.”\u003c/p>\n\u003cp>SoundBox reverts to its more mundane role as a rehearsal hall after the April concerts, but Tilson Thomas promises it will be back next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The big advance,\" Tilson Thomas said, \"for me would be that I'll have an opportunity to present to you some of the video pieces I've been making over the last years. I script videos which have to do with what the music is really about. It's the ultimate challenge because music is about a lot of things, it doesn't necessarily have a story. But how to create imagery in an environment which allows the audience to enter into that aboutness, which may be quite apart from their usual reality.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Broadcaster Connects Iranians Around the World",
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"content": "\u003cp>Saeed Ghaemmaghami gets up early. While it’s still dark out, he sits at his kitchen table, sips tea, and smokes his first cigarette of the day. By 6 a.m., he’s at a nearby recording studio in the San Fernando Valley. He takes a seat in front of his microphone, flips a few switches on the control panel and begins another episode of Radio Sedaye Mardom, Farsi for \"The People’s Voice.\"\u003c/p>\n\u003cp>Ghaemmaghami greets his audience. “This is Los Angeles, California, in the United States of America,” he says. “This is Sedaye Mardom Radio. I am hoping that all of you are doing well and have started a new day, a new night and a good evening wherever you are in this world. We are going to start another week in your company.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/196905097\" 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>Sedaye Mardom broadcasts live, five days a week, to millions of listeners around the world.\u003c/p>\n\u003cp>“This radio is alive, living with the people,” Ghaemmaghami says. “Because every day it’s something new happen. A new way of connection. New voices, new subjects.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After an update on world news, he opens the phone lines, and for the next two hours the calls stream in.\u003c/p>\n\u003cp>“Hello, Bardia,” Ghaemmaghami greets an underground reporter from Tehran, who’s a regular contributor to the show. For his safety, Bardia doesn’t give his last name.\u003c/p>\n\u003cp>“He’s one of the major sources of information in Iran,” says Ghaemmaghami.\u003c/p>\n\u003cp>“He has been many times in middle of the action in the street, in a very, very dangerous situation, close to our government arrest him, but he insists to continue his relationship with me and our radio.”\u003c/p>\n\u003cp>Through a translator, Bardia explains why he risks his life to report.\u003c/p>\n\u003cp>“This government throws acid on our faces when we come to the streets,” he says. “The only thing that I can do is to get my voice out there, through the radio, and let the world know that this government is not my representative.”\u003c/p>\n\u003cp>Bardia’s information is critical because of Iran’s heavily censored media, according to Majid, who calls in from Europe.\u003c/p>\n\u003cp>“It was my only connection to other protesters who were thinking like me,” he says.\u003c/p>\n\u003cp>Majid doesn’t give his last name because he was involved in anti-government activity. Two years ago, he had to flee Iran. Today, he lives in Europe, and volunteers as Sedaye Mardom’s technical director.\u003c/p>\n\u003cp>“This radio is my everything,” he says, his voice full of emotion. “It’s my everything because I can do something for other people in Iran.”\u003c/p>\n\u003cfigure id=\"attachment_10454710\" class=\"wp-caption aligncenter\" style=\"max-width: 3264px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/photo-23.jpg\">\u003cimg class=\"wp-image-10454710 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/photo-23.jpg\" alt=\"Saeed Ghaemmaghami reports from the streets of Tehran in the early nineteen seventies.\" width=\"3264\" height=\"2448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-320x240.jpg 320w\" sizes=\"(max-width: 3264px) 100vw, 3264px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saeed Ghaemmaghami reports from the streets of Tehran in the early 1970s. \u003ccite>(Saeed Ghaemmaghami )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ghaemmaghami's been doing something for Iranians since his career began in 1961. He was only 18 years old when he happened to walk past the national radio station in Tehran, just as auditions for on-air talent were taking place.\u003c/p>\n\u003cp>“And among 1,300 people they accepted me,” he says proudly. “Just me.”\u003c/p>\n\u003cp>Ghaemmaghami was a natural, and he loved his job. He brought live programming to the airwaves, and when he organized toy drives for a children’s hospital, thousands participated. He was named senior director for the state-run radio and television, and traveled to rural provinces to set up new stations. Then in 1978, he helped establish Radio Tehran, the country’s first FM station. Radio Tehran opened up a window to the world for his listeners.\u003c/p>\n\u003cp>Reza Kouhnavard was a teenager in Tehran at the time. “He would do things nobody else had done,” he recalls. “He would play Western music, he would play Barry Manilow out of nowhere, and we would say, 'Wow, this is different,' and we would tell our friends, 'You gotta check this out!' ”\u003c/p>\n\u003cp>Kouhnavard laughs. “Because of his influence, he could do whatever he wanted, no one would say anything to him.”\u003c/p>\n\u003cp>But for Ghaemmaghami, the freedom to do whatever he wanted ended in 1979, after the Iranian Revolution, when Iran became the world’s first Islamic state.\u003c/p>\n\u003cp>“And after that they arrested me, they interrogate[d] me, they torture[d] me,” he says.\u003c/p>\n\u003cp>He spent the next three years in and out of prison. Unable to continue work as a broadcaster, he became a carpenter. But the government harassment continued.\u003c/p>\n\u003cp>“Finally they forced me to run out of Iran, to come to exile,” he says, pain evident in his voice.\u003c/p>\n\u003cp>With the help of smugglers, he and his family escaped across the border into Turkey, and eventually settled in Los Angeles. With its large Iranian population, L.A. was a good fit, and Ghaemmaghami was able to resume his work in radio. But he didn't always see eye-to-eye with his new colleagues.\u003c/p>\n\u003cp>“I find out that if I work for others, they don’t let me do what I wish,” he says. “They didn’t want to make too much noise about the government.”\u003c/p>\n\u003cp>And Ghaemmaghami couldn’t remain silent following Iran’s 2009 presidential election, when the government cracked down on peaceful demonstrators. So, with his own money, and donations from supporters, he began Radio Sedaye Mardom in 2011. Listener donations also help displaced Iranians, and those in need of medical care they otherwise could not afford. And once again, Ghaemmaghami has the freedom to speak his mind.\u003c/p>\n\u003cp>“To persuade Iranian people to challenge the government in nonviolent, peaceful action,” he says. “Coming to the street, without blood, without killing, without hate, just asking for freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And this weekend, as Saeed Ghaemmaghami celebrates the Persian New Year, he says he hopes that the current nuclear issues do not overshadow Iran’s ongoing human rights abuses.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saeed Ghaemmaghami gets up early. While it’s still dark out, he sits at his kitchen table, sips tea, and smokes his first cigarette of the day. By 6 a.m., he’s at a nearby recording studio in the San Fernando Valley. He takes a seat in front of his microphone, flips a few switches on the control panel and begins another episode of Radio Sedaye Mardom, Farsi for \"The People’s Voice.\"\u003c/p>\n\u003cp>Ghaemmaghami greets his audience. “This is Los Angeles, California, in the United States of America,” he says. “This is Sedaye Mardom Radio. I am hoping that all of you are doing well and have started a new day, a new night and a good evening wherever you are in this world. We are going to start another week in your company.”\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/196905097&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/196905097'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sedaye Mardom broadcasts live, five days a week, to millions of listeners around the world.\u003c/p>\n\u003cp>“This radio is alive, living with the people,” Ghaemmaghami says. “Because every day it’s something new happen. A new way of connection. New voices, new subjects.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an update on world news, he opens the phone lines, and for the next two hours the calls stream in.\u003c/p>\n\u003cp>“Hello, Bardia,” Ghaemmaghami greets an underground reporter from Tehran, who’s a regular contributor to the show. For his safety, Bardia doesn’t give his last name.\u003c/p>\n\u003cp>“He’s one of the major sources of information in Iran,” says Ghaemmaghami.\u003c/p>\n\u003cp>“He has been many times in middle of the action in the street, in a very, very dangerous situation, close to our government arrest him, but he insists to continue his relationship with me and our radio.”\u003c/p>\n\u003cp>Through a translator, Bardia explains why he risks his life to report.\u003c/p>\n\u003cp>“This government throws acid on our faces when we come to the streets,” he says. “The only thing that I can do is to get my voice out there, through the radio, and let the world know that this government is not my representative.”\u003c/p>\n\u003cp>Bardia’s information is critical because of Iran’s heavily censored media, according to Majid, who calls in from Europe.\u003c/p>\n\u003cp>“It was my only connection to other protesters who were thinking like me,” he says.\u003c/p>\n\u003cp>Majid doesn’t give his last name because he was involved in anti-government activity. Two years ago, he had to flee Iran. Today, he lives in Europe, and volunteers as Sedaye Mardom’s technical director.\u003c/p>\n\u003cp>“This radio is my everything,” he says, his voice full of emotion. “It’s my everything because I can do something for other people in Iran.”\u003c/p>\n\u003cfigure id=\"attachment_10454710\" class=\"wp-caption aligncenter\" style=\"max-width: 3264px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/photo-23.jpg\">\u003cimg class=\"wp-image-10454710 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/photo-23.jpg\" alt=\"Saeed Ghaemmaghami reports from the streets of Tehran in the early nineteen seventies.\" width=\"3264\" height=\"2448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23.jpg 3264w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/photo-23-320x240.jpg 320w\" sizes=\"(max-width: 3264px) 100vw, 3264px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Saeed Ghaemmaghami reports from the streets of Tehran in the early 1970s. \u003ccite>(Saeed Ghaemmaghami )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ghaemmaghami's been doing something for Iranians since his career began in 1961. He was only 18 years old when he happened to walk past the national radio station in Tehran, just as auditions for on-air talent were taking place.\u003c/p>\n\u003cp>“And among 1,300 people they accepted me,” he says proudly. “Just me.”\u003c/p>\n\u003cp>Ghaemmaghami was a natural, and he loved his job. He brought live programming to the airwaves, and when he organized toy drives for a children’s hospital, thousands participated. He was named senior director for the state-run radio and television, and traveled to rural provinces to set up new stations. Then in 1978, he helped establish Radio Tehran, the country’s first FM station. Radio Tehran opened up a window to the world for his listeners.\u003c/p>\n\u003cp>Reza Kouhnavard was a teenager in Tehran at the time. “He would do things nobody else had done,” he recalls. “He would play Western music, he would play Barry Manilow out of nowhere, and we would say, 'Wow, this is different,' and we would tell our friends, 'You gotta check this out!' ”\u003c/p>\n\u003cp>Kouhnavard laughs. “Because of his influence, he could do whatever he wanted, no one would say anything to him.”\u003c/p>\n\u003cp>But for Ghaemmaghami, the freedom to do whatever he wanted ended in 1979, after the Iranian Revolution, when Iran became the world’s first Islamic state.\u003c/p>\n\u003cp>“And after that they arrested me, they interrogate[d] me, they torture[d] me,” he says.\u003c/p>\n\u003cp>He spent the next three years in and out of prison. Unable to continue work as a broadcaster, he became a carpenter. But the government harassment continued.\u003c/p>\n\u003cp>“Finally they forced me to run out of Iran, to come to exile,” he says, pain evident in his voice.\u003c/p>\n\u003cp>With the help of smugglers, he and his family escaped across the border into Turkey, and eventually settled in Los Angeles. With its large Iranian population, L.A. was a good fit, and Ghaemmaghami was able to resume his work in radio. But he didn't always see eye-to-eye with his new colleagues.\u003c/p>\n\u003cp>“I find out that if I work for others, they don’t let me do what I wish,” he says. “They didn’t want to make too much noise about the government.”\u003c/p>\n\u003cp>And Ghaemmaghami couldn’t remain silent following Iran’s 2009 presidential election, when the government cracked down on peaceful demonstrators. So, with his own money, and donations from supporters, he began Radio Sedaye Mardom in 2011. Listener donations also help displaced Iranians, and those in need of medical care they otherwise could not afford. And once again, Ghaemmaghami has the freedom to speak his mind.\u003c/p>\n\u003cp>“To persuade Iranian people to challenge the government in nonviolent, peaceful action,” he says. “Coming to the street, without blood, without killing, without hate, just asking for freedom.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And this weekend, as Saeed Ghaemmaghami celebrates the Persian New Year, he says he hopes that the current nuclear issues do not overshadow Iran’s ongoing human rights abuses.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How California Schools Are Using Art to Boost Achievement",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>In a first-grade classroom at \u003ca href=\"http://www.peraltaschool.org/\">Peralta Elementary School\u003c/a> in Oakland, children concentrate on detailed pencil drawings of scenes from the underground railroad. Safehouses and trap doors appear on paper. One boy is drawing dogs with pointy teeth.\u003c/p>\n\u003cp>Here at Peralta, art is never just about art. These first-graders are learning about history, but they're also practicing math, measuring with their fingers to figure out where to draw horizon lines. Teacher Pam Lucker is helping the students include perspective.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/195758277\" 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>\"If I look at this lady, for example, she takes up about three-quarters of the page. Your lady is a little bit bigger, especially her head. ... Do you see that?\" Lucker asks a little girl.\u003c/p>\n\u003cp>After years of arts taking second stage to math and reading, a state task force is now recommending arts be returned to California classrooms as a core subject.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Peralta is a model for how art can be woven into every lesson. Even when other schools were dropping the arts, teachers here have integrated art and music into their classes for at least 15 years. Lucker says it helps her as a teacher.\u003c/p>\n\u003cfigure id=\"attachment_10452229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut.jpg\">\u003cimg class=\"size-medium wp-image-10452229\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-800x600.jpg\" alt=\"Principal Sonia Aramburo tracks student test scores at Mary Chapa Academy in Greenfield, CA.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Principal Sonia Aramburo tracks student test scores at Mary Chapa Academy in Greenfield, CA. It’s too soon to say if art is changing outcomes, but there’s no question that students here are engaged. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art and writing are ways that I can take the lids off my kids’ heads and see what’s going on,\" said Lucker. \"It helps me understand what they’re understanding of what I’ve taught.\"\u003c/p>\n\u003cp>Teachers here believe there’s another benefit to art: It teaches kids how to think creatively, which they say is an essential skill for future jobs. Ana Thomas strives to teach multimedia to her fourth-graders. Right now, they're working on an interactive marine wall.\u003c/p>\n\u003cp>\"It'll have these layers to it, where you can flip up and see, maybe the life cycle, with a flipbook, or there'll be a little plastic bag installed, where you can press a button and maybe hear the sound of the California harbor seal,\" said Thomas.\u003c/p>\n\u003cp>Embedding sound was the idea of a student, who is really excited to learn as much as she can about the harbor seal. That's one of the goals of arts-integrated classrooms: to hook students to really delve deep into their schoolwork.\u003c/p>\n\u003cp>\u003cstrong>How One School Reintroduced Art into Education\u003c/strong>\u003c/p>\n\u003cp>So why don’t all schools in California have as much art as Peralta?\u003c/p>\n\u003cp>Well, part of it is money. Budget cuts have pushed art out of many schools in the state. Peralta's principal, Rosette Costello, says parents and teachers have had to cobble together grants and fundraise like crazy to keep their program going. But she thinks there's another reason art is not part of the curriculum at many schools.\u003c/p>\n\u003cp>\"There’s also cultures that say, 'Art no, drill and kill yes,' \" said Costello. \"You know, poor kids, art definitely no, drill and kill definitely yes! And they’ve got it totally backwards!\"\u003c/p>\n\u003cp>It's true that schools that serve low-income students are less likely to have arts in the curriculum. By some estimates, students at the schools with the highest poverty are 50 percent less likely to have access to art in school. That’s partly because some schools dropped the arts to focus on reading and math, in hopes of bringing up test scores.\u003c/p>\n\u003cp>One school that used to have no art is \u003ca href=\"http://mc-greenfield-ca.schoolloop.com/\">Mary Chapa Academy\u003c/a> in Greenfield, California. It’s a huge school in the middle of broccoli country, the Salinas Valley. The vast majority of students here are English learners, and many come from indigenous Triqui families from the state of Oaxaca in Mexico.\u003c/p>\n\u003cp>Sonia Aramburo is the principal of Mary Chapa. She says it was once the lowest-performing school in the state.\u003c/p>\n\u003cp>\"I’ll tell you, when I first came, I was shocked,\" said Aramburo. \"I believe that people believed that our kids could not learn.\"\u003c/p>\n\u003cfigure id=\"attachment_10454829\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1.jpg\">\u003cimg class=\"wp-image-10454829 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-800x600.jpg\" alt=\"Children try out new drumsticks at Mary Chapa Academy.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children try out new drumsticks at Mary Chapa Academy. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary Chapa was in program improvement under No Child Left Behind. Up until this school year, most teachers had never done art in their classroom at all, ever.\u003c/p>\n\u003cp>\"At first some of the teachers were like, 'I don’t even want to pick up a colored crayon, ’cause I don’t want to get in trouble.' Because for many years, we were not allowed to,\" said Veronica Hernandez, one of the teachers who's been here the longest.\u003c/p>\n\u003cp>This school year, Mary Chapa was selected to be one of 10 “\u003ca href=\"http://turnaroundarts.pcah.gov/\">turnaround arts\u003c/a>” schools in the state. It’s a national initiative, led by Michelle Obama, to improve academic achievement at low-performing schools by flooding them with art supplies and teaching artists. The initiative started in 2011 at eight schools and has now expanded to 35 schools across the country.\u003c/p>\n\u003cp>High-profile artists adopt each school. Red Hot Chili Peppers drummer Chad Smith adopted Mary Chapa Academy. He’s donated dozens of drums and guitars for music class.\u003c/p>\n\u003cp>Today, though, music teacher Christopher Lopez has the kids wailing away on the backs of chairs. Students are preparing a musical production of \"The Jungle Book\" this spring, and the drum club is going to do a pre-show.\u003c/p>\n\u003cp>\"We’re going to be using trashcans, we’re going to be using 5-gallon buckets, and we’re going to be using cement support molds, as drums,\" said Lopez. \"So, the idea that percussion is everything: These guys can make music anywhere.\"\u003c/p>\n\u003cp>All 900 kids in the school get music once a week with Lopez. You can find him at any time of day teaching the kids to tune their voices to match a note played on an instrument, or to sing scales.\u003c/p>\n\u003cp>\u003cstrong>Introducing Art to All Classes\u003c/strong>\u003c/p>\n\u003cp>Teachers are trying out other kinds of art in their classrooms, too. The turnaround arts program has been in place at Mary Chapa only for a few months, but all the teachers have had some training. If you peek in the classrooms, you can find fifth-graders doing freeze theater tableaus of the Revolutionary War, or second-graders painting oil spills for a unit on the environment.\u003c/p>\n\u003cp>Fourth-graders in Sarah Betz's class have made haiku poetry boxes and topographic maps with beans. She says integrating art has made a difference for her students, especially English learners.\u003c/p>\n\u003cfigure id=\"attachment_10452214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1.jpg\">\u003cimg class=\"size-medium wp-image-10452214\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-800x600.jpg\" alt=\"A first grader at Peralta Elementary works on a pencil drawing.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A first-grader at Peralta Elementary works on a pencil drawing. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"They’re able to tell me about what they’re learning, not just repeat what they’ve learned,\" said Betz. \"And they ask questions about what they’re learning. They don’t just kind of skim over it.\"\u003c/p>\n\u003cp>At the first turnaround arts schools in the country, math and reading scores went up, more than at comparable schools that were trying other turnaround programs not using the arts.\u003c/p>\n\u003cp>It’s too soon to say if art is changing outcomes at Mary Chapa Academy. But there’s no question that students here are engaged.\u003c/p>\n\u003cp>\"I love art because it makes the kids have a lot of fun and it makes us feel happy!\" said Omar Garcia Perez.\u003c/p>\n\u003cp>What was school like for Omar when there wasn't any art?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"Boring! We had just to do math and math problems, and mathematics,\" he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a first-grade classroom at \u003ca href=\"http://www.peraltaschool.org/\">Peralta Elementary School\u003c/a> in Oakland, children concentrate on detailed pencil drawings of scenes from the underground railroad. Safehouses and trap doors appear on paper. One boy is drawing dogs with pointy teeth.\u003c/p>\n\u003cp>Here at Peralta, art is never just about art. These first-graders are learning about history, but they're also practicing math, measuring with their fingers to figure out where to draw horizon lines. Teacher Pam Lucker is helping the students include perspective.\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/195758277&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/195758277'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"If I look at this lady, for example, she takes up about three-quarters of the page. Your lady is a little bit bigger, especially her head. ... Do you see that?\" Lucker asks a little girl.\u003c/p>\n\u003cp>After years of arts taking second stage to math and reading, a state task force is now recommending arts be returned to California classrooms as a core subject.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Peralta is a model for how art can be woven into every lesson. Even when other schools were dropping the arts, teachers here have integrated art and music into their classes for at least 15 years. Lucker says it helps her as a teacher.\u003c/p>\n\u003cfigure id=\"attachment_10452229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut.jpg\">\u003cimg class=\"size-medium wp-image-10452229\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-800x600.jpg\" alt=\"Principal Sonia Aramburo tracks student test scores at Mary Chapa Academy in Greenfield, CA.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14485_IMG_20150213_125407-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Principal Sonia Aramburo tracks student test scores at Mary Chapa Academy in Greenfield, CA. It’s too soon to say if art is changing outcomes, but there’s no question that students here are engaged. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art and writing are ways that I can take the lids off my kids’ heads and see what’s going on,\" said Lucker. \"It helps me understand what they’re understanding of what I’ve taught.\"\u003c/p>\n\u003cp>Teachers here believe there’s another benefit to art: It teaches kids how to think creatively, which they say is an essential skill for future jobs. Ana Thomas strives to teach multimedia to her fourth-graders. Right now, they're working on an interactive marine wall.\u003c/p>\n\u003cp>\"It'll have these layers to it, where you can flip up and see, maybe the life cycle, with a flipbook, or there'll be a little plastic bag installed, where you can press a button and maybe hear the sound of the California harbor seal,\" said Thomas.\u003c/p>\n\u003cp>Embedding sound was the idea of a student, who is really excited to learn as much as she can about the harbor seal. That's one of the goals of arts-integrated classrooms: to hook students to really delve deep into their schoolwork.\u003c/p>\n\u003cp>\u003cstrong>How One School Reintroduced Art into Education\u003c/strong>\u003c/p>\n\u003cp>So why don’t all schools in California have as much art as Peralta?\u003c/p>\n\u003cp>Well, part of it is money. Budget cuts have pushed art out of many schools in the state. Peralta's principal, Rosette Costello, says parents and teachers have had to cobble together grants and fundraise like crazy to keep their program going. But she thinks there's another reason art is not part of the curriculum at many schools.\u003c/p>\n\u003cp>\"There’s also cultures that say, 'Art no, drill and kill yes,' \" said Costello. \"You know, poor kids, art definitely no, drill and kill definitely yes! And they’ve got it totally backwards!\"\u003c/p>\n\u003cp>It's true that schools that serve low-income students are less likely to have arts in the curriculum. By some estimates, students at the schools with the highest poverty are 50 percent less likely to have access to art in school. That’s partly because some schools dropped the arts to focus on reading and math, in hopes of bringing up test scores.\u003c/p>\n\u003cp>One school that used to have no art is \u003ca href=\"http://mc-greenfield-ca.schoolloop.com/\">Mary Chapa Academy\u003c/a> in Greenfield, California. It’s a huge school in the middle of broccoli country, the Salinas Valley. The vast majority of students here are English learners, and many come from indigenous Triqui families from the state of Oaxaca in Mexico.\u003c/p>\n\u003cp>Sonia Aramburo is the principal of Mary Chapa. She says it was once the lowest-performing school in the state.\u003c/p>\n\u003cp>\"I’ll tell you, when I first came, I was shocked,\" said Aramburo. \"I believe that people believed that our kids could not learn.\"\u003c/p>\n\u003cfigure id=\"attachment_10454829\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1.jpg\">\u003cimg class=\"wp-image-10454829 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-800x600.jpg\" alt=\"Children try out new drumsticks at Mary Chapa Academy.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14440_IMG_20150213_145454-qut1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children try out new drumsticks at Mary Chapa Academy. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mary Chapa was in program improvement under No Child Left Behind. Up until this school year, most teachers had never done art in their classroom at all, ever.\u003c/p>\n\u003cp>\"At first some of the teachers were like, 'I don’t even want to pick up a colored crayon, ’cause I don’t want to get in trouble.' Because for many years, we were not allowed to,\" said Veronica Hernandez, one of the teachers who's been here the longest.\u003c/p>\n\u003cp>This school year, Mary Chapa was selected to be one of 10 “\u003ca href=\"http://turnaroundarts.pcah.gov/\">turnaround arts\u003c/a>” schools in the state. It’s a national initiative, led by Michelle Obama, to improve academic achievement at low-performing schools by flooding them with art supplies and teaching artists. The initiative started in 2011 at eight schools and has now expanded to 35 schools across the country.\u003c/p>\n\u003cp>High-profile artists adopt each school. Red Hot Chili Peppers drummer Chad Smith adopted Mary Chapa Academy. He’s donated dozens of drums and guitars for music class.\u003c/p>\n\u003cp>Today, though, music teacher Christopher Lopez has the kids wailing away on the backs of chairs. Students are preparing a musical production of \"The Jungle Book\" this spring, and the drum club is going to do a pre-show.\u003c/p>\n\u003cp>\"We’re going to be using trashcans, we’re going to be using 5-gallon buckets, and we’re going to be using cement support molds, as drums,\" said Lopez. \"So, the idea that percussion is everything: These guys can make music anywhere.\"\u003c/p>\n\u003cp>All 900 kids in the school get music once a week with Lopez. You can find him at any time of day teaching the kids to tune their voices to match a note played on an instrument, or to sing scales.\u003c/p>\n\u003cp>\u003cstrong>Introducing Art to All Classes\u003c/strong>\u003c/p>\n\u003cp>Teachers are trying out other kinds of art in their classrooms, too. The turnaround arts program has been in place at Mary Chapa only for a few months, but all the teachers have had some training. If you peek in the classrooms, you can find fifth-graders doing freeze theater tableaus of the Revolutionary War, or second-graders painting oil spills for a unit on the environment.\u003c/p>\n\u003cp>Fourth-graders in Sarah Betz's class have made haiku poetry boxes and topographic maps with beans. She says integrating art has made a difference for her students, especially English learners.\u003c/p>\n\u003cfigure id=\"attachment_10452214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1.jpg\">\u003cimg class=\"size-medium wp-image-10452214\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-800x600.jpg\" alt=\"A first grader at Peralta Elementary works on a pencil drawing.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1-320x240.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14431_IMG_20150211_110340-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A first-grader at Peralta Elementary works on a pencil drawing. \u003ccite>(Zaidee Stavely/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"They’re able to tell me about what they’re learning, not just repeat what they’ve learned,\" said Betz. \"And they ask questions about what they’re learning. They don’t just kind of skim over it.\"\u003c/p>\n\u003cp>At the first turnaround arts schools in the country, math and reading scores went up, more than at comparable schools that were trying other turnaround programs not using the arts.\u003c/p>\n\u003cp>It’s too soon to say if art is changing outcomes at Mary Chapa Academy. But there’s no question that students here are engaged.\u003c/p>\n\u003cp>\"I love art because it makes the kids have a lot of fun and it makes us feel happy!\" said Omar Garcia Perez.\u003c/p>\n\u003cp>What was school like for Omar when there wasn't any art?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Boring! We had just to do math and math problems, and mathematics,\" he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Documentary on 'The Wrecking Crew' Puts Spotlight on Rock's Unsung Hit-Makers",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/195760513\" 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>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://youtu.be/SX5BCgmr7tg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1960s, the recording studios of Los Angeles were churning out hits like clockwork. Everyone knew the vocalists, but \u003cem>not \u003c/em>the musicians who played on the tracks. They were hired guns, one-take wonders, unflappable professionals.\u003c/p>\n\u003cp>They were The Wrecking Crew.\u003c/p>\n\u003cp>This group of elite L.A. studio aces played on hundreds of classic hits. They provided backing tracks for \u003ca href=\"http://www.thebeachboys.com/\">The Beach Boys\u003c/a>,\u003ca title=\"The Byrds\" href=\"http://www.thebyrds.com/\" target=\"_blank\"> The Byrds\u003c/a>, \u003ca title=\"Elvis\" href=\"http://www.elvis.com/\" target=\"_blank\">Elvis Presley\u003c/a>, Frank and \u003ca title=\"Nancy Sinatra\" href=\"http://nancysinatra.com/blog/\" target=\"_blank\">Nancy Sinatra\u003c/a>, and many more. They were \u003ca title=\"Rolling Stone-Phil Spector\" href=\"http://www.rollingstone.com/music/artists/phil-spector/biography\" target=\"_blank\">Phil Spector\u003c/a>’s legendary “Wall of Sound.”\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/195760513&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/195760513'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Filmmaker Denny Tedesco’s late father, guitarist \u003ca title=\"NY Times\" href=\"http://www.nytimes.com/1997/11/12/arts/tommy-tedesco-67-a-studio-guitarist.html\" target=\"_blank\">Tommy Tedesco\u003c/a>, was a major part of The Crew, and is a major part of his son’s newly released documentary, \"\u003ca title=\"The Wrecking Crew Film\" href=\"http://www.wreckingcrewfilm.com/\" target=\"_blank\">The Wrecking Crew\u003c/a>,\" a film nearly 20 years in the making that reveals the men — and one woman — behind the big names on the record covers.\u003c/p>\n\u003cfigure id=\"attachment_10453064\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453064\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg\" alt=\"Hal Blaine and Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"282\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-400x282.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-800x565.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1440x1016.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-1180x833.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-768x542.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1-320x226.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14500_wreckingcrew.glencampbellhalblaine2-qut1.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drummer Hal Blaine and a not-yet-famous Glen Campbell of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>Director Tedesco says he started his project in 1996 after his father, a notorious three-pack-a-day smoker, was diagnosed with terminal cancer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When they said he had a year to live -- and I always wanted to do this story about The Wrecking Crew -- my concern was, if I don’t do it, it’s going to be the biggest regret of my life,” says Tedesco.\u003c/p>\n\u003cp>He began what would be years of interviews, hunting down archival photos and searching out extremely rare footage of the group actually in the studio.\u003c/p>\n\u003cp>“When it came to moving pictures, no one had it,” says Tedesco. “It’s like, if you were working at General Motors, why would you bring a camera to work? Same with these guys. It was work to them.”\u003c/p>\n\u003cp>He did finally discover a home movie a musician had made of the group, footage the player had edited into a porn film from the 1930s as a joke. Tedesco jumped on it.\u003c/p>\n\u003cfigure id=\"attachment_10453065\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453065\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg\" alt=\"Filmmaker Denny Tedesco's father, bassist Tommy.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-800x1173.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1440x2111.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-768x1126.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut-320x469.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14499_wreckingcrew.tommytedesco-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Filmmaker Denny Tedesco's father, guitarist Tommy Tedesco. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The 19-year production schedule was a result of the first-time director’s do-it-yourself business plan, sustained on friends' donations,\u003ca title=\"Kickstarter-The Wrecking Crew\" href=\"https://www.kickstarter.com/projects/wreckingcrew/the-wrecking-crew-doc-untold-story-of-rock-and-rol\" target=\"_blank\"> Kickstarter\u003c/a> funds and his own wallet. The biggest hurdle was the cost of licensing 110 songs. Hit songs. \u003cem>Big\u003c/em> hit songs, and that’s not cheap.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453064\">“We had a $750,000 bill before we could even release this film [theatrically],” says Tedesco, 53, who had screened a version to great acclaim at SXSW in 2008. “No one was touching us. We still had this thing around our neck. Documentaries don’t sell. Music docs are the worst.”\u003c/p>\n\u003cp>Though helming the film has brought him deep into the world of his father, as a kid Tedesco had no idea his old man was playing on the soundtrack of a generation.\u003c/p>\n\u003cp class=\"size-thumbnail wp-image-10453065\">“Dad just went to work like every other dad,” he explains. “I never saw my dad play guitar at home until ’75 or ’76, when he started doing his own jazz stuff. ’Cause if dad went to work, he was working 12, 14 hours a day, he’s coming home, never saw him turn on the radio, never saw him turn on music, never picked up a guitar. He didn’t have to practice. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_10453051\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453051\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg\" alt=\"Bassist Carol Kaye, the only female member of The Wrecking Crew.\" width=\"400\" height=\"586\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-400x586.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-800x1172.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1440x2110.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-1180x1729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-768x1125.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/wreckingcrew.carolkaye2-320x469.jpg 320w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Carol Kaye, the only female member of The Wrecking Crew. (Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>The mainly jazz-trained group, which had up to 35 musicians at any one time, included names like future star \u003ca title=\"Glen Campbell\" href=\"http://glencampbellmusic.com/\" target=\"_blank\">Glen Campbell\u003c/a> on guitar, bassist \u003ca title=\"Carol Kaye\" href=\"http://www.carolkaye.com/\" target=\"_blank\">Carol Kaye\u003c/a> (the only female member in this macho bunch) and keyboardist \u003ca title=\"Leon Russell\" href=\"http://www.leonrussellrecords.com/index.shtml\" target=\"_blank\">Leon Russell\u003c/a>. The backbone was drummer\u003ca title=\"Hal Blaine\" href=\"http://www.halblaine.com/\" target=\"_blank\"> Hal Blaine\u003c/a>. If you know the iconic kick drum-snare intro to The \u003ca title=\"Rock & Roll Hall of Fame Inductees-The Ronettes\" href=\"http://rockhall.com/inductees/the-ronettes/bio/\" target=\"_blank\">Ronettes\u003c/a>’ classic “Be My Baby,” you know Blaine.\u003c/p>\n\u003cp>“I just started contracting because people wanted me,” Blaine, 86, recalls. \"We want the drummer that did ‘Be My Baby.’ \"\u003c/p>\n\u003cp>The embryonic rock that Blaine and the others were hired to play was not exactly challenging.\u003c/p>\n\u003cp>“Everything that we did, rock 'n’ roll-wise, was absolutely childish,” says the \u003ca href=\"http://rockhall.com/\" target=\"_blank\">Rock and Roll Hall\u003c/a> of Famer. “You had to play like you did the first time you ever picked up your drumsticks. … You wanted to make the rock 'n’ roll sound like the kids' rock 'n’ roll, but because of our expertise it really made it solid, made it great. We were at the right place at the right time with the right music, and the world jumped on this rock 'n’ roll genre.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZV5tgZlTEkQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Accounts vary, but Blaine says the name “Wrecking Crew” evolved from older studio musicians' contempt for this raw new music and the casual attitude of these modern players.\u003c/p>\n\u003cp>“They were all classically trained, some of the greatest musicians in Hollywood,” Blaine explains. “They really looked down their noses on us and this terrible, new filthy rock and roll. And it really wasn’t filthy. It was a whole new thing that these guys thought was going to wreck the business.”\u003c/p>\n\u003cp>Some of The Crew’s best-known work was for \u003ca title=\"Brian Wilson\" href=\"http://www.brianwilson.com/\" target=\"_blank\">Brian Wilson\u003c/a> on hits like “Good Vibrations,” “California Girls,” and the landmark \"\u003ca href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/the-beach-boys-pet-sounds-20120524\" target=\"_blank\">Pet Sounds\" \u003c/a>album. Keyboardist \u003ca title=\"Don Randi\" href=\"http://www.donrandi.com/home3_v4.html\" target=\"_blank\">Don Randi\u003c/a>’s playing was all over the Beach Boys’ tunes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=d8rd53WuojE\">https://www.youtube.com/watch?v=d8rd53WuojE\u003c/a>\u003c/p>\n\u003cp>“Brian, you knew he was making a hit but you didn’t know really a lot of times what it was, except one time. It was the song ‘Help Me, Rhonda.’ And we played it through one time, and as we started it the second time, I said, ‘Holy shit, this is a stone-cold hit!’ ”\u003c/p>\n\u003cp>Randi -- whose daughter, Leah Randi, has played bass with Pink -- offers some advice on what it took to cut it as a session player.\u003c/p>\n\u003cp>“Not having an ego would be the first thing,” he offers. “And being able to come up with what they want, even when they don’t know what they want. When we did ‘A Little Less Conversation’ with Elvis, that whole arrangement was done on the bandstand.”\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/WWVMXLSS1cA?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Though the music wasn’t particularly challenging for a skilled musician like Randi, it wasn’t without impact.\u003c/p>\n\u003cfigure id=\"attachment_10453011\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg\">\u003cimg class=\"size-thumbnail wp-image-10453011\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg\" alt=\"The Wrecking Crew's Don Randi. (Photo Courtesy: The Wrecking Crew)\" width=\"400\" height=\"594\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-400x594.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-800x1188.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1440x2139.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-1180x1753.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-768x1141.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut-320x475.jpg 320w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/RS14504_wreckingcrew.donrandi-qut.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wrecking Crew's Don Randi. Randi played on hits by Nancy Sinatra, the Beach Boys and numerous others.(Photo Courtesy: The Wrecking Crew)\u003c/figcaption>\u003c/figure>\n\u003cp>“I still get the biggest kick out of listening to the radio and sometimes there’ll be five or six in a row, that’s me playing piano, you know? And I enjoyed it. I love the music. I had a great time. A lot of the guys couldn’t stand the music, but I’m proud of it.”\u003c/p>\n\u003cp>Advanced home studios and a changing music industry effectively ended the glory days of the studio session kings. By the ’80s, the members of the Wrecking Crew had gone their separate ways.\u003c/p>\n\u003cp>Randi and a small handful of them still work for hire. Hal Blaine retired to the California desert, and many of the group have died. But Denny Tedesco's film ensures that these people you heard, but never knew, won’t be forgotten.\u003c/p>\n\u003cp>\u003cem>THE WRECKING CREW opens in Los Angeles, Orange County, New York and additional regional cities on March 13. The film will also be available on VOD and iTunes.\u003cstrong> \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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