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"content": "\u003cp>\u003cem>This story is part of a series called \"Faces of the Vietnam War.\" KQED recently asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more. This story is about San Francisco resident John Dubpernell, 67, who served in the U.S. Army during the war.\u003c/em>\u003c/p>\n\u003cp>Anniversaries can be important for veterans. “For me, it’s March 5,” said veteran John Dubpernell. On that date in 1971, he was a door gunner serving in Vietnam with the 282nd Assault Helicopter Company, which was providing air support for the South Vietnamese army during an operation called Lam Son 719. “Vietnam’s version of D-Day” is what he calls it.\u003c/p>\n\u003cp>The U.S. military deployed many helicopters during the massive campaign, including Dubpernell’s Huey. One day, while his aircraft was returning from a dangerous mission, a mayday call came over the radio. Dubpernell, who was sitting in the left doorway, looked out over the far side of the gunship and said he saw another helicopter going down in flames.\u003c/p>\n\u003cp>Now on high alert, his helicopter began taking fire. “I don’t know whether I hear or feel the aircraft taking hits,” he recalled. “So I immediately started firing below.” After they got clear of the area, Dubpernell said he noticed that his seat, which had been modified to include an armor plate by a previous crew member, had stopped an AK-47 bullet. “That saved my life,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11619601\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619601\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1020x670.jpg\" alt=\"\" width=\"640\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1020x670.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1920x1260.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1180x775.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-960x630.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-240x158.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-375x246.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-520x341.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bullet holes in John Dubpernell's helicopter after a firefight on March 5, 1971 \u003ccite>(Courtesy John Dubpernell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam Son 719 was one of the bloodiest battles in the war, and Army helicopter crews \u003ca href=\"http://www.businessinsider.com/uncovering-the-story-of-one-of-the-vietnam-wars-bloodiest-battles-2015-1\">suffered heavy losses\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For decades, Dubpernell avoided the anniversary of the day when he was nearly killed. “When I came home in December of 1971, I put a weld around the door that was that part of my life,” he told KQED. It was only much later, in the late '90s, that he would revisit his time in Vietnam.\u003c/p>\n\u003cp>Dubpernell had been drafted into the Army in June 1970 and served on UH-1 Huey gunships, which he calls “the Jeep of the sky.” He was stationed in Da Nang, a city on Vietnam's central coast, and quickly rose through the enlisted ranks to become a crew chief -- a job that made him responsible for the whole helicopter, including its maintenance, fueling and more.\u003c/p>\n\u003cp>To this day, Dubpernell still holds the fellowship of being on a combat flight crew in high esteem. “There's that unspoken aspect of camaraderie,” he said. “In civilian life, you'll never experience it.” But his combat experience left him traumatized and disenchanted.\u003c/p>\n\u003cp>The urge to put Vietnam behind him began soon after Dubpernell returned home. Revelations about the government’s dishonest handling of the war only deepened his desire to forget his experiences, he said. “I read Daniel Ellsberg's 'Pentagon Papers' and that's when it really cemented my feelings about Vietnam -- really putting a weld around the door and wanting to forget the whole thing,” he said.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I just had this compelling desire to go back to Vietnam. And in my heart, I wanted to correct all of the wrongs that were done.'\u003ccite>John Dubpernell\u003c/cite>\u003c/aside>\n\u003cp>When he was 41, Dubpernell got laid off from his job as a production coordinator for a San Francisco-based printer and began searching for meaning in life. He ended up reading \"When Heaven and Earth Changed Places,\" a memoir by Vietnamese-American author Le Ly Hayslip about her experience of the war as a child. In it, he learned that Hayslip had founded a nonprofit called East Meets West, which provides support for a government-run orphanage in Da Nang.\u003c/p>\n\u003cp>Dubpernell decided to visit the orphanage, called Village of Hope, in December 1998. “I just had this compelling desire to go back to Vietnam. And in my heart, I wanted to correct all of the wrongs that were done,” he said.\u003c/p>\n\u003cp>While Dubpernell was visiting the East Meets West offices in Da Nang, the staff told him they were planning to celebrate Christmas with the kids in the orphanage and invited him along.\u003c/p>\n\u003cp>“We're even going to have a Santa Claus,” he remembers them saying. Back at his hotel, Dubpernell thought about the celebration and came to a decision: “I'm saying to myself: I want to be that Santa Claus. I've got the moustache.”\u003c/p>\n\u003cfigure id=\"attachment_11619603\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619603\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Dubpernell shows photos from his visits to Village of Hope, an orphanage in Da Nang, Vietnam. He has gone back three times to play Santa Claus and distribute gifts to the children who live there. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff agreed and Dubpernell, dressed as St. Nicholas, shared dinner and gifts with the children at Village of Hope. The experience was so gratifying that he went back. “I have done three trips, each time going back in December and playing Santa Claus in Da Nang,” he said.\u003c/p>\n\u003cp>Following that first visit, Dubpernell started experiencing severe symptoms of post-traumatic stress disorder (PTSD). In the decades following his deployment, he'd struggled with anger issues, but his return to Da Nang set off a new series of reactions.\u003c/p>\n\u003cp>“I was a basket case in terms of crying,” he told KQED. “I was drinking heavily.”\u003c/p>\n\u003cp>Some friends, fellow combat veterans, grew concerned when they recognized his symptoms and urged him to seek help.\u003c/p>\n\u003cp>Dubpernell followed their advice and enrolled in a mental health program at the VA’s San Francisco medical center in 1999.\u003c/p>\n\u003cp>Once he was diagnosed with PTSD, Dubpernell committed himself to treatment and still attends group therapy three times a week. “All those years I invested in my PTSD therapies, it pays off,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11619611\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619611\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/Dubpernell-edit-1020x662.jpg\" alt=\"\" width=\"640\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-1020x662.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-1180x766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-375x243.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-520x338.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit.jpg 1819w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Dubpernell photographed early in his deployment to Vietnam. \u003ccite>(Courtesy John Dubpernell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trauma Dubpernell experienced has affected his life in other ways, too. “Like other people dealing with PTSD, relationships are a real challenge,” he said.\u003c/p>\n\u003cp>Dubpernell, who came out as gay shortly after he left the military, described a fraught romantic life. “I think the longest relationship I ever had was two months, so it was very difficult.”\u003c/p>\n\u003cp>During his deployment, he remembers he had to be on guard for fear of revealing his identity as a gay man. But in the years since, Dubpernell said that other Vietnam veterans have been accepting of his sexual orientation. “It was a non-issue, as long as you did your job,” he said. “And I did.”\u003c/p>\n\u003cp>Although his return trips offered Dubpernell a chance to make amends and connect with a new generation of Vietnamese children, they were bittersweet. During his visits to Da Nang, Dubpernell said, he repressed the feelings that came back to him until he got home, just like he had during the war.\u003c/p>\n\u003cp>“In Vietnam, you had a job to do and you couldn't allow your emotions to get in the way,” he said. “When I was doing my Santa thing I couldn't allow my emotions to get in the way, because I had a job to do: playing Santa Claus.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>KQED's Peter Arcuni contributed to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of a series called \"Faces of the Vietnam War.\" KQED recently asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more. This story is about San Francisco resident John Dubpernell, 67, who served in the U.S. Army during the war.\u003c/em>\u003c/p>\n\u003cp>Anniversaries can be important for veterans. “For me, it’s March 5,” said veteran John Dubpernell. On that date in 1971, he was a door gunner serving in Vietnam with the 282nd Assault Helicopter Company, which was providing air support for the South Vietnamese army during an operation called Lam Son 719. “Vietnam’s version of D-Day” is what he calls it.\u003c/p>\n\u003cp>The U.S. military deployed many helicopters during the massive campaign, including Dubpernell’s Huey. One day, while his aircraft was returning from a dangerous mission, a mayday call came over the radio. Dubpernell, who was sitting in the left doorway, looked out over the far side of the gunship and said he saw another helicopter going down in flames.\u003c/p>\n\u003cp>Now on high alert, his helicopter began taking fire. “I don’t know whether I hear or feel the aircraft taking hits,” he recalled. “So I immediately started firing below.” After they got clear of the area, Dubpernell said he noticed that his seat, which had been modified to include an armor plate by a previous crew member, had stopped an AK-47 bullet. “That saved my life,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11619601\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619601\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1020x670.jpg\" alt=\"\" width=\"640\" height=\"420\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1020x670.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-160x105.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-800x525.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1920x1260.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-1180x775.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-960x630.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-240x158.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-375x246.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/00186_p_11afcgqrw30067_z-520x341.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bullet holes in John Dubpernell's helicopter after a firefight on March 5, 1971 \u003ccite>(Courtesy John Dubpernell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lam Son 719 was one of the bloodiest battles in the war, and Army helicopter crews \u003ca href=\"http://www.businessinsider.com/uncovering-the-story-of-one-of-the-vietnam-wars-bloodiest-battles-2015-1\">suffered heavy losses\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For decades, Dubpernell avoided the anniversary of the day when he was nearly killed. “When I came home in December of 1971, I put a weld around the door that was that part of my life,” he told KQED. It was only much later, in the late '90s, that he would revisit his time in Vietnam.\u003c/p>\n\u003cp>Dubpernell had been drafted into the Army in June 1970 and served on UH-1 Huey gunships, which he calls “the Jeep of the sky.” He was stationed in Da Nang, a city on Vietnam's central coast, and quickly rose through the enlisted ranks to become a crew chief -- a job that made him responsible for the whole helicopter, including its maintenance, fueling and more.\u003c/p>\n\u003cp>To this day, Dubpernell still holds the fellowship of being on a combat flight crew in high esteem. “There's that unspoken aspect of camaraderie,” he said. “In civilian life, you'll never experience it.” But his combat experience left him traumatized and disenchanted.\u003c/p>\n\u003cp>The urge to put Vietnam behind him began soon after Dubpernell returned home. Revelations about the government’s dishonest handling of the war only deepened his desire to forget his experiences, he said. “I read Daniel Ellsberg's 'Pentagon Papers' and that's when it really cemented my feelings about Vietnam -- really putting a weld around the door and wanting to forget the whole thing,” he said.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I just had this compelling desire to go back to Vietnam. And in my heart, I wanted to correct all of the wrongs that were done.'\u003ccite>John Dubpernell\u003c/cite>\u003c/aside>\n\u003cp>When he was 41, Dubpernell got laid off from his job as a production coordinator for a San Francisco-based printer and began searching for meaning in life. He ended up reading \"When Heaven and Earth Changed Places,\" a memoir by Vietnamese-American author Le Ly Hayslip about her experience of the war as a child. In it, he learned that Hayslip had founded a nonprofit called East Meets West, which provides support for a government-run orphanage in Da Nang.\u003c/p>\n\u003cp>Dubpernell decided to visit the orphanage, called Village of Hope, in December 1998. “I just had this compelling desire to go back to Vietnam. And in my heart, I wanted to correct all of the wrongs that were done,” he said.\u003c/p>\n\u003cp>While Dubpernell was visiting the East Meets West offices in Da Nang, the staff told him they were planning to celebrate Christmas with the kids in the orphanage and invited him along.\u003c/p>\n\u003cp>“We're even going to have a Santa Claus,” he remembers them saying. Back at his hotel, Dubpernell thought about the celebration and came to a decision: “I'm saying to myself: I want to be that Santa Claus. I've got the moustache.”\u003c/p>\n\u003cfigure id=\"attachment_11619603\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619603\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/RS26580_20170912_VietnamStories_JohnDubpernell_Credit_BertJohnson-3-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Dubpernell shows photos from his visits to Village of Hope, an orphanage in Da Nang, Vietnam. He has gone back three times to play Santa Claus and distribute gifts to the children who live there. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staff agreed and Dubpernell, dressed as St. Nicholas, shared dinner and gifts with the children at Village of Hope. The experience was so gratifying that he went back. “I have done three trips, each time going back in December and playing Santa Claus in Da Nang,” he said.\u003c/p>\n\u003cp>Following that first visit, Dubpernell started experiencing severe symptoms of post-traumatic stress disorder (PTSD). In the decades following his deployment, he'd struggled with anger issues, but his return to Da Nang set off a new series of reactions.\u003c/p>\n\u003cp>“I was a basket case in terms of crying,” he told KQED. “I was drinking heavily.”\u003c/p>\n\u003cp>Some friends, fellow combat veterans, grew concerned when they recognized his symptoms and urged him to seek help.\u003c/p>\n\u003cp>Dubpernell followed their advice and enrolled in a mental health program at the VA’s San Francisco medical center in 1999.\u003c/p>\n\u003cp>Once he was diagnosed with PTSD, Dubpernell committed himself to treatment and still attends group therapy three times a week. “All those years I invested in my PTSD therapies, it pays off,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11619611\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-11619611\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/Dubpernell-edit-1020x662.jpg\" alt=\"\" width=\"640\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-1020x662.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-800x519.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-1180x766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-375x243.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit-520x338.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Dubpernell-edit.jpg 1819w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Dubpernell photographed early in his deployment to Vietnam. \u003ccite>(Courtesy John Dubpernell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The trauma Dubpernell experienced has affected his life in other ways, too. “Like other people dealing with PTSD, relationships are a real challenge,” he said.\u003c/p>\n\u003cp>Dubpernell, who came out as gay shortly after he left the military, described a fraught romantic life. “I think the longest relationship I ever had was two months, so it was very difficult.”\u003c/p>\n\u003cp>During his deployment, he remembers he had to be on guard for fear of revealing his identity as a gay man. But in the years since, Dubpernell said that other Vietnam veterans have been accepting of his sexual orientation. “It was a non-issue, as long as you did your job,” he said. “And I did.”\u003c/p>\n\u003cp>Although his return trips offered Dubpernell a chance to make amends and connect with a new generation of Vietnamese children, they were bittersweet. During his visits to Da Nang, Dubpernell said, he repressed the feelings that came back to him until he got home, just like he had during the war.\u003c/p>\n\u003cp>“In Vietnam, you had a job to do and you couldn't allow your emotions to get in the way,” he said. “When I was doing my Santa thing I couldn't allow my emotions to get in the way, because I had a job to do: playing Santa Claus.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story is part of a series called \"Faces of the Vietnam War.\" KQED recently asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more. This story comes from Sacramento resident Angela Shortt, 59, whose father served in the U.S. Air Force during the war.\u003c/em>\u003c/p>\n\u003cp>As an Air Force Base brat whose parents served during the Korean War and whose father served during the Vietnam War, my views of war, life and death were formed by what I experienced as a child. My family, which was my mother, father, sister, brother and I, were stationed at Clark Air Force Base, Luzon, the Philippines, from 1966-1968.\u003c/p>\n\u003cp>During the Vietnam War, I was the oldest daughter of Master Sgt. Richard Shortt, who was a loadmaster flying missions over Vietnam. His job was to load ammunition, food and personnel, and usually they were dropping into active firefights. They had to drop live ammunition, because the guys on the ground didn't have enough time to be opening up boxes and loading things.\u003c/p>\n\u003cfigure id=\"attachment_11618594\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-full wp-image-11618594\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/1461635447747-Angela-Shortt.jpg\" alt=\"\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-375x250.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Master Sgt. Richard Shortt receiving a medal for valor. \u003ccite>(Courtesy Angela Shortt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My dad did get shot once as they were dropping the ammunition — a bullet grazed his head. He didn't even feel it. It went right past his temple and caught his hair on fire, but he kept working. The flight engineer -- or navigator -- jumped down with a towel and was patting his hair. My father said he cussed him out: “What are you doing? I got to do my job!” And the flight engineer replied: \"Shortt! Your hair is on fire!\" My dad didn't tell us he was injured. We didn't know something had happened to him until he got a Bronze Medal.\u003c/p>\n\u003cp>As a loadmaster on the C-131s, my dad brought food and supplies in, and the wounded and dead out. We saw the latter whenever we went to pick him up from the flight line, which was located very close to the Military Airlift Command (MAC) headquarters. I will never forget that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The wounded were always placed in cots inside the big, dark-blue buses with the large red and white crosses painted on top. They had to keep putting them into cots that were stacked up -- it looked like all the way to the top.\u003c/p>\n\u003cp>I would look over there and I used to think, \"They look like they're dead,” because they never moved. My siblings and I never saw the soldiers twitch, move or give any other indication that they were still alive.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/2017-09-22c-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26907_20170912_VietnamStories_AngelaShortt_Credit_BertJohnson-1-2-qut.jpg\" Title=\"'More Than Hell': A Military Brat's Vietnam\" program=\"The California Report\"]\u003c/p>\n\u003cp>I used to pray that all of them would live, because we also saw the crew members tossing out what looked like large black garbage bags from the back of the C-131s and the C-141s, and my sister and I came to the nearly simultaneous conclusion that the bags contained dead bodies. We used to involuntarily shiver as we watched the airmen do their jobs, despite the stifling humidity of a typical day in the Philippines.\u003c/p>\n\u003cp>We didn’t dare ask our mother about what was going on because she always seemed so tense when we were parked outside of dad's squadron HQ. I was 8 years old when I saw the crew tossing the body bags off the back of the planes. For me, there was this revelation that war is more than hell, because it doesn't stop when the people die. There's people who are left behind.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was 8 years old when I saw the crew tossing the body bags off the back of the planes.'\u003ccite>Angela Shortt\u003c/cite>\u003c/aside>\n\u003cp>Believe it or not, that wasn't the worst. The worst was going to the hospital because we went to the same hospital as the guys who were injured. They all had that eerie deadman's stare that sent an involuntary shudder through my entire body whenever I saw them sitting in the wheelchairs that lined the hospital's hallways. They never blinked.\u003c/p>\n\u003cp>A lot of them were missing body parts. They had tubes going up their arms and bandages all over. I don't know why they would have these guys out in the hallways in wheelchairs, but they would. Maybe the rooms were too crowded.\u003c/p>\n\u003cp>I don't even remember talking about this stuff with other kids at all. And maybe things are different now, but back then you tried to live a life that was kind of normal. I used to think about my father not coming back, but I would push it away because if I dwelt on it, it would eat me up.\u003c/p>\n\u003cfigure id=\"attachment_11620168\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11620168 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut.jpg\" alt=\"\" width=\"640\" height=\"458\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-160x115.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-240x172.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-520x372.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Angela Shortt's mother, Mary, and father, Richard, at Maxwell Air Force Base in Montgomery, Alabama, in 1956. \u003ccite>(Courtesy of Angela Shortt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I also learned much from these experiences -- primarily, war is not a game, nor is it as simple as \"killing the bad guys.\" Bullets and bombs aren't movie set pieces. They rend bodies into ghoulish, almost unrecognizable pieces of their former selves, and twist the minds of young men and women in ways that are difficult for people who never served in the armed forces or grew up on military bases to understand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'There was this revelation that war is more than hell, because it doesn't stop when the people die. There's people who are left behind.'\u003ccite>Angela Shortt\u003c/cite>\u003c/aside>\n\u003cp>I was shocked to find out that the reason why I saw so many people wounded and in body bags was because our government had to stop Communism. We didn't stop it. So many lives were lost, and for what? It wasn't about Communism versus capitalism, in my opinion. It was about resources. And people died as a result.\u003c/p>\n\u003cp>You know, it hurts to lose people, it hurts to be wounded. I've seen that it does things, not just to the body, but to the mind and to the soul. That's why horror movies don't scare me. I've seen real horror and it doesn't compare.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>KQED's Bert Johnson, Bianca Taylor and Peter Arcuni produced this report. \u003c/em>\u003cem>Shortt's essay has been edited for clarity, and material from her interview with KQED has been added to provide greater detail.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of a series called \"Faces of the Vietnam War.\" KQED recently asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more. This story comes from Sacramento resident Angela Shortt, 59, whose father served in the U.S. Air Force during the war.\u003c/em>\u003c/p>\n\u003cp>As an Air Force Base brat whose parents served during the Korean War and whose father served during the Vietnam War, my views of war, life and death were formed by what I experienced as a child. My family, which was my mother, father, sister, brother and I, were stationed at Clark Air Force Base, Luzon, the Philippines, from 1966-1968.\u003c/p>\n\u003cp>During the Vietnam War, I was the oldest daughter of Master Sgt. Richard Shortt, who was a loadmaster flying missions over Vietnam. His job was to load ammunition, food and personnel, and usually they were dropping into active firefights. They had to drop live ammunition, because the guys on the ground didn't have enough time to be opening up boxes and loading things.\u003c/p>\n\u003cfigure id=\"attachment_11618594\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-full wp-image-11618594\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/1461635447747-Angela-Shortt.jpg\" alt=\"\" width=\"400\" height=\"267\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/1461635447747-Angela-Shortt-375x250.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Master Sgt. Richard Shortt receiving a medal for valor. \u003ccite>(Courtesy Angela Shortt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My dad did get shot once as they were dropping the ammunition — a bullet grazed his head. He didn't even feel it. It went right past his temple and caught his hair on fire, but he kept working. The flight engineer -- or navigator -- jumped down with a towel and was patting his hair. My father said he cussed him out: “What are you doing? I got to do my job!” And the flight engineer replied: \"Shortt! Your hair is on fire!\" My dad didn't tell us he was injured. We didn't know something had happened to him until he got a Bronze Medal.\u003c/p>\n\u003cp>As a loadmaster on the C-131s, my dad brought food and supplies in, and the wounded and dead out. We saw the latter whenever we went to pick him up from the flight line, which was located very close to the Military Airlift Command (MAC) headquarters. I will never forget that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I used to pray that all of them would live, because we also saw the crew members tossing out what looked like large black garbage bags from the back of the C-131s and the C-141s, and my sister and I came to the nearly simultaneous conclusion that the bags contained dead bodies. We used to involuntarily shiver as we watched the airmen do their jobs, despite the stifling humidity of a typical day in the Philippines.\u003c/p>\n\u003cp>We didn’t dare ask our mother about what was going on because she always seemed so tense when we were parked outside of dad's squadron HQ. I was 8 years old when I saw the crew tossing the body bags off the back of the planes. For me, there was this revelation that war is more than hell, because it doesn't stop when the people die. There's people who are left behind.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I was 8 years old when I saw the crew tossing the body bags off the back of the planes.'\u003ccite>Angela Shortt\u003c/cite>\u003c/aside>\n\u003cp>Believe it or not, that wasn't the worst. The worst was going to the hospital because we went to the same hospital as the guys who were injured. They all had that eerie deadman's stare that sent an involuntary shudder through my entire body whenever I saw them sitting in the wheelchairs that lined the hospital's hallways. They never blinked.\u003c/p>\n\u003cp>A lot of them were missing body parts. They had tubes going up their arms and bandages all over. I don't know why they would have these guys out in the hallways in wheelchairs, but they would. Maybe the rooms were too crowded.\u003c/p>\n\u003cp>I don't even remember talking about this stuff with other kids at all. And maybe things are different now, but back then you tried to live a life that was kind of normal. I used to think about my father not coming back, but I would push it away because if I dwelt on it, it would eat me up.\u003c/p>\n\u003cfigure id=\"attachment_11620168\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11620168 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut.jpg\" alt=\"\" width=\"640\" height=\"458\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-160x115.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-240x172.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-375x268.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2018/09/Angela-Shortt_1497838614496-qut-520x372.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Angela Shortt's mother, Mary, and father, Richard, at Maxwell Air Force Base in Montgomery, Alabama, in 1956. \u003ccite>(Courtesy of Angela Shortt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I also learned much from these experiences -- primarily, war is not a game, nor is it as simple as \"killing the bad guys.\" Bullets and bombs aren't movie set pieces. They rend bodies into ghoulish, almost unrecognizable pieces of their former selves, and twist the minds of young men and women in ways that are difficult for people who never served in the armed forces or grew up on military bases to understand.\u003c/p>\n\u003caside class=\"pullquote alignright\">'There was this revelation that war is more than hell, because it doesn't stop when the people die. There's people who are left behind.'\u003ccite>Angela Shortt\u003c/cite>\u003c/aside>\n\u003cp>I was shocked to find out that the reason why I saw so many people wounded and in body bags was because our government had to stop Communism. We didn't stop it. So many lives were lost, and for what? It wasn't about Communism versus capitalism, in my opinion. It was about resources. And people died as a result.\u003c/p>\n\u003cp>You know, it hurts to lose people, it hurts to be wounded. I've seen that it does things, not just to the body, but to the mind and to the soul. That's why horror movies don't scare me. I've seen real horror and it doesn't compare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED's Bert Johnson, Bianca Taylor and Peter Arcuni produced this report. \u003c/em>\u003cem>Shortt's essay has been edited for clarity, and material from her interview with KQED has been added to provide greater detail.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does an 83-year-old woman who surfs the cold waters of San Francisco’s Ocean Beach have in common with a Buddhist monk hiking through the Himalayas?\u003c/p>\n\u003cp>They’re both people who author \u003ca href=\"http://jaimalyogis.com\">Jaimal Yogis\u003c/a> encounters as he scours the planet looking for the secrets to internal happiness. Yogis is a San Francisco-based surfer, journalist and meditation teacher, whose new book, \u003ca href=\"http://www.jaimalyogis.com/allourwaves/\" target=\"_blank\" rel=\"noopener noreferrer\">“All Our Waves Are Water,”\u003c/a> chronicles his quest for the perfect wave, and for an internal life that can weather storms, lulls and thrilling rides.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/author/sasha-khokha/\" target=\"_blank\" rel=\"noopener\">Sasha Khokha\u003c/a>, host of \u003cem>The California Report Magazine,\u003c/em> sat down to talk with with Yogis about surfing Mavericks, the origins behind his name and how the ocean became his Zen master.\u003c/p>\n\u003cfigure id=\"attachment_11618681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618681\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yogis has surfed all over the world, and now calls San Francisco’s Ocean Beach home. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This book chronicles your travels to places like Mexico, Bali and the Himalayas, and explores what surfing and meditation have in common. What is that connection?\u003c/strong>\u003c/p>\n\u003cp>There is this sort of instant solitude that happens because you can’t bring yourself when you are with the elements. You have to be present because the ocean is very dynamic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it’s a little bit of a shortcut to some of the states of solitude that you might find in a Zen monastery.\u003c/p>\n\u003cp>\u003cstrong>This is a follow-up to your first memoir, \u003ca href=\"http://www.jaimalyogis.com/saltwaterbuddha/\" target=\"_blank\" rel=\"noopener noreferrer\">“Saltwater Buddha,”\u003c/a> about leaving your home and your military family in suburban Sacramento as a teenager, buying a one-way plane ticket to Hawaii without telling your parents, and just going off in search of the wave. Then you spent a year in a Buddhist monastery as a teenager?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11618684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618684\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When he was 16, Yogis headed to Hawaii, without telling his parents in suburban Sacramento. \u003ccite>(Nahendra Surf Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ran away to Maui I had this vision that surfing in the islands would save me. And when I got there at 16, I had no money. Maybe just enough to buy a surfboard and some avocados. It was hard. And I was lonely. I think you have to bump up against suffering, though, to really want to look deeper into who you are. And so that was sort of my introduction, both to surfing and to sort of a real loneliness.\u003c/p>\n\u003cp>Surfing was my bridge between the temple and the world, because there was this meditative aspect but you’re also getting beat up by the waves.\u003c/p>\n\u003cp>Surfing is hard and it’s dynamic. You can be getting your face ground into the sand, which doesn’t happen at the monastery! You might get whacked by the Zen master but it’s different. If I can use surfing as a sort of transition between this meditative place and the world, I’ll be in good shape.\u003c/p>\n\u003cp>\u003cstrong>People may be surprised to know that Yogis is your real name even though it sounds so appropriately spiritual. What’s the origin of your name?\u003c/strong>\u003c/p>\n\u003cp>It’s Lithuanian. Lithuanian is strangely the closest European language to Sanskrit. My family became interested in yoga in the ’70s, and then their teacher’s teacher in Boston at the time was named Bob Jaimal Singh. My dad wanted to name me Baba Jaimal.\u003c/p>\n\u003cp>\u003cstrong>I understand! My dad is from India, yet I have an Eastern European name.\u003c/strong>\u003c/p>\n\u003cp>We were meant to do this interview!\u003c/p>\n\u003cp>\u003cstrong>Now you’re back in California, across the street from \u003ca href=\"https://www.google.com/maps/place/Ocean+Beach/@37.7526294,-122.5448127,13z/data=!3m1!4b1!4m5!3m4!1s0x8085879469edc663:0x8a1e788f0b2d67fc!8m2!3d37.7593921!4d-122.510734\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a>. You’ve got some of these really interesting characters like the \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/is-surfing-more-religion-than-sport/533721/\" target=\"_blank\" rel=\"noopener noreferrer\">Queen of Ocean Beach\u003c/a>, a very spirited woman surfer who’s in her 80s.\u003c/strong>\u003c/p>\n\u003cp>She’s 83 now and she lives on the Great Highway in San Francisco, and she’s still here almost every day on her beach cruiser or she goes to a secret spot and body-surfs without a wet suit. She gets some pretty amazing rides.\u003c/p>\n\u003cfigure id=\"attachment_11618686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11618686\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Yogis says surfing has helped him learn to weather life’s waves. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’ve got to ask you about the macho “bro” attitude in surf culture, where people get cuthroat and fight over waves. It’s oftentimes also a very white culture that makes some women and people of color feel left out.\u003c/strong>\u003c/p>\n\u003cp>Yeah. You know like anything, a good wave is a rare commodity and there are a lot of surfers who want that wave. So it’s people who are going to compete, and it’s going to bring out sort of that competitive macho culture.\u003c/p>\n\u003cp>It’s one of those things where you can avoid it if you want to surf for just the joy of surfing, and you just have to go to the right spots. Don’t go to the \u003ca href=\"http://www.santacruz.com/guides/santa-cruz-surf-spots\" target=\"_blank\" rel=\"noopener noreferrer\">point breaks in Santa Cruz\u003c/a> where there’s a bunch of people competing in a small area of water. Go to a beach break where it spreads out. There has been a wonderful rise of great women surfers and more diversity in surfing over the last decade.\u003c/p>\n\u003cfigure id=\"attachment_11618687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618687\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yogis meditates every night with his three kids. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So now you are the parent of three small kids. If they’re anything like my kids, I can imagine your home life is not very peaceful. How do you maintain that sense of calm or even find a quiet corner to meditate?\u003c/strong>\u003c/p>\n\u003cp>I meditate with them before bed. As they’re falling asleep, I sit with them. Sometimes they fall asleep in five minutes and I get to actually meditate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then there’s times they’re making me tell them the Giants score for 30 minutes, and I’m saying “shh!” So it just becomes more dynamic. There are more waves. It’s a little more stormy, but I try to surf the ones I can and let the bad ones pass.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does an 83-year-old woman who surfs the cold waters of San Francisco’s Ocean Beach have in common with a Buddhist monk hiking through the Himalayas?\u003c/p>\n\u003cp>They’re both people who author \u003ca href=\"http://jaimalyogis.com\">Jaimal Yogis\u003c/a> encounters as he scours the planet looking for the secrets to internal happiness. Yogis is a San Francisco-based surfer, journalist and meditation teacher, whose new book, \u003ca href=\"http://www.jaimalyogis.com/allourwaves/\" target=\"_blank\" rel=\"noopener noreferrer\">“All Our Waves Are Water,”\u003c/a> chronicles his quest for the perfect wave, and for an internal life that can weather storms, lulls and thrilling rides.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/news/author/sasha-khokha/\" target=\"_blank\" rel=\"noopener\">Sasha Khokha\u003c/a>, host of \u003cem>The California Report Magazine,\u003c/em> sat down to talk with with Yogis about surfing Mavericks, the origins behind his name and how the ocean became his Zen master.\u003c/p>\n\u003cfigure id=\"attachment_11618681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618681\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26897_IMG_0196-qut.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yogis has surfed all over the world, and now calls San Francisco’s Ocean Beach home. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This book chronicles your travels to places like Mexico, Bali and the Himalayas, and explores what surfing and meditation have in common. What is that connection?\u003c/strong>\u003c/p>\n\u003cp>There is this sort of instant solitude that happens because you can’t bring yourself when you are with the elements. You have to be present because the ocean is very dynamic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it’s a little bit of a shortcut to some of the states of solitude that you might find in a Zen monastery.\u003c/p>\n\u003cp>\u003cstrong>This is a follow-up to your first memoir, \u003ca href=\"http://www.jaimalyogis.com/saltwaterbuddha/\" target=\"_blank\" rel=\"noopener noreferrer\">“Saltwater Buddha,”\u003c/a> about leaving your home and your military family in suburban Sacramento as a teenager, buying a one-way plane ticket to Hawaii without telling your parents, and just going off in search of the wave. Then you spent a year in a Buddhist monastery as a teenager?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11618684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618684\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26898_IMG_0203-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">When he was 16, Yogis headed to Hawaii, without telling his parents in suburban Sacramento. \u003ccite>(Nahendra Surf Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ran away to Maui I had this vision that surfing in the islands would save me. And when I got there at 16, I had no money. Maybe just enough to buy a surfboard and some avocados. It was hard. And I was lonely. I think you have to bump up against suffering, though, to really want to look deeper into who you are. And so that was sort of my introduction, both to surfing and to sort of a real loneliness.\u003c/p>\n\u003cp>Surfing was my bridge between the temple and the world, because there was this meditative aspect but you’re also getting beat up by the waves.\u003c/p>\n\u003cp>Surfing is hard and it’s dynamic. You can be getting your face ground into the sand, which doesn’t happen at the monastery! You might get whacked by the Zen master but it’s different. If I can use surfing as a sort of transition between this meditative place and the world, I’ll be in good shape.\u003c/p>\n\u003cp>\u003cstrong>People may be surprised to know that Yogis is your real name even though it sounds so appropriately spiritual. What’s the origin of your name?\u003c/strong>\u003c/p>\n\u003cp>It’s Lithuanian. Lithuanian is strangely the closest European language to Sanskrit. My family became interested in yoga in the ’70s, and then their teacher’s teacher in Boston at the time was named Bob Jaimal Singh. My dad wanted to name me Baba Jaimal.\u003c/p>\n\u003cp>\u003cstrong>I understand! My dad is from India, yet I have an Eastern European name.\u003c/strong>\u003c/p>\n\u003cp>We were meant to do this interview!\u003c/p>\n\u003cp>\u003cstrong>Now you’re back in California, across the street from \u003ca href=\"https://www.google.com/maps/place/Ocean+Beach/@37.7526294,-122.5448127,13z/data=!3m1!4b1!4m5!3m4!1s0x8085879469edc663:0x8a1e788f0b2d67fc!8m2!3d37.7593921!4d-122.510734\" target=\"_blank\" rel=\"noopener noreferrer\">Ocean Beach\u003c/a>. You’ve got some of these really interesting characters like the \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/is-surfing-more-religion-than-sport/533721/\" target=\"_blank\" rel=\"noopener noreferrer\">Queen of Ocean Beach\u003c/a>, a very spirited woman surfer who’s in her 80s.\u003c/strong>\u003c/p>\n\u003cp>She’s 83 now and she lives on the Great Highway in San Francisco, and she’s still here almost every day on her beach cruiser or she goes to a secret spot and body-surfs without a wet suit. She gets some pretty amazing rides.\u003c/p>\n\u003cfigure id=\"attachment_11618686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11618686\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26901_image002-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Yogis says surfing has helped him learn to weather life’s waves. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’ve got to ask you about the macho “bro” attitude in surf culture, where people get cuthroat and fight over waves. It’s oftentimes also a very white culture that makes some women and people of color feel left out.\u003c/strong>\u003c/p>\n\u003cp>Yeah. You know like anything, a good wave is a rare commodity and there are a lot of surfers who want that wave. So it’s people who are going to compete, and it’s going to bring out sort of that competitive macho culture.\u003c/p>\n\u003cp>It’s one of those things where you can avoid it if you want to surf for just the joy of surfing, and you just have to go to the right spots. Don’t go to the \u003ca href=\"http://www.santacruz.com/guides/santa-cruz-surf-spots\" target=\"_blank\" rel=\"noopener noreferrer\">point breaks in Santa Cruz\u003c/a> where there’s a bunch of people competing in a small area of water. Go to a beach break where it spreads out. There has been a wonderful rise of great women surfers and more diversity in surfing over the last decade.\u003c/p>\n\u003cfigure id=\"attachment_11618687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11618687\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26903_peterdawson__MG_5235-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yogis meditates every night with his three kids. \u003ccite>(Peter Dawson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So now you are the parent of three small kids. If they’re anything like my kids, I can imagine your home life is not very peaceful. How do you maintain that sense of calm or even find a quiet corner to meditate?\u003c/strong>\u003c/p>\n\u003cp>I meditate with them before bed. As they’re falling asleep, I sit with them. Sometimes they fall asleep in five minutes and I get to actually meditate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then there’s times they’re making me tell them the Giants score for 30 minutes, and I’m saying “shh!” So it just becomes more dynamic. There are more waves. It’s a little more stormy, but I try to surf the ones I can and let the bad ones pass.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two men have pleaded not guilty in connection with a fire in December that killed 36 people in an illegally converted Oakland warehouse.\u003c/p>\n\u003cp>Derick Almena and Max Harris entered pleas Wednesday to 36 counts of involuntary manslaughter each.\u003c/p>\n\u003cp>Prosecutors say the two men turned the Oakland warehouse, known as the Ghost Ship, into a death trap when they converted it to a housing and entertainment venue.\u003c/p>\n\u003cp>The 47-year-old Almena leased the warehouse, and prosecutors say 27-year-old Harris helped rent living space and organize for-profit concerts.\u003c/p>\n\u003cp>Both men lived in the warehouse, along with several other tenants, when a fire engulfed the structure on the night of Dec. 2 during a musical performance that dozens attended.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The suspects' lawyers say the responsibility for the fire should be determined with lawsuits in civil court rather than with criminal charges.\u003c/p>\n\n",
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"disqusTitle": "Meet the Heartbeat of the Oakland A's",
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"content": "\u003cp>On any given Oakland A’s home game -- night or day, winning or losing -- you'll find charged-up, colorful and sometime cacophonous A’s fans sitting far out in the right field bleachers at the Oakland Coliseum. You can’t miss them. They bang drums, wave flags, chant, sing and make a lot of noise.\u003c/p>\n\u003cp>But what they create is more than a big enthusiastic sound. It’s a pounding beat and jangling rhythm with a point, a mission and a history. Metallic pops, stick snaps and rimshots let radio and TV audiences know immediately. This is Oakland.\u003c/p>\n\u003cp>Welcome to Section 149.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/09/2017-09-22e-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26911_image002-1-qut.jpg\" Title=\"Meet the Heartbeat of the Oakland A’s\" program=\"The California Report\"]\u003c/p>\n\u003cp>“Gotta support the team,” says Bryanne Aler-Ningas, the unofficial bandleader of the right field rhythm section. “Our atmosphere here is pretty active, pretty festive. So it’s always a party and that's what attracted me. I've been here all my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aler-Ningas was born and raised in Oakland and used to come to the games as a kid with his grandparents, parents and siblings.\u003c/p>\n\u003cp>“It's a time-honored tradition that we come out here and support the team,\" he says proudly. \"I remember doing our homework in the parking lot before we went in.\"\u003c/p>\n\u003cp>The drum beating is said to have begun in the early 2000s, with a small group of college-age fans who drummed in \u003cem>left\u003c/em> field.\u003c/p>\n\u003cp>“They were the originals,” says Will MacNeil, Section 149’s longest-running flag-waver and fill-in drummer. “Our group started bringing the drums about 2006, 2007, and they've been banging away ever since. I can’t complain. They help bring a lot of atmosphere to this place.”\u003c/p>\n\u003cp>MacNeil has been an A’s fan his entire life, too, even though he says his family wasn’t sure how that happened. “All my family is Giants fans. So I'm the outcast of the family,” he laughs. “I loved the colors. That's what hooked me to them. I'm not black and orange. It's not Halloween in my household!”\u003c/p>\n\u003cfigure id=\"attachment_11618714\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg class=\"size-full wp-image-11618714\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26909_image004-qut.jpg\" alt=\"\" width=\"789\" height=\"464\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut.jpg 789w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-375x221.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-520x306.jpg 520w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">KQED employee Nina Thorsen has sat with ‘Bleacher Diehards’ for the past 12 years, but just started drumming this year. \u003ccite>(Serginho Roosblad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she just started playing the drum this year, Nina Thorsen has been sitting with the bleacher crew for the past 12 years. “I used to play the tambourine, but it's much harder to achieve the beats with one,” she says.\u003c/p>\n\u003cp>Thorsen, who also happens to work at KQED, is originally from Minnesota. She loved the Twins, but the A’s eventually won her over. “The A's have a unique character. They have a kind of ‘do-it-yourself’ almost punk quality to them,” she says earnestly. “Also it's just a very fun place. The team, the players and the fans seem to sort of all have a spirit that matches each other.”\u003c/p>\n\u003cp>It’s that welcoming spirit and underdog tale that many A’s fans say drew them to the team in the first place.\u003c/p>\n\u003cp>“We came up with the ‘I believe in Stephen Vogt’ chant up here. It's kind of like the U.S. men's soccer team chant,” explains Aler-Ningas.\u003c/p>\n\u003cp>Vogt does have a Cinderella story. He was called to the majors in 2013 after spending six seasons in the minors. By the time the A’s bought the 29-year-old rookie’s contract for $150,000, Vogt’s Major League batting stats were a painful 0 for 32. He wasn’t doing well. But with the A’s, he did. Vogt -- now a member of the Milwaukee Brewers -- became a back-to-back All-Star catcher for Oakland.\u003c/p>\n\u003cp>“He's our kind of guy. The total underdog story. That's Oakland,” says Aler-Ningas.\u003c/p>\n\u003cp>And, he says, that’s why they drum. To root for the underdog. A team that hasn’t won the World Series since 1989. A “Moneyball” team that has one of the lowest payrolls in the majors -- and that narrowly beat out the Tampa Bay Rays for the lowest league attendance over the past two seasons.\u003c/p>\n\u003cp>But those numbers don’t bother the drum-beating diehards. They seem to make them stronger. More committed. More in love with their team and their town.\u003c/p>\n\u003cp>“Whether it's 5,000 or 50,000 in this place, it's just, I love it!\" says Aler-Ningas. \"I don't know, I’m an Oakland guy.\"\u003c/p>\n\u003cfigure id=\"attachment_11618715\" class=\"wp-caption aligncenter\" style=\"max-width: 787px\">\u003cimg class=\"size-full wp-image-11618715\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26912_image001-1-qut.jpg\" alt=\"\" width=\"787\" height=\"445\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut.jpg 787w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-520x294.jpg 520w\" sizes=\"(max-width: 787px) 100vw, 787px\">\u003cfigcaption class=\"wp-caption-text\">'Bleacher Diehard' drummer Andy Cho showing off his drum in right field at an Oakland A's game. \u003ccite>(Serginho Roosblad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Within the bleacher right field and left field, we call ourselves the 'FANily.' So it's something that we embraced,” says Andy Cho, a longtime A’s fan and drummer. “We're very, very close. We spend more time with each other than we do with our own families at times.”\u003c/p>\n\u003cp>And now, finally, this FANily has something else to beat the drum about. The A’s just announced their intention to build a downtown ballpark at the Lake Merritt campus of Laney College and stay rooted in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rooted, just like these fans.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On any given Oakland A’s home game -- night or day, winning or losing -- you'll find charged-up, colorful and sometime cacophonous A’s fans sitting far out in the right field bleachers at the Oakland Coliseum. You can’t miss them. They bang drums, wave flags, chant, sing and make a lot of noise.\u003c/p>\n\u003cp>But what they create is more than a big enthusiastic sound. It’s a pounding beat and jangling rhythm with a point, a mission and a history. Metallic pops, stick snaps and rimshots let radio and TV audiences know immediately. This is Oakland.\u003c/p>\n\u003cp>Welcome to Section 149.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gotta support the team,” says Bryanne Aler-Ningas, the unofficial bandleader of the right field rhythm section. “Our atmosphere here is pretty active, pretty festive. So it’s always a party and that's what attracted me. I've been here all my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aler-Ningas was born and raised in Oakland and used to come to the games as a kid with his grandparents, parents and siblings.\u003c/p>\n\u003cp>“It's a time-honored tradition that we come out here and support the team,\" he says proudly. \"I remember doing our homework in the parking lot before we went in.\"\u003c/p>\n\u003cp>The drum beating is said to have begun in the early 2000s, with a small group of college-age fans who drummed in \u003cem>left\u003c/em> field.\u003c/p>\n\u003cp>“They were the originals,” says Will MacNeil, Section 149’s longest-running flag-waver and fill-in drummer. “Our group started bringing the drums about 2006, 2007, and they've been banging away ever since. I can’t complain. They help bring a lot of atmosphere to this place.”\u003c/p>\n\u003cp>MacNeil has been an A’s fan his entire life, too, even though he says his family wasn’t sure how that happened. “All my family is Giants fans. So I'm the outcast of the family,” he laughs. “I loved the colors. That's what hooked me to them. I'm not black and orange. It's not Halloween in my household!”\u003c/p>\n\u003cfigure id=\"attachment_11618714\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg class=\"size-full wp-image-11618714\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26909_image004-qut.jpg\" alt=\"\" width=\"789\" height=\"464\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut.jpg 789w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-375x221.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26909_image004-qut-520x306.jpg 520w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">KQED employee Nina Thorsen has sat with ‘Bleacher Diehards’ for the past 12 years, but just started drumming this year. \u003ccite>(Serginho Roosblad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although she just started playing the drum this year, Nina Thorsen has been sitting with the bleacher crew for the past 12 years. “I used to play the tambourine, but it's much harder to achieve the beats with one,” she says.\u003c/p>\n\u003cp>Thorsen, who also happens to work at KQED, is originally from Minnesota. She loved the Twins, but the A’s eventually won her over. “The A's have a unique character. They have a kind of ‘do-it-yourself’ almost punk quality to them,” she says earnestly. “Also it's just a very fun place. The team, the players and the fans seem to sort of all have a spirit that matches each other.”\u003c/p>\n\u003cp>It’s that welcoming spirit and underdog tale that many A’s fans say drew them to the team in the first place.\u003c/p>\n\u003cp>“We came up with the ‘I believe in Stephen Vogt’ chant up here. It's kind of like the U.S. men's soccer team chant,” explains Aler-Ningas.\u003c/p>\n\u003cp>Vogt does have a Cinderella story. He was called to the majors in 2013 after spending six seasons in the minors. By the time the A’s bought the 29-year-old rookie’s contract for $150,000, Vogt’s Major League batting stats were a painful 0 for 32. He wasn’t doing well. But with the A’s, he did. Vogt -- now a member of the Milwaukee Brewers -- became a back-to-back All-Star catcher for Oakland.\u003c/p>\n\u003cp>“He's our kind of guy. The total underdog story. That's Oakland,” says Aler-Ningas.\u003c/p>\n\u003cp>And, he says, that’s why they drum. To root for the underdog. A team that hasn’t won the World Series since 1989. A “Moneyball” team that has one of the lowest payrolls in the majors -- and that narrowly beat out the Tampa Bay Rays for the lowest league attendance over the past two seasons.\u003c/p>\n\u003cp>But those numbers don’t bother the drum-beating diehards. They seem to make them stronger. More committed. More in love with their team and their town.\u003c/p>\n\u003cp>“Whether it's 5,000 or 50,000 in this place, it's just, I love it!\" says Aler-Ningas. \"I don't know, I’m an Oakland guy.\"\u003c/p>\n\u003cfigure id=\"attachment_11618715\" class=\"wp-caption aligncenter\" style=\"max-width: 787px\">\u003cimg class=\"size-full wp-image-11618715\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26912_image001-1-qut.jpg\" alt=\"\" width=\"787\" height=\"445\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut.jpg 787w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-240x136.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-375x212.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/RS26912_image001-1-qut-520x294.jpg 520w\" sizes=\"(max-width: 787px) 100vw, 787px\">\u003cfigcaption class=\"wp-caption-text\">'Bleacher Diehard' drummer Andy Cho showing off his drum in right field at an Oakland A's game. \u003ccite>(Serginho Roosblad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Within the bleacher right field and left field, we call ourselves the 'FANily.' So it's something that we embraced,” says Andy Cho, a longtime A’s fan and drummer. “We're very, very close. We spend more time with each other than we do with our own families at times.”\u003c/p>\n\u003cp>And now, finally, this FANily has something else to beat the drum about. The A’s just announced their intention to build a downtown ballpark at the Lake Merritt campus of Laney College and stay rooted in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rooted, just like these fans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "this-vietnam-paratrooper-was-exposed-to-agent-orange-today-he-lives-with-parkinsons",
"title": "This Vietnam Paratrooper Was Exposed to Agent Orange - Today He Lives With Parkinson's",
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"headTitle": "This Vietnam Paratrooper Was Exposed to Agent Orange – Today He Lives With Parkinson’s | KQED",
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"content": "\u003cp>Michael Buckley was 19 years old when he joined the Army. It was the early 1960s, and U.S. involvement in Vietnam had yet to escalate to full-blown ground war. But the draft was in effect, and Buckley wanted his choice of assignments.\u003c/p>\n\u003cp>More than that, he craved a life of adventure, and saw the Army as his chance.\u003c/p>\n\u003cp>“I wanted to be a paratrooper and jump out of airplanes and be a tough guy — jump all over the world and do that kind of thing,” said Buckley, who grew up in Glendale in Southern California.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/09/20170921tcrbuckleyvietnam.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26584_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-3-qut.jpg\" Title=\"This Vietnam Paratrooper \u003cbr> Was Exposed to Agent Orange - \u003cbr> Today He Lives With Parkinson's\" program=\"The California Report\"]\u003c/p>\n\u003cp>Just a few years later, he was assigned to the first regimental combat team in Vietnam, the 101st Airborne Division, or the Screaming Eagles, as they were known. The Eagles have roots dating back to World War II, and are often the first troops to penetrate enemy territory, securing key terrain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buckley says he never would have joined up if he had known the war was coming.\u003c/p>\n\u003cfigure id=\"attachment_11617870\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11617870\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-800x1219.jpg\" alt=\"\" width=\"500\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-800x1219.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1020x1554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1920x2925.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1180x1798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-960x1462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-375x571.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-520x792.jpg 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Buckley’s graduation photo after completing jump school. \u003ccite>(Courtesy Morgan Russell.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t want to kill people. I wasn’t interested in being a bad guy at all,” he said. Back home, Buckley had a wife, small child and another on the way to think about.\u003c/p>\n\u003cp>In Vietnam, the thrill of jumping out of airplanes — which Buckley had thought was “better than surfing” — lost its luster. “I realized: Hey, I could get hurt here, I could really get hurt here, I could die.”\u003c/p>\n\u003cp>In his roughly seven months of combat, Buckley witnessed fellow jumpers smash into the ground after their chutes malfunctioned, bullets whizzing past his head and soldiers who had become like family, killed in front of his eyes.\u003c/p>\n\u003cp>“Hell” is the word he uses to describe the experience.\u003c/p>\n\u003cp>A case of appendicitis and secondary bout with dengue fever ended Buckley’s tour in Vietnam. The soldier who replaced Buckley in his unit died in combat.\u003c/p>\n\u003cp>After returning home, Buckley attended the University of Southern California, and eventually spoke out against the war.\u003c/p>\n\u003cp>“I saw what war could do to people and I didn’t want to be a part of that,” he said. Instead, Buckley decided he wanted to spend his time helping other people. He became a school counselor and family therapist.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘War is terrible for everybody, for people who were in it, for people who are around it, the atmosphere.’\u003ccite>Michael Buckley\u003c/cite>\u003c/aside>\n\u003cp>Of his time in Vietnam, Buckley, now 72, said, “I don’t think about it very much. I try not to. And when I do think about it, I’m so thankful that I got out of there. I’m thankful to be alive.”\u003c/p>\n\u003cp>While he considers himself one of the lucky ones, the effects of Vietnam haunt Buckley’s civilian life. He suffers from PTSD, and the psychological trauma contributed to the dissolution of his first marriage.\u003c/p>\n\u003cp>Several years after the war, when Buckley was in his early 60s, he began to have trouble walking.\u003c/p>\n\u003cp>“I was athletic, but all of a sudden I couldn’t walk appropriately,” he said.\u003c/p>\n\u003cp>Buckley was subsequently diagnosed with Parkinson’s disease. His doctors believe his condition is linked to his exposure to Agent Orange, an herbicide used by the U.S. in Vietnam to destroy jungle foliage and the food supply of guerrilla fighters.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13808862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TheVietnamWar_web_banners-1180x177-Ver_2-e1505759581455.png\" alt=\"\" width=\"401\" height=\"401\">\u003c/a>\u003c/p>\n\u003cp>“I was in the jungle and they were spraying. I thought it looked like crop dusters. And I realized later that it was Agent Orange. Much later,” Buckley said.\u003c/p>\n\u003cp>The effects of Agent Orange can take years to show up. While scientists still don’t know the exact mechanisms of how it acts, exposure has been implicated in the progression of several diseases, including a number of cancers, Parkinson’s, heart disease and diabetes, which Buckley also has.\u003c/p>\n\u003cp>In 1991, Congress passed the Agent Orange Act, providing disability compensation and medical care to veterans of Vietnam and Korea.\u003c/p>\n\u003cp>Following his retirement in 2012, Buckley suffered a bicycle accident that caused his condition to further deteriorate. Earlier this year, he moved to an assisted living home at the San Francisco VA Medical Center. Buckley says he receives top-notch medical care and has plenty of activities to keep him busy. He is particularly fond of gardening.\u003c/p>\n\u003cp>“There is a community of veterans here,” Buckley said. “I know a number of them, and we all feel like we’re well taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_11617875\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11617875\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Michael Buckley and his wife, Mary Helm. She drives from Santa Rosa two or three times a week to visit him at the VA care facility where he lives in San Francisco. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buckley’s wife of 22 years, a licensed therapist named Mary Helm, calls him every day and visits two or three times a week. Helm says there are times when her husband tells her he feels like he’s still at war.\u003c/p>\n\u003cp>“The effects of what he experienced has had a major impact on our life together,” Helm said. “We’ve had to work hard at our relationship to get this far.”\u003c/p>\n\u003cp>Buckley says he wants people to see how far the reach of war goes.\u003c/p>\n\u003cp>“War is terrible for everybody, for people who were in it, for people who are around it, the atmosphere,” he said. “And I think the United States is so warmongering. It makes me sick. It makes me sad.”\u003c/p>\n\u003cp>\u003cem>This story is part of a series called “Faces of the Vietnam War.” Last month, KQED asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Bert Johnson contributed to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Seeking adventure, Michael Buckley became a paratrooper early in the war. He now suffers from PTSD, Parkinson's and effects of Agent Orange exposure — but he says he's one of the lucky ones.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Buckley was 19 years old when he joined the Army. It was the early 1960s, and U.S. involvement in Vietnam had yet to escalate to full-blown ground war. But the draft was in effect, and Buckley wanted his choice of assignments.\u003c/p>\n\u003cp>More than that, he craved a life of adventure, and saw the Army as his chance.\u003c/p>\n\u003cp>“I wanted to be a paratrooper and jump out of airplanes and be a tough guy — jump all over the world and do that kind of thing,” said Buckley, who grew up in Glendale in Southern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just a few years later, he was assigned to the first regimental combat team in Vietnam, the 101st Airborne Division, or the Screaming Eagles, as they were known. The Eagles have roots dating back to World War II, and are often the first troops to penetrate enemy territory, securing key terrain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buckley says he never would have joined up if he had known the war was coming.\u003c/p>\n\u003cfigure id=\"attachment_11617870\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11617870\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-800x1219.jpg\" alt=\"\" width=\"500\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-800x1219.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1020x1554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1920x2925.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-1180x1798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-960x1462.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-240x366.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-375x571.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/Jump-school-Graduation-photo-2-Morgan-Russell-520x792.jpg 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Michael Buckley’s graduation photo after completing jump school. \u003ccite>(Courtesy Morgan Russell.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t want to kill people. I wasn’t interested in being a bad guy at all,” he said. Back home, Buckley had a wife, small child and another on the way to think about.\u003c/p>\n\u003cp>In Vietnam, the thrill of jumping out of airplanes — which Buckley had thought was “better than surfing” — lost its luster. “I realized: Hey, I could get hurt here, I could really get hurt here, I could die.”\u003c/p>\n\u003cp>In his roughly seven months of combat, Buckley witnessed fellow jumpers smash into the ground after their chutes malfunctioned, bullets whizzing past his head and soldiers who had become like family, killed in front of his eyes.\u003c/p>\n\u003cp>“Hell” is the word he uses to describe the experience.\u003c/p>\n\u003cp>A case of appendicitis and secondary bout with dengue fever ended Buckley’s tour in Vietnam. The soldier who replaced Buckley in his unit died in combat.\u003c/p>\n\u003cp>After returning home, Buckley attended the University of Southern California, and eventually spoke out against the war.\u003c/p>\n\u003cp>“I saw what war could do to people and I didn’t want to be a part of that,” he said. Instead, Buckley decided he wanted to spend his time helping other people. He became a school counselor and family therapist.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘War is terrible for everybody, for people who were in it, for people who are around it, the atmosphere.’\u003ccite>Michael Buckley\u003c/cite>\u003c/aside>\n\u003cp>Of his time in Vietnam, Buckley, now 72, said, “I don’t think about it very much. I try not to. And when I do think about it, I’m so thankful that I got out of there. I’m thankful to be alive.”\u003c/p>\n\u003cp>While he considers himself one of the lucky ones, the effects of Vietnam haunt Buckley’s civilian life. He suffers from PTSD, and the psychological trauma contributed to the dissolution of his first marriage.\u003c/p>\n\u003cp>Several years after the war, when Buckley was in his early 60s, he began to have trouble walking.\u003c/p>\n\u003cp>“I was athletic, but all of a sudden I couldn’t walk appropriately,” he said.\u003c/p>\n\u003cp>Buckley was subsequently diagnosed with Parkinson’s disease. His doctors believe his condition is linked to his exposure to Agent Orange, an herbicide used by the U.S. in Vietnam to destroy jungle foliage and the food supply of guerrilla fighters.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13808862\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/TheVietnamWar_web_banners-1180x177-Ver_2-e1505759581455.png\" alt=\"\" width=\"401\" height=\"401\">\u003c/a>\u003c/p>\n\u003cp>“I was in the jungle and they were spraying. I thought it looked like crop dusters. And I realized later that it was Agent Orange. Much later,” Buckley said.\u003c/p>\n\u003cp>The effects of Agent Orange can take years to show up. While scientists still don’t know the exact mechanisms of how it acts, exposure has been implicated in the progression of several diseases, including a number of cancers, Parkinson’s, heart disease and diabetes, which Buckley also has.\u003c/p>\n\u003cp>In 1991, Congress passed the Agent Orange Act, providing disability compensation and medical care to veterans of Vietnam and Korea.\u003c/p>\n\u003cp>Following his retirement in 2012, Buckley suffered a bicycle accident that caused his condition to further deteriorate. Earlier this year, he moved to an assisted living home at the San Francisco VA Medical Center. Buckley says he receives top-notch medical care and has plenty of activities to keep him busy. He is particularly fond of gardening.\u003c/p>\n\u003cp>“There is a community of veterans here,” Buckley said. “I know a number of them, and we all feel like we’re well taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_11617875\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11617875\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26585_20170912_VietnamStories_MichaelBuckley_MaryHelm_Credit_BertJohnson-4-qut-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Michael Buckley and his wife, Mary Helm. She drives from Santa Rosa two or three times a week to visit him at the VA care facility where he lives in San Francisco. \u003ccite>(Bert Johnson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Buckley’s wife of 22 years, a licensed therapist named Mary Helm, calls him every day and visits two or three times a week. Helm says there are times when her husband tells her he feels like he’s still at war.\u003c/p>\n\u003cp>“The effects of what he experienced has had a major impact on our life together,” Helm said. “We’ve had to work hard at our relationship to get this far.”\u003c/p>\n\u003cp>Buckley says he wants people to see how far the reach of war goes.\u003c/p>\n\u003cp>“War is terrible for everybody, for people who were in it, for people who are around it, the atmosphere,” he said. “And I think the United States is so warmongering. It makes me sick. It makes me sad.”\u003c/p>\n\u003cp>\u003cem>This story is part of a series called “Faces of the Vietnam War.” Last month, KQED asked our audience to submit their stories about the Vietnam War. We heard from refugees, military veterans, journalists, activists and more.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Bert Johnson contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Latino Artists Cross Sci-Fi Borders in New Riverside Exhibition",
"title": "Latino Artists Cross Sci-Fi Borders in New Riverside Exhibition",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>It can be a little jarring to see a vehicle parked in the middle of a museum showroom, in this case \u003ca href=\"https://artsblock.ucr.edu/Page/about\" target=\"_blank\" rel=\"noopener noreferrer\">UC Riverside’s Barbara and Art Culver Center of the Arts\u003c/a>, the flagship of UCR’s ARTSblock.\u003c/p>\n\u003cp>But there it is: a metallic green-and-white mean machine that looks like it was spawned from some unholy alliance of the ''Alien'' and ''Fast and Furious'' movie franchises.\u003c/p>\n\u003cp>\"It doesn't look like a conventional pickup truck. It looks more like an abstract sculpture. It's all fragmented,\" explains Mexican-born artist \u003ca href=\"http://www.rubenortiztorres.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruben Ortiz-Torres\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11617250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617250\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Alien-Space-Car-far-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ortiz-Torres' lowrider-inspired alien space border patrol vehicle. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The vehicle -- dubbed \"alien space toy\" -- is actually a lowrider Nissan pickup that mimics the kind of patrol vehicle you might see kicking up dust along the U.S.-Mexico border, or tearing up and down craters of the moon.\u003c/p>\n\u003cp>\"The bed of the truck, it rises and it spins,\" explains Ortiz-Torres. \"Also the doors expand and then they spin, too. The hood of the truck also expands, goes up.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The body is cut up into sections and tricked out with lowrider hydraulics. When activated it can break apart like a giant Transformer toy, each section spinning madly as if it could get airborne any second.\u003c/p>\n\u003cp>“The front of the trunk also separates from the back of the truck and runs independently,\" says Ortiz-Torres, kind of like a rolling space capsule disengaging from its mothership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nLSi7LMkOPk\u003c/p>\n\u003cp>Its menacing but playful exploits can be watched in an \u003ca href=\"https://www.youtube.com/watch?v=nLSi7LMkOPk\" target=\"_blank\" rel=\"noopener noreferrer\">experimental sci-fi film\u003c/a> Ortiz-Torres created to accompany the installation.\u003c/p>\n\u003cp>The \"alien\" vehicle is painted in the distinctive colors of U.S. Customs and Border Protection. But just what kind of \"aliens\" is the driverless vehicle meant to apprehend?\u003c/p>\n\u003cp>\"When I look at this thing, it looks a little bit like a space rover to me. This robot that would be this alien device that crosses across borders,\" says Ortiz-Torres.\u003c/p>\n\u003cfigure id=\"attachment_11617251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617251\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7291-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Ruben Ortiz-Torres inside Beatriz Cortez' 'Memory Insertion Capsule.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously, I was not the first person that started playing with this double idea of 'alien.' It's in popular culture, it appears at movies,” he says. “We customized this thing in \u003ca href=\"https://openspace.sfmoma.org/2017/02/el-bordo-conversations-with-tijuanas-border-artists-in-the-trump-era/\" target=\"_blank\" rel=\"noopener noreferrer\">San Ysidro\u003c/a>, which is right next to the border, so we were looking at border patrols all the time.\"\u003c/p>\n\u003cp>His creation, done in collaboration with famed Southern California lowrider designer and customizer Salvador Munoz, is emblematic of the kind of mind-bending works brought together in \"\u003ca href=\"http://artsblock.ucr.edu/Exhibition/mundos-alternos\" target=\"_blank\" rel=\"noopener noreferrer\">Mundos Alternos: Art and Science Fiction in the Americas\u003c/a>.\"\u003c/p>\n\u003cp>It’s a sprawling new exhibition at the Culver Center and its companion space, the California Museum of Photography.\u003c/p>\n\u003cfigure id=\"attachment_11617258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617258\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-1020x754.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-1180x872.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-960x710.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-375x277.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-520x384.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laura Molina's 'Amor Alien.'\u003c/figcaption>\u003c/figure>\n\u003cp>Mundos Alternos is part of the Getty Foundation’s ongoing \u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA \u003c/a>series spotlighting Latin American and Latino art “in dialogue” with Southern California at more than 70 cultural institutions across the region.\u003c/p>\n\u003cp>Mundos Alternos pulls together over 30 visual artists from the United States, Portugal, Brazil and across the Spanish-speaking world to take on immigration, colonialism, trade and other cross-border issues through the lens of science fiction.\u003c/p>\n\u003cp>Some, like Mexican artist \u003ca href=\"http://taniacandiani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tania Candiani\u003c/a>, borrow old technologies to imagine utopian or dystopian futures.\u003c/p>\n\u003cfigure id=\"attachment_11617262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7264-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Candiani's 'Engraving Sound.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The electronic sheets of metallic buzzes, chirps and crackles surging from the speakers of her \"Engraving Sound\" installation sound a bit like the echolocation signals of a bat colony layered over some faraway intergalactic ham radio operator who is stuck between frequencies.\u003c/p>\n\u003cp>But the futuristic sonic blizzard is actually coming from old-school technology: engraved copper plates wired to an analog synthesizer and played through long, curved rows of speakers.\u003c/p>\n\u003cp>“Speakers that are wraparound almost like bat ears,“ says curator Tyler Stallings.\u003c/p>\n\u003cp>“And there's a stylus like a record player. It's reading the engravings and then there’s the synthesizer where you can manipulate the sound and make your own (sound) information,” Stallings explains.\u003c/p>\n\u003cp>“She is interested taking antique technologies and translating it into a new language,” Stallings adds.\u003c/p>\n\u003cp>A new language only understood across the border of a place where earthlings have yet to venture, perhaps?\u003c/p>\n\u003cfigure id=\"attachment_11617266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617266\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sleep-D-sketch-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Production art from the 2008 film ‘Sleep Dealer.’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another installation imagines what might happen if unauthorized border crossings from Mexico to the U.S. plummeted. Not because of improved economies or stepped-up security -- but because migrant workers could instead remotely control \u003cem>robot\u003c/em> versions of themselves on the U.S side from digital sweatshops in their own hometowns.\u003c/p>\n\u003cp>It’s the premise of Mexican director Alex Rivera's acclaimed 2008 film \u003ca href=\"http://www.sleepdealer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Sleep Dealer,\"\u003c/a> which gets a special section of its own in the Mundos Alternos exhibit. UC Riverside ARTSblock will host a \u003ca href=\"https://artsblock.ucr.edu/Film\" target=\"_blank\" rel=\"noopener noreferrer\">free screening\u003c/a> of Sleep Dealer on Sept. 29.\u003c/p>\n\u003cfigure id=\"attachment_11617267\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617267\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/SLEEP-D-poster-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-800x593.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-1020x757.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-1180x875.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-960x712.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-240x178.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-375x278.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-520x386.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster ad for the 2008 film ‘Sleep Dealer.’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It deals with ideas of labor, immigration and memory, because there’s another character that sells her memories to people in order to make money for herself,” says Stallings.\u003c/p>\n\u003cp>\"Sleep Dealer\" offers a pretty bleak view of U.S. immigration policies and where they may be headed. But most of the works in Mundos Alternos express a reach-for-the-stars kind of optimism.\u003c/p>\n\u003ch2>A Zapatista Spaceship, 'Where Many Worlds Can Fit'\u003c/h2>\n\u003cp>In a secluded sub-gallery just off the museum’s main floor, visitors enter a colorful wood-paneled corridor made from pieces of a shipping container and adorned with folk art paintings from Southern Mexico.\u003c/p>\n\u003cfigure id=\"attachment_11617271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7316-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a mural inside Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven CUevas KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It gives way to an inner sanctum, where a corn-husk-shaped wooden rocket ship the size of an old station wagon is suspended from the ceiling. A couple of handmade black-masked Zapatista rebel dolls are at the controls.\u003c/p>\n\u003cp>“And then on the interior of the spaceship you see a tree of life, crop fields, so it’s the idea of taking the homeland with you,” says Stallings. “Then you see other comforts of home with a basketball court, you see a school.”\u003c/p>\n\u003cfigure id=\"attachment_11617274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617274\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/spaceship-front-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Zapatista ‘corn husk’ rocket ship inside Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The spaceship was constructed by L.A.-based Portuguese artist Rigo 23, in collaboration with artists affiliated with Southern Mexico’s \u003ca href=\"https://www.nytimes.com/2017/08/26/world/americas/mexico-zapatista-subcommander-marcos.html.\" target=\"_blank\" rel=\"noopener noreferrer\">Zapatista Army of National Liberation. \u003c/a>\u003c/p>\n\u003cp>The Zapatistas formed as a paramilitary group. It now operates as an autonomous self-governing collective focused on advancing the cause and political clout of indigenous people across Mexico. But Rigo 23 says the group’s militant rhetoric has always been leavened with a sense of the cosmic.\u003c/p>\n\u003cp>“One of the first meetings they ever had, they called it the 'Intergalactic Meeting.' So they invited people from all over Mexico, all over Latin America, all over Earth, the Milky Way and beyond,” says the artist.\u003c/p>\n\u003cfigure id=\"attachment_11617279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617279\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7322-1-800x581.jpg\" alt=\"\" width=\"800\" height=\"581\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-800x581.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1020x741.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1920x1396.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1180x858.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-960x698.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-375x273.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-520x378.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example of one of many ‘folk art’ paintings created by Zapatista movement-affiliated artists, now part of Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After multiple visits to Chiapas state, Rigo 23 eventually won an invitation to pitch the Zapatistas a \"far-out\" idea to help spread its message here on Earth, and perhaps beyond.\u003c/p>\n\u003cp>“And we were received by a group of Maya peasant organizers with their faces covered and I said, 'You know, eventually you'll probably get invited to attend a meeting in another galaxy,'” he recalls. Then he popped the question: “So how will you get there?”\u003c/p>\n\u003cp>\"And then I could see their eyes started smiling (behind their black ski masks),\" he laughs.\u003c/p>\n\u003cp>\"If you're interested I will offer my services to build such a ship.\"\u003c/p>\n\u003cfigure id=\"attachment_11617281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Rigo-23_AISP-800x482.jpg\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-1020x614.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-1180x710.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-960x578.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-375x226.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-520x313.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Zapatista ‘corn husk’ rocket ship from Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Rigo 23 / Redcat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so began a months-long collaboration with Zapatista painters, weavers and carpenters on what became known as the \u003ca href=\"https://www.redcat.org/exhibition/rigo-23-autonomous-intergalactic-space-program\" target=\"_blank\" rel=\"noopener noreferrer\">Autonomous InterGalactic Space Program\u003c/a>.\u003c/p>\n\u003cp>\"And it's fueled by Zapatista imagination and Maya capacity to endure,\" says Rigo 23.\u003c/p>\n\u003cp>\"And when you're so curious and so welcoming that you have invited beings from another galaxy, I mean, imagine \u003cem>that\u003c/em> from the people whose leader is saying, ‘Let's make \u003cem>us\u003c/em> great again let's build a wall on our borders,' \" he says.\u003c/p>\n\u003cp>“These people, who are seen as being so isolated in the mountains growing corn and coffee, their world view wants to embrace the cosmos!”\u003c/p>\n\u003cfigure id=\"attachment_11617284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617284\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7323-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-800x516.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1020x658.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1920x1240.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1180x762.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-960x620.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-240x155.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-375x242.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several Zapatista ‘folk art’ paintings on display in Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a motto that’s lit the path of the Zapatista movement for years. And in a sense it’s now become the guiding principle of the Mundos Alternos exhibit: \"\u003cem>We want a world where many worlds can fit.\"\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cem>“Mundos Alternos: Art and Science Fiction in the Americas” is on view at UC Riverside’s Barbara and Art Culver Center of the Arts in downtown Riverside. It will be there through early February. \u003c/em>\u003c/em>\u003c/p>\n\n",
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"excerpt": "In 'Mundos Alternos,' over 30 visual artists take on immigration, colonialism and other cross-border issues — all through the lens of science fiction.",
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"title": "Latino Artists Cross Sci-Fi Borders in New Riverside Exhibition | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It can be a little jarring to see a vehicle parked in the middle of a museum showroom, in this case \u003ca href=\"https://artsblock.ucr.edu/Page/about\" target=\"_blank\" rel=\"noopener noreferrer\">UC Riverside’s Barbara and Art Culver Center of the Arts\u003c/a>, the flagship of UCR’s ARTSblock.\u003c/p>\n\u003cp>But there it is: a metallic green-and-white mean machine that looks like it was spawned from some unholy alliance of the ''Alien'' and ''Fast and Furious'' movie franchises.\u003c/p>\n\u003cp>\"It doesn't look like a conventional pickup truck. It looks more like an abstract sculpture. It's all fragmented,\" explains Mexican-born artist \u003ca href=\"http://www.rubenortiztorres.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruben Ortiz-Torres\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11617250\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617250\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Alien-Space-Car-far-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Alien-Space-Car-far-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruben Ortiz-Torres' lowrider-inspired alien space border patrol vehicle. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The vehicle -- dubbed \"alien space toy\" -- is actually a lowrider Nissan pickup that mimics the kind of patrol vehicle you might see kicking up dust along the U.S.-Mexico border, or tearing up and down craters of the moon.\u003c/p>\n\u003cp>\"The bed of the truck, it rises and it spins,\" explains Ortiz-Torres. \"Also the doors expand and then they spin, too. The hood of the truck also expands, goes up.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The body is cut up into sections and tricked out with lowrider hydraulics. When activated it can break apart like a giant Transformer toy, each section spinning madly as if it could get airborne any second.\u003c/p>\n\u003cp>“The front of the trunk also separates from the back of the truck and runs independently,\" says Ortiz-Torres, kind of like a rolling space capsule disengaging from its mothership.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nLSi7LMkOPk'\n title='//www.youtube.com/embed/nLSi7LMkOPk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Its menacing but playful exploits can be watched in an \u003ca href=\"https://www.youtube.com/watch?v=nLSi7LMkOPk\" target=\"_blank\" rel=\"noopener noreferrer\">experimental sci-fi film\u003c/a> Ortiz-Torres created to accompany the installation.\u003c/p>\n\u003cp>The \"alien\" vehicle is painted in the distinctive colors of U.S. Customs and Border Protection. But just what kind of \"aliens\" is the driverless vehicle meant to apprehend?\u003c/p>\n\u003cp>\"When I look at this thing, it looks a little bit like a space rover to me. This robot that would be this alien device that crosses across borders,\" says Ortiz-Torres.\u003c/p>\n\u003cfigure id=\"attachment_11617251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617251\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7291-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7291-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Ruben Ortiz-Torres inside Beatriz Cortez' 'Memory Insertion Capsule.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Obviously, I was not the first person that started playing with this double idea of 'alien.' It's in popular culture, it appears at movies,” he says. “We customized this thing in \u003ca href=\"https://openspace.sfmoma.org/2017/02/el-bordo-conversations-with-tijuanas-border-artists-in-the-trump-era/\" target=\"_blank\" rel=\"noopener noreferrer\">San Ysidro\u003c/a>, which is right next to the border, so we were looking at border patrols all the time.\"\u003c/p>\n\u003cp>His creation, done in collaboration with famed Southern California lowrider designer and customizer Salvador Munoz, is emblematic of the kind of mind-bending works brought together in \"\u003ca href=\"http://artsblock.ucr.edu/Exhibition/mundos-alternos\" target=\"_blank\" rel=\"noopener noreferrer\">Mundos Alternos: Art and Science Fiction in the Americas\u003c/a>.\"\u003c/p>\n\u003cp>It’s a sprawling new exhibition at the Culver Center and its companion space, the California Museum of Photography.\u003c/p>\n\u003cfigure id=\"attachment_11617258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617258\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-1020x754.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-1180x872.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-960x710.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-375x277.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/AMOR-ALIEN-NMMA-Oct-5-520x384.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laura Molina's 'Amor Alien.'\u003c/figcaption>\u003c/figure>\n\u003cp>Mundos Alternos is part of the Getty Foundation’s ongoing \u003ca href=\"http://www.pacificstandardtime.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA \u003c/a>series spotlighting Latin American and Latino art “in dialogue” with Southern California at more than 70 cultural institutions across the region.\u003c/p>\n\u003cp>Mundos Alternos pulls together over 30 visual artists from the United States, Portugal, Brazil and across the Spanish-speaking world to take on immigration, colonialism, trade and other cross-border issues through the lens of science fiction.\u003c/p>\n\u003cp>Some, like Mexican artist \u003ca href=\"http://taniacandiani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tania Candiani\u003c/a>, borrow old technologies to imagine utopian or dystopian futures.\u003c/p>\n\u003cfigure id=\"attachment_11617262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7264-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7264-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tania Candiani's 'Engraving Sound.' \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The electronic sheets of metallic buzzes, chirps and crackles surging from the speakers of her \"Engraving Sound\" installation sound a bit like the echolocation signals of a bat colony layered over some faraway intergalactic ham radio operator who is stuck between frequencies.\u003c/p>\n\u003cp>But the futuristic sonic blizzard is actually coming from old-school technology: engraved copper plates wired to an analog synthesizer and played through long, curved rows of speakers.\u003c/p>\n\u003cp>“Speakers that are wraparound almost like bat ears,“ says curator Tyler Stallings.\u003c/p>\n\u003cp>“And there's a stylus like a record player. It's reading the engravings and then there’s the synthesizer where you can manipulate the sound and make your own (sound) information,” Stallings explains.\u003c/p>\n\u003cp>“She is interested taking antique technologies and translating it into a new language,” Stallings adds.\u003c/p>\n\u003cp>A new language only understood across the border of a place where earthlings have yet to venture, perhaps?\u003c/p>\n\u003cfigure id=\"attachment_11617266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617266\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sleep-D-sketch-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sleep-D-sketch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Production art from the 2008 film ‘Sleep Dealer.’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another installation imagines what might happen if unauthorized border crossings from Mexico to the U.S. plummeted. Not because of improved economies or stepped-up security -- but because migrant workers could instead remotely control \u003cem>robot\u003c/em> versions of themselves on the U.S side from digital sweatshops in their own hometowns.\u003c/p>\n\u003cp>It’s the premise of Mexican director Alex Rivera's acclaimed 2008 film \u003ca href=\"http://www.sleepdealer.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\"Sleep Dealer,\"\u003c/a> which gets a special section of its own in the Mundos Alternos exhibit. UC Riverside ARTSblock will host a \u003ca href=\"https://artsblock.ucr.edu/Film\" target=\"_blank\" rel=\"noopener noreferrer\">free screening\u003c/a> of Sleep Dealer on Sept. 29.\u003c/p>\n\u003cfigure id=\"attachment_11617267\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617267\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/SLEEP-D-poster-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-800x593.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-1020x757.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-1180x875.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-960x712.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-240x178.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-375x278.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/SLEEP-D-poster-520x386.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poster ad for the 2008 film ‘Sleep Dealer.’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It deals with ideas of labor, immigration and memory, because there’s another character that sells her memories to people in order to make money for herself,” says Stallings.\u003c/p>\n\u003cp>\"Sleep Dealer\" offers a pretty bleak view of U.S. immigration policies and where they may be headed. But most of the works in Mundos Alternos express a reach-for-the-stars kind of optimism.\u003c/p>\n\u003ch2>A Zapatista Spaceship, 'Where Many Worlds Can Fit'\u003c/h2>\n\u003cp>In a secluded sub-gallery just off the museum’s main floor, visitors enter a colorful wood-paneled corridor made from pieces of a shipping container and adorned with folk art paintings from Southern Mexico.\u003c/p>\n\u003cfigure id=\"attachment_11617271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617271\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7316-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7316-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail from a mural inside Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven CUevas KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It gives way to an inner sanctum, where a corn-husk-shaped wooden rocket ship the size of an old station wagon is suspended from the ceiling. A couple of handmade black-masked Zapatista rebel dolls are at the controls.\u003c/p>\n\u003cp>“And then on the interior of the spaceship you see a tree of life, crop fields, so it’s the idea of taking the homeland with you,” says Stallings. “Then you see other comforts of home with a basketball court, you see a school.”\u003c/p>\n\u003cfigure id=\"attachment_11617274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617274\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/spaceship-front-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/spaceship-front-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Zapatista ‘corn husk’ rocket ship inside Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The spaceship was constructed by L.A.-based Portuguese artist Rigo 23, in collaboration with artists affiliated with Southern Mexico’s \u003ca href=\"https://www.nytimes.com/2017/08/26/world/americas/mexico-zapatista-subcommander-marcos.html.\" target=\"_blank\" rel=\"noopener noreferrer\">Zapatista Army of National Liberation. \u003c/a>\u003c/p>\n\u003cp>The Zapatistas formed as a paramilitary group. It now operates as an autonomous self-governing collective focused on advancing the cause and political clout of indigenous people across Mexico. But Rigo 23 says the group’s militant rhetoric has always been leavened with a sense of the cosmic.\u003c/p>\n\u003cp>“One of the first meetings they ever had, they called it the 'Intergalactic Meeting.' So they invited people from all over Mexico, all over Latin America, all over Earth, the Milky Way and beyond,” says the artist.\u003c/p>\n\u003cfigure id=\"attachment_11617279\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617279\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7322-1-800x581.jpg\" alt=\"\" width=\"800\" height=\"581\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-800x581.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-160x116.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1020x741.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1920x1396.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-1180x858.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-960x698.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-240x174.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-375x273.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7322-1-520x378.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Example of one of many ‘folk art’ paintings created by Zapatista movement-affiliated artists, now part of Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After multiple visits to Chiapas state, Rigo 23 eventually won an invitation to pitch the Zapatistas a \"far-out\" idea to help spread its message here on Earth, and perhaps beyond.\u003c/p>\n\u003cp>“And we were received by a group of Maya peasant organizers with their faces covered and I said, 'You know, eventually you'll probably get invited to attend a meeting in another galaxy,'” he recalls. Then he popped the question: “So how will you get there?”\u003c/p>\n\u003cp>\"And then I could see their eyes started smiling (behind their black ski masks),\" he laughs.\u003c/p>\n\u003cp>\"If you're interested I will offer my services to build such a ship.\"\u003c/p>\n\u003cfigure id=\"attachment_11617281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Rigo-23_AISP-800x482.jpg\" alt=\"\" width=\"800\" height=\"482\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-1020x614.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-1180x710.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-960x578.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-375x226.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP-520x313.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Rigo-23_AISP.jpg 1764w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Zapatista ‘corn husk’ rocket ship from Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Rigo 23 / Redcat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so began a months-long collaboration with Zapatista painters, weavers and carpenters on what became known as the \u003ca href=\"https://www.redcat.org/exhibition/rigo-23-autonomous-intergalactic-space-program\" target=\"_blank\" rel=\"noopener noreferrer\">Autonomous InterGalactic Space Program\u003c/a>.\u003c/p>\n\u003cp>\"And it's fueled by Zapatista imagination and Maya capacity to endure,\" says Rigo 23.\u003c/p>\n\u003cp>\"And when you're so curious and so welcoming that you have invited beings from another galaxy, I mean, imagine \u003cem>that\u003c/em> from the people whose leader is saying, ‘Let's make \u003cem>us\u003c/em> great again let's build a wall on our borders,' \" he says.\u003c/p>\n\u003cp>“These people, who are seen as being so isolated in the mountains growing corn and coffee, their world view wants to embrace the cosmos!”\u003c/p>\n\u003cfigure id=\"attachment_11617284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11617284\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/IMG_7323-800x516.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-800x516.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1020x658.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1920x1240.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-1180x762.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-960x620.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-240x155.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-375x242.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/IMG_7323-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several Zapatista ‘folk art’ paintings on display in Rigo 23’s Autonomous InterGalactic Space Program. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a motto that’s lit the path of the Zapatista movement for years. And in a sense it’s now become the guiding principle of the Mundos Alternos exhibit: \"\u003cem>We want a world where many worlds can fit.\"\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cem>“Mundos Alternos: Art and Science Fiction in the Americas” is on view at UC Riverside’s Barbara and Art Culver Center of the Arts in downtown Riverside. It will be there through early February. \u003c/em>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Hundreds protest Ben Shapiro’s Appearance at UC Berkeley\u003c/strong>\u003c/p>\n\u003cp>Protesters gathered at UC Berkeley last night to speak out against the appearance of conservative author and radio host Ben Shapiro. The former Breitbart editor tackled issues including abortion and affirmative action in front of a sold out crowd. The event remained largely peaceful, which campus officials credited to added security that cost an estimated $600,000. Naweed Tahmas of the Berkeley College Republicans joins us to discuss his organization’s goals in inviting Shapiro to campus.\u003c/p>\n\u003cp>\u003cstrong>DACA deal, single payer healthcare and state bills\u003c/strong>\u003c/p>\n\u003cp>We analyze this week’s big political stories, from Pres. Trump’s potential deal with Democrats on DACA, to Sen. Bernie Sanders’ proposal for single payer health care to the last minute scramble to pass key state laws in the last week of the legislative session.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli>Marisa Lagos, KQED politics and government reporter\u003c/li>\n\u003cli>Tim Miller, political consultant with Definers Public Affairs\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003cem>‘\u003c/em>The Vietnam War’\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Decades after the brutal conflict divided soldiers and civilians both on and off the battlefield, filmmakers Ken Burns and Lynn Novick take on the history of the Vietnam War in a 10-part,\u003cstrong> \u003c/strong>18-hour documentary series. \u003cem>The Vietnam War\u003c/em> premieres on national PBS on Sunday, Sept. 17 and airs through Sept. 28.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli>Ken Burns, Co-Director, \u003cem>The Vietnam War\u003c/em>\u003c/li>\n\u003cli>Lynn Novick, Co-Director,\u003cem> The Vietnam War\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong> U.S. History Told Through Hit Songs\u003c/strong>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>A 24-Decade History of Popular Music\u003c/em> tackles 240 years of American historythrough flamboyant performances and elaborate costumes. Created and performed by drag artist and Stockton native Taylor Mac, with costumes designed by Machine Dazzle, the production shines a light on everything from slavery to gay activism.\u003c/p>\n\u003cp>The show runs through Sept. 24 at the Curran Theater in San Francisco. For more information: \u003ca href=\"https://sfcurran.com/taylor-mac/?gclid=EAIaIQobChMIhK2Kjsio1gIVTmB-Ch0BdAIFEAAYASAAEgLoLvD_BwE\">TAYLOR MAC: A 24-DECADE HISTORY OF POPULAR MUSIC\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Hundreds protest Ben Shapiro’s Appearance at UC Berkeley\u003c/strong>\u003c/p>\n\u003cp>Protesters gathered at UC Berkeley last night to speak out against the appearance of conservative author and radio host Ben Shapiro. The former Breitbart editor tackled issues including abortion and affirmative action in front of a sold out crowd. The event remained largely peaceful, which campus officials credited to added security that cost an estimated $600,000. Naweed Tahmas of the Berkeley College Republicans joins us to discuss his organization’s goals in inviting Shapiro to campus.\u003c/p>\n\u003cp>\u003cstrong>DACA deal, single payer healthcare and state bills\u003c/strong>\u003c/p>\n\u003cp>We analyze this week’s big political stories, from Pres. Trump’s potential deal with Democrats on DACA, to Sen. Bernie Sanders’ proposal for single payer health care to the last minute scramble to pass key state laws in the last week of the legislative session.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli>Marisa Lagos, KQED politics and government reporter\u003c/li>\n\u003cli>Tim Miller, political consultant with Definers Public Affairs\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003cem>‘\u003c/em>The Vietnam War’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Decades after the brutal conflict divided soldiers and civilians both on and off the battlefield, filmmakers Ken Burns and Lynn Novick take on the history of the Vietnam War in a 10-part,\u003cstrong> \u003c/strong>18-hour documentary series. \u003cem>The Vietnam War\u003c/em> premieres on national PBS on Sunday, Sept. 17 and airs through Sept. 28.\u003c/p>\n\u003cp>Guests:\u003c/p>\n\u003cul>\n\u003cli>Ken Burns, Co-Director, \u003cem>The Vietnam War\u003c/em>\u003c/li>\n\u003cli>Lynn Novick, Co-Director,\u003cem> The Vietnam War\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong> U.S. History Told Through Hit Songs\u003c/strong>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>A 24-Decade History of Popular Music\u003c/em> tackles 240 years of American historythrough flamboyant performances and elaborate costumes. Created and performed by drag artist and Stockton native Taylor Mac, with costumes designed by Machine Dazzle, the production shines a light on everything from slavery to gay activism.\u003c/p>\n\u003cp>The show runs through Sept. 24 at the Curran Theater in San Francisco. For more information: \u003ca href=\"https://sfcurran.com/taylor-mac/?gclid=EAIaIQobChMIhK2Kjsio1gIVTmB-Ch0BdAIFEAAYASAAEgLoLvD_BwE\">TAYLOR MAC: A 24-DECADE HISTORY OF POPULAR MUSIC\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Monterey Jazz Festival Celebrates 60 Years",
"title": "Monterey Jazz Festival Celebrates 60 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LsFD5Mfl1i0\u003c/p>\n\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fAVEuYk5qiw\u003c/p>\n\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vm61HiaBFac\u003c/p>\n\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n",
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"excerpt": "More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ",
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"description": "More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ",
"title": "Monterey Jazz Festival Celebrates 60 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LsFD5Mfl1i0'\n title='//www.youtube.com/embed/LsFD5Mfl1i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fAVEuYk5qiw'\n title='//www.youtube.com/embed/fAVEuYk5qiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vm61HiaBFac'\n title='//www.youtube.com/embed/Vm61HiaBFac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The 'Fiery' Visions of Iconic L.A. Artist Carlos Almaráz",
"title": "The 'Fiery' Visions of Iconic L.A. Artist Carlos Almaráz",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Actor, comedian and \u003ca href=\"http://cheechmarin.com/chicano-art/\" target=\"_blank\" rel=\"noopener noreferrer\">art collector Cheech Marin \u003c/a>calls \u003ca href=\"https://www.visualaids.org/artists/detail/carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Almaráz \u003c/a>the John Coltrane of Chicano art.\u003c/p>\n\u003cp>Like Coltrane, Almaráz’s life was cut short by illness before he was able to reach his full potential. But in his 48 years, he created dozens of paintings, \u003ca href=\"http://www.muralconservancy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">street murals\u003c/a> and other works.\u003c/p>\n\u003cfigure id=\"attachment_11616108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (1982), a 24-foot long, four-panel work by Carlos Almaráz. Each panel is owned by a different collector. This is the first time the complete work has been available for public view in years. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 60 paintings, sketches, notebooks and other ephemera are collected in \u003ca href=\"http://www.lacma.org/art/exhibition/playing-fire-paintings-carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">‘Playing With Fire: Paintings by Carlos Almaráz’ \u003c/a>at the Los Angeles County Museum of Art. It’s the first comprehensive retrospective of the Mexican-born artist’s work in decades.\u003c/p>\n\u003cp>Almaráz’s formative years in Los Angeles were as a founding member of \u003ca href=\"https://latinomurals.wordpress.com/2014/05/27/losfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Four\u003c/a>, a Chicano artists collective that also included Frank Romero, Beto de la Rocha and Gilbert Luján. Los Four formed in the early 1970s to create art for the people, for \u003cem>la lucha\u003c/em>; the struggle.\u003c/p>\n\u003cfigure id=\"attachment_11616116\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg class=\"size-full wp-image-11616116\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg\" alt=\"\" width=\"550\" height=\"550\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Almaraz in 1974 during the installation of the \"Los Four\" exhibition at LACMA, Los Angeles CA. \u003ccite>(Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They had some pretty grandiose ideas with Chicano art at the center,” explains actor, comedian and filmmaker Richard Montoya. He’s wrapping up a documentary of the artist called\u003ca href=\"https://www.indiegogo.com/projects/carlos-almaraz-documentary-film-project--2#/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Carlos in Wonderland.\"\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These were big personalities to maintain in kind of healthy, sometimes unhealthy competition.”\u003c/p>\n\u003cp>Almaráz began to chafe within the rigid ideological frame of the collective. He wanted to take his art further, says Montoya. And he wanted more control.\u003c/p>\n\u003cp>“Carlos kind of takes off as an individual artist. There’s a need for him to pull away from movement identity politics and into the studio for much more personal and private work.”\u003c/p>\n\u003cp>Work that reflected more universal if very personal themes; his own bisexuality, the metaphysical, Mexican mythology. But the L.A. neighborhoods he knew and loved best -- Boyle Heights, Echo Park, East L.A. -- were never too far away.\u003c/p>\n\u003cp>You catch glimpses of them throughout \"Playing with Fire.\"\u003c/p>\n\u003cfigure id=\"attachment_11616121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of another Carlos Almaraz painting depicting L.A.'s Echo Park Lake. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent an afternoon with Montoya and exhibit curator Howard Fox at LACMA. Here’s some highlights of our conversation.\u003c/p>\n\u003cp>\u003cstrong>On Almaráz's L.A. urban landscapes and his iconic freeway car crash paintings, arguably his most well-known paintings:\u003c/strong>\u003c/p>\n\u003cp>Fox: “We respond to the imagery almost viscerally like you would if you saw an actual car crash, you can’t not look at it. But with the thick buttery impasto that he paints these desperate images with, it’s almost as if you want to go up and lick the painting, but don’t do that please!”\u003c/p>\n\u003cfigure id=\"attachment_11616124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One in a series of freeway car crash paintings from the 1980’s by Carlos Almaráz. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11616127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of one of Carlos Almaraz’s freeway car crash paintings from the 1980’s. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “It’s got these Disney colors too, so he’s drinking in California; the open sky, the things he couldn’t see in Mexico City as a kid. But he comes to L.A. and my God there’s these things called freeways that rise over the barrios and there are these skies and these colors.”\u003c/p>\n\u003cp>Fox: “You’ll see grand cityscapes featuring naked people cavorting in the streets, freeways zooming and zigzagging all over the place and buildings themselves are wagging like puppy dogs tails, it’s visually in your face.”\u003c/p>\n\u003cfigure id=\"attachment_11616130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg\" alt=\"\" width=\"800\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1020x836.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-960x787.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-240x197.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-375x307.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-520x426.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (detail) \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his role in Los Four, the Chicano art-collective:\u003c/strong>\u003c/p>\n\u003cp>Montoya: “It was a movement that demanded to know how militant you were, how Chicano you were, how authentic you were. It wasn’t the place to explore one’s gender or spirituality. Carlos was one of the first, but not the only artist, to retreat from that — for much more personal and private work, exploring gender for example. That’s a heartbreak for a Chicano artist such as myself. But the good news for me, the thank you I feel I owe to Almaráz is that he leaves the movement, but that he leaves the art and the conversation in a better place than where he found it.”\u003c/p>\n\u003cp>\u003cstrong>On whether Almaráz would embrace or resist the title of 'Chicano artist':\u003c/strong>\u003c/p>\n\u003cp>Fox: “Carlos said, \u003cem>I’m an American artist [who] also happens to be a Chicano.\u003c/em> So he acknowledges the heritage, he embraces it, but he does not typify himself, he does not specify or pigeonhole himself.”\u003c/p>\n\u003cfigure id=\"attachment_11616141\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"size-full wp-image-11616141\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Mujeres-MURAL.jpg\" alt=\"\" width=\"421\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL.jpg 421w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-240x188.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-375x294.jpg 375w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘La Mujer de Aztlan’ street mural at Ramona Housing project in L.A.’s Boyle Heights, created by Judith Hernandez and Carlos Almaráz in 1976. \u003ccite>(Mural Conservancy of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “I’ve never felt that \u003cem>Chicanismo \u003c/em>was something that needed to be transcended. Or that we grow to a greater appreciation of art. For me, his genius is taking the best of all these things, and I felt that Howard [Fox] wasn’t taking any of that away. There’s a moment in the show, in a room that carefully looks at the gay aspect of Carlos’ life. That’s super important to so many of our transgender kids, our LGBT youngsters, our undocumented kids. He was an immigrant. Each one of those things has tremendous value.\"\u003c/p>\n\u003cp>\u003cstrong>On Almaráz living on the border of multiple identities: Mexican/American, bisexual:\u003c/strong>\u003c/p>\n\u003cp>Fox: “One of his paintings, titled “Europe and the Jaguar,” I was really entranced by that because it showed a half-man half-jaguar -- a symbol right out of Mesoamerican mythology -- juxtaposed with a classical female nude, right out of European old master paintings. And between those two promenading figures, there’s this dapper young man, in a blue suit and a blue fedora. I realized, intuitively, that this was a self-portrait of the artist paying homage to the Mesoamerican mythology, modern and traditional European art.\"\u003c/p>\n\u003cfigure id=\"attachment_11616138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Llorona-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vision of La Llorona, the crying woman, by Carlos Almaraz. La Llorona is a popular character in Latino folklore. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fox: \"A lot of people thought you could not combine them successfully, that the juxtaposition would be too much of a clangorous rupture. But Almaráz embraced those traditions in a really interesting hybrid way.”\u003c/p>\n\u003cp>\u003cstrong>On why it took 30 years for a major Los Angeles museum to stage a Carlos Almaráz retrospective, despite many art critics considering him one of the most important California artists of the 20\u003csup>th\u003c/sup> Century. \u003c/strong>\u003c/p>\n\u003cp>Fox: “That’s a very good question and I’m afraid that any of the answers would point to curatorial neglect.\"\u003c/p>\n\u003cp>Montoya: “It’s not just that we’re in an “Oscars-So-White” town. The battle now moves into the large museums and into the theaters as well. We’re keeping it up because Carlos is kind of shoving open a door for us. And now that we’re in, with help of the curators and the third-tier allies, we’re in a tremendously exciting time. But there can be no let-up. We must continue to push forward.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Special thanks to Oscar Garza and Jonathan Shifflett of KPCC’s The Frame for their production help on this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor, comedian and \u003ca href=\"http://cheechmarin.com/chicano-art/\" target=\"_blank\" rel=\"noopener noreferrer\">art collector Cheech Marin \u003c/a>calls \u003ca href=\"https://www.visualaids.org/artists/detail/carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">Carlos Almaráz \u003c/a>the John Coltrane of Chicano art.\u003c/p>\n\u003cp>Like Coltrane, Almaráz’s life was cut short by illness before he was able to reach his full potential. But in his 48 years, he created dozens of paintings, \u003ca href=\"http://www.muralconservancy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">street murals\u003c/a> and other works.\u003c/p>\n\u003cfigure id=\"attachment_11616108\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (1982), a 24-foot long, four-panel work by Carlos Almaráz. Each panel is owned by a different collector. This is the first time the complete work has been available for public view in years. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 60 paintings, sketches, notebooks and other ephemera are collected in \u003ca href=\"http://www.lacma.org/art/exhibition/playing-fire-paintings-carlos-almaraz\" target=\"_blank\" rel=\"noopener noreferrer\">‘Playing With Fire: Paintings by Carlos Almaráz’ \u003c/a>at the Los Angeles County Museum of Art. It’s the first comprehensive retrospective of the Mexican-born artist’s work in decades.\u003c/p>\n\u003cp>Almaráz’s formative years in Los Angeles were as a founding member of \u003ca href=\"https://latinomurals.wordpress.com/2014/05/27/losfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Four\u003c/a>, a Chicano artists collective that also included Frank Romero, Beto de la Rocha and Gilbert Luján. Los Four formed in the early 1970s to create art for the people, for \u003cem>la lucha\u003c/em>; the struggle.\u003c/p>\n\u003cfigure id=\"attachment_11616116\" class=\"wp-caption alignright\" style=\"max-width: 550px\">\u003cimg class=\"size-full wp-image-11616116\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg\" alt=\"\" width=\"550\" height=\"550\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Artist_Carlos_Almaraz_1974_Los_Angeles-150x150.jpg 150w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Almaraz in 1974 during the installation of the \"Los Four\" exhibition at LACMA, Los Angeles CA. \u003ccite>(Wikipedia )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They had some pretty grandiose ideas with Chicano art at the center,” explains actor, comedian and filmmaker Richard Montoya. He’s wrapping up a documentary of the artist called\u003ca href=\"https://www.indiegogo.com/projects/carlos-almaraz-documentary-film-project--2#/\" target=\"_blank\" rel=\"noopener noreferrer\"> “Carlos in Wonderland.\"\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These were big personalities to maintain in kind of healthy, sometimes unhealthy competition.”\u003c/p>\n\u003cp>Almaráz began to chafe within the rigid ideological frame of the collective. He wanted to take his art further, says Montoya. And he wanted more control.\u003c/p>\n\u003cp>“Carlos kind of takes off as an individual artist. There’s a need for him to pull away from movement identity politics and into the studio for much more personal and private work.”\u003c/p>\n\u003cp>Work that reflected more universal if very personal themes; his own bisexuality, the metaphysical, Mexican mythology. But the L.A. neighborhoods he knew and loved best -- Boyle Heights, Echo Park, East L.A. -- were never too far away.\u003c/p>\n\u003cp>You catch glimpses of them throughout \"Playing with Fire.\"\u003c/p>\n\u003cfigure id=\"attachment_11616121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616121\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-Lake-detail-w-bridge-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of another Carlos Almaraz painting depicting L.A.'s Echo Park Lake. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I spent an afternoon with Montoya and exhibit curator Howard Fox at LACMA. Here’s some highlights of our conversation.\u003c/p>\n\u003cp>\u003cstrong>On Almaráz's L.A. urban landscapes and his iconic freeway car crash paintings, arguably his most well-known paintings:\u003c/strong>\u003c/p>\n\u003cp>Fox: “We respond to the imagery almost viscerally like you would if you saw an actual car crash, you can’t not look at it. But with the thick buttery impasto that he paints these desperate images with, it’s almost as if you want to go up and lick the painting, but don’t do that please!”\u003c/p>\n\u003cfigure id=\"attachment_11616124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616124\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-2-cars-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One in a series of freeway car crash paintings from the 1980’s by Carlos Almaráz. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11616127\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616127\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/FREEWAY-CAR-CRASH-detail-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of one of Carlos Almaraz’s freeway car crash paintings from the 1980’s. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “It’s got these Disney colors too, so he’s drinking in California; the open sky, the things he couldn’t see in Mexico City as a kid. But he comes to L.A. and my God there’s these things called freeways that rise over the barrios and there are these skies and these colors.”\u003c/p>\n\u003cp>Fox: “You’ll see grand cityscapes featuring naked people cavorting in the streets, freeways zooming and zigzagging all over the place and buildings themselves are wagging like puppy dogs tails, it’s visually in your face.”\u003c/p>\n\u003cfigure id=\"attachment_11616130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616130\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg\" alt=\"\" width=\"800\" height=\"656\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-800x656.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-160x131.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1020x836.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-1180x967.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-960x787.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-240x197.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-375x307.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/ECHO-1-4-detail-2-520x426.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Echo Park nos 1-4’ (detail) \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On his role in Los Four, the Chicano art-collective:\u003c/strong>\u003c/p>\n\u003cp>Montoya: “It was a movement that demanded to know how militant you were, how Chicano you were, how authentic you were. It wasn’t the place to explore one’s gender or spirituality. Carlos was one of the first, but not the only artist, to retreat from that — for much more personal and private work, exploring gender for example. That’s a heartbreak for a Chicano artist such as myself. But the good news for me, the thank you I feel I owe to Almaráz is that he leaves the movement, but that he leaves the art and the conversation in a better place than where he found it.”\u003c/p>\n\u003cp>\u003cstrong>On whether Almaráz would embrace or resist the title of 'Chicano artist':\u003c/strong>\u003c/p>\n\u003cp>Fox: “Carlos said, \u003cem>I’m an American artist [who] also happens to be a Chicano.\u003c/em> So he acknowledges the heritage, he embraces it, but he does not typify himself, he does not specify or pigeonhole himself.”\u003c/p>\n\u003cfigure id=\"attachment_11616141\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"size-full wp-image-11616141\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Mujeres-MURAL.jpg\" alt=\"\" width=\"421\" height=\"330\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL.jpg 421w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-160x125.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-240x188.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Mujeres-MURAL-375x294.jpg 375w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘La Mujer de Aztlan’ street mural at Ramona Housing project in L.A.’s Boyle Heights, created by Judith Hernandez and Carlos Almaráz in 1976. \u003ccite>(Mural Conservancy of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Montoya: “I’ve never felt that \u003cem>Chicanismo \u003c/em>was something that needed to be transcended. Or that we grow to a greater appreciation of art. For me, his genius is taking the best of all these things, and I felt that Howard [Fox] wasn’t taking any of that away. There’s a moment in the show, in a room that carefully looks at the gay aspect of Carlos’ life. That’s super important to so many of our transgender kids, our LGBT youngsters, our undocumented kids. He was an immigrant. Each one of those things has tremendous value.\"\u003c/p>\n\u003cp>\u003cstrong>On Almaráz living on the border of multiple identities: Mexican/American, bisexual:\u003c/strong>\u003c/p>\n\u003cp>Fox: “One of his paintings, titled “Europe and the Jaguar,” I was really entranced by that because it showed a half-man half-jaguar -- a symbol right out of Mesoamerican mythology -- juxtaposed with a classical female nude, right out of European old master paintings. And between those two promenading figures, there’s this dapper young man, in a blue suit and a blue fedora. I realized, intuitively, that this was a self-portrait of the artist paying homage to the Mesoamerican mythology, modern and traditional European art.\"\u003c/p>\n\u003cfigure id=\"attachment_11616138\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616138\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Llorona-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Llorona-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vision of La Llorona, the crying woman, by Carlos Almaraz. La Llorona is a popular character in Latino folklore. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fox: \"A lot of people thought you could not combine them successfully, that the juxtaposition would be too much of a clangorous rupture. But Almaráz embraced those traditions in a really interesting hybrid way.”\u003c/p>\n\u003cp>\u003cstrong>On why it took 30 years for a major Los Angeles museum to stage a Carlos Almaráz retrospective, despite many art critics considering him one of the most important California artists of the 20\u003csup>th\u003c/sup> Century. \u003c/strong>\u003c/p>\n\u003cp>Fox: “That’s a very good question and I’m afraid that any of the answers would point to curatorial neglect.\"\u003c/p>\n\u003cp>Montoya: “It’s not just that we’re in an “Oscars-So-White” town. The battle now moves into the large museums and into the theaters as well. We’re keeping it up because Carlos is kind of shoving open a door for us. And now that we’re in, with help of the curators and the third-tier allies, we’re in a tremendously exciting time. But there can be no let-up. We must continue to push forward.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Special thanks to Oscar Garza and Jonathan Shifflett of KPCC’s The Frame for their production help on this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "vietnam-war-inspires-a-lifetime-of-political-activism-in-san-jose",
"title": "Vietnam War Inspires a Lifetime of Political Activism in San Jose",
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"headTitle": "Vietnam War Inspires a Lifetime of Political Activism in San Jose | KQED",
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"content": "\u003cp>UC Berkeley is famous for its student protests during the Vietnam War era, but students protested all over the Bay Area.\u003c/p>\n\u003cp>Stanford students rioted to \u003ca href=\"http://www.mercurynews.com/2011/01/19/stanford-ponders-the-return-of-rotc-after-nearly-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">kick the ROTC program\u003c/a> off-campus. San Francisco State University students gained notoriety for going\u003ca href=\"http://www.foundsf.org/index.php?title=STRIKE!..._Concerning_the_1968-69_Strike_at_San_Francisco_State_College\" target=\"_blank\" rel=\"noopener noreferrer\"> on strike\u003c/a> in 1968 to demand ethnic studies classes, but the campus was also a hotbed for \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/209216\" target=\"_blank\" rel=\"noopener noreferrer\">anti-war protest\u003c/a>.\u003c/p>\n\u003cp>And San Jose State University students garnered national headlines with a couple dynamic protests, like the one over campus recruiting by Dow Chemical.\u003c/p>\n\u003cp>Dow Chemical was a major manufacturer of napalm, a reviled weapon used extensively by the U.S. military in Vietnam, and on Nov. 20, 1967, roughly 3,000 people filled the plaza outside the administration building at San Jose State to protest the company’s presence.\u003c/p>\n\u003cp>The university’s archives contain footage of that protest:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MOfs8iJNTeE\u003c/p>\n\u003cp>San Jose State journalism professor Gordon Greb reported on the chaotic scene, injecting some commentary that today belies what you can observe in the video footage. Many people who marched against the Vietnam War will tell you the media at that time tended to downplay the size of crowds and focus their reports on violence. (This demonstration had been peaceful for hours before the scene on this video.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11616324\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/TheVietnamWar_web-banners-1180x177-e1505162432907.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>That was the perspective of one shy physics major who was part of the crowd that day, Gil Villagran. Today, Villagran’s hair is short and white. He walks with a cane. But on that day in 1967, Villagran was an obvious target for police photographers looking to identify troublemakers. He wore his hair long, and on top, a Che Guevera-style red beret, with a yellow felt star he’d sewn on himself.\u003c/p>\n\u003cp>People around Villagran spotted the photographers on the roof of the engineering building overlooking the plaza. “Somebody said, ‘Look, it’s the cops taking pictures of us. Wave to the cops.’”\u003c/p>\n\u003cfigure id=\"attachment_11616202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11616202\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-800x777.jpg\" alt=\"Gil Villagran's long hair and beard caught the eye of police photographers in 1967. He's trimmed since then, but his fervor for political protest remains strong.\" width=\"800\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-1020x990.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-1180x1145.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-960x932.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-375x364.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-520x505.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Villagran’s long hair and beard caught the eye of police photographers in 1967. He’s trimmed since then, but his fervor for political protest remains strong. \u003ccite>(Photo: Courtesy of Gil Villagran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those photos would lead to his expulsion, making Villagran one of a handful of demonstrators who paid a price for putting San Jose State in the national headlines. Later that week, a letter arrived, special delivery, at his parents’ home in Santa Clara.\u003c/p>\n\u003cp>It reads: “The Governor of the state of California, Ronald Reagan, the trustees of the California State University system, the president of the university, have determined that your presence on this campus is a danger to faculty, students and staff.”\u003c/p>\n\u003cp>“I’ve never seen my mother so distraught,” Villagran said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The Bay Area Reacts to the Vietnam War\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/5N_CZoYSc7M?rel=0\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>His parents were not happy about his penchant for political protest. Villagran’s father was a bracero, a farmworker from Mexico. Villagran was the first in his family to go to college. They wanted him to focus on his studies. They also worried for his physical safety.\u003c/p>\n\u003cp>But in 1967 Villlagran felt there was nothing more important than the war: a war he felt was unjust, unconstitutional and a horrific waste of human life.\u003c/p>\n\u003cp>“Two of my friends were dead. And I was a very bitter young man about that,” he says.\u003c/p>\n\u003cp>Villagran was already annoying less politically charged students by turning every class he attended into a seminar on the war.\u003c/p>\n\u003cp>“And many students would get very upset,” he says. “‘Hey, I came here to learn psychology. Why are we talking about this fucking war?’”\u003c/p>\n\u003cfigure id=\"attachment_11615194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11615194 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-800x450.jpg\" alt=\"The Dow Chemical protest of 1967 was covered by the Spartan Daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dow Chemical protest of 1967 was covered by the Spartan Daily. \u003ccite>(Photo: Courtesy of San José State University Special Collections & Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when Villagran was still going to class. He admits he attended fewer and fewer classes, as the immediacy of the war gnawed on him. Almost every day, he says, there was a teach-in on the plaza by the administration building, or planning meetings for protests and marches at San Jose State. Underground newsletters like Sedition and The Red Eye kept student activists apprised of the latest news.\u003c/p>\n\u003cp>Villagran traveled with friends to other campuses to see famous people, including Angela Davis, Tom Hayden, Harry Edwards, Bobby Kennedy and Ralph Nader. But the 23,000 student campus at San Jose also pulled in top-line anti-war speakers and performers, including Joan Baez, who offered to sing a song for the first student who promised to burn his draft card should one come in the mail.\u003c/p>\n\u003cp>Villagran volunteered.\u003c/p>\n\u003cp>San Jose State students made national headlines again in 1970, when they marched to the San Jose Civic Auditorium, where President Richard Nixon’s \u003ca href=\"http://archives.chicagotribune.com/1970/10/30/page/1/article/mob-attacks-nixon-cars/\" target=\"_blank\" rel=\"noopener noreferrer\">motorcade left through a crowd\u003c/a> of angry demonstrators. GOP advertisements then used images of the scene to drum up political support for Republican candidates that election season.\u003c/p>\n\u003cp>San Jose State sociology Professor Emeritus Bob Gliner was also protesting the war back then. He says anti-war demonstrators were always a vocal minority on campus. In the decades since the Vietnam War, student activism has generally been episodic.\u003c/p>\n\u003cp>“Some people say, ‘Oh, they grew out of it, or they grew up.’ But I think, if we want to have a vibrant democracy, it’s not something you grow out of,” Gliner says. “It’s something you integrate into your day to day life, to be conscious of world events and to do something about problems that really bother you.”\u003c/p>\n\u003cp>Villagran, now 69, speaks proudly of a lifetime of political activism. After he was expelled in 1967, he returned to San Jose State to earn a masters degree. He became a social worker and returned to San Jose State to teach in the School of Social Work, where he’s still an emeritus lecturer.\u003c/p>\n\u003cp>Over the years, he’s written articles and opinion pieces for local papers and blogs. His interests range from current politics, like the presidency of \u003ca href=\"https://www.indybay.org/newsitems/2017/07/28/18801101.php\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump\u003c/a>, to the historical, like \u003ca href=\"https://www.indybay.org/newsitems/2016/06/08/18787319.php#18786938\" target=\"_blank\" rel=\"noopener noreferrer\">this essay\u003c/a> on four San Jose women who attempted to block the loading of napalm bombs headed for Vietnam in 1966. Currently, Villagran is focused on highlighting the Latino history of the South Bay with a group called the \u003ca href=\"https://www.facebook.com/LaRazaHistoricalSocietySCV/\" target=\"_blank\" rel=\"noopener noreferrer\">La Raza Historical Society of Santa Clara Valley\u003c/a>.\u003c/p>\n\u003cp>Villagran says he would like the university to mark the area where students angrily protested Dow Chemical with a monument outside the administration building.\u003c/p>\n\u003cp>“There should be something here like that. Right here. Because that’s where it all happened,” he said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To read more of KQED’s series of articles regarding the impact of the Vietnam War on the Bay Area, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>UC Berkeley is famous for its student protests during the Vietnam War era, but students protested all over the Bay Area.\u003c/p>\n\u003cp>Stanford students rioted to \u003ca href=\"http://www.mercurynews.com/2011/01/19/stanford-ponders-the-return-of-rotc-after-nearly-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">kick the ROTC program\u003c/a> off-campus. San Francisco State University students gained notoriety for going\u003ca href=\"http://www.foundsf.org/index.php?title=STRIKE!..._Concerning_the_1968-69_Strike_at_San_Francisco_State_College\" target=\"_blank\" rel=\"noopener noreferrer\"> on strike\u003c/a> in 1968 to demand ethnic studies classes, but the campus was also a hotbed for \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/209216\" target=\"_blank\" rel=\"noopener noreferrer\">anti-war protest\u003c/a>.\u003c/p>\n\u003cp>And San Jose State University students garnered national headlines with a couple dynamic protests, like the one over campus recruiting by Dow Chemical.\u003c/p>\n\u003cp>Dow Chemical was a major manufacturer of napalm, a reviled weapon used extensively by the U.S. military in Vietnam, and on Nov. 20, 1967, roughly 3,000 people filled the plaza outside the administration building at San Jose State to protest the company’s presence.\u003c/p>\n\u003cp>The university’s archives contain footage of that protest:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MOfs8iJNTeE'\n title='//www.youtube.com/embed/MOfs8iJNTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Jose State journalism professor Gordon Greb reported on the chaotic scene, injecting some commentary that today belies what you can observe in the video footage. Many people who marched against the Vietnam War will tell you the media at that time tended to downplay the size of crowds and focus their reports on violence. (This demonstration had been peaceful for hours before the scene on this video.)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11616324\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/TheVietnamWar_web-banners-1180x177-e1505162432907.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>That was the perspective of one shy physics major who was part of the crowd that day, Gil Villagran. Today, Villagran’s hair is short and white. He walks with a cane. But on that day in 1967, Villagran was an obvious target for police photographers looking to identify troublemakers. He wore his hair long, and on top, a Che Guevera-style red beret, with a yellow felt star he’d sewn on himself.\u003c/p>\n\u003cp>People around Villagran spotted the photographers on the roof of the engineering building overlooking the plaza. “Somebody said, ‘Look, it’s the cops taking pictures of us. Wave to the cops.’”\u003c/p>\n\u003cfigure id=\"attachment_11616202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11616202\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-800x777.jpg\" alt=\"Gil Villagran's long hair and beard caught the eye of police photographers in 1967. He's trimmed since then, but his fervor for political protest remains strong.\" width=\"800\" height=\"777\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-800x777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-1020x990.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-1180x1145.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-960x932.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-375x364.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-520x505.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26507_IMG_0409-2.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gil Villagran’s long hair and beard caught the eye of police photographers in 1967. He’s trimmed since then, but his fervor for political protest remains strong. \u003ccite>(Photo: Courtesy of Gil Villagran)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those photos would lead to his expulsion, making Villagran one of a handful of demonstrators who paid a price for putting San Jose State in the national headlines. Later that week, a letter arrived, special delivery, at his parents’ home in Santa Clara.\u003c/p>\n\u003cp>It reads: “The Governor of the state of California, Ronald Reagan, the trustees of the California State University system, the president of the university, have determined that your presence on this campus is a danger to faculty, students and staff.”\u003c/p>\n\u003cp>“I’ve never seen my mother so distraught,” Villagran said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The Bay Area Reacts to the Vietnam War\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/5N_CZoYSc7M?rel=0\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>His parents were not happy about his penchant for political protest. Villagran’s father was a bracero, a farmworker from Mexico. Villagran was the first in his family to go to college. They wanted him to focus on his studies. They also worried for his physical safety.\u003c/p>\n\u003cp>But in 1967 Villlagran felt there was nothing more important than the war: a war he felt was unjust, unconstitutional and a horrific waste of human life.\u003c/p>\n\u003cp>“Two of my friends were dead. And I was a very bitter young man about that,” he says.\u003c/p>\n\u003cp>Villagran was already annoying less politically charged students by turning every class he attended into a seminar on the war.\u003c/p>\n\u003cp>“And many students would get very upset,” he says. “‘Hey, I came here to learn psychology. Why are we talking about this fucking war?’”\u003c/p>\n\u003cfigure id=\"attachment_11615194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11615194 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-800x450.jpg\" alt=\"The Dow Chemical protest of 1967 was covered by the Spartan Daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/09/RS26474_f98ce8793f2c5f868f03355a973b2fd3.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dow Chemical protest of 1967 was covered by the Spartan Daily. \u003ccite>(Photo: Courtesy of San José State University Special Collections & Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s when Villagran was still going to class. He admits he attended fewer and fewer classes, as the immediacy of the war gnawed on him. Almost every day, he says, there was a teach-in on the plaza by the administration building, or planning meetings for protests and marches at San Jose State. Underground newsletters like Sedition and The Red Eye kept student activists apprised of the latest news.\u003c/p>\n\u003cp>Villagran traveled with friends to other campuses to see famous people, including Angela Davis, Tom Hayden, Harry Edwards, Bobby Kennedy and Ralph Nader. But the 23,000 student campus at San Jose also pulled in top-line anti-war speakers and performers, including Joan Baez, who offered to sing a song for the first student who promised to burn his draft card should one come in the mail.\u003c/p>\n\u003cp>Villagran volunteered.\u003c/p>\n\u003cp>San Jose State students made national headlines again in 1970, when they marched to the San Jose Civic Auditorium, where President Richard Nixon’s \u003ca href=\"http://archives.chicagotribune.com/1970/10/30/page/1/article/mob-attacks-nixon-cars/\" target=\"_blank\" rel=\"noopener noreferrer\">motorcade left through a crowd\u003c/a> of angry demonstrators. GOP advertisements then used images of the scene to drum up political support for Republican candidates that election season.\u003c/p>\n\u003cp>San Jose State sociology Professor Emeritus Bob Gliner was also protesting the war back then. He says anti-war demonstrators were always a vocal minority on campus. In the decades since the Vietnam War, student activism has generally been episodic.\u003c/p>\n\u003cp>“Some people say, ‘Oh, they grew out of it, or they grew up.’ But I think, if we want to have a vibrant democracy, it’s not something you grow out of,” Gliner says. “It’s something you integrate into your day to day life, to be conscious of world events and to do something about problems that really bother you.”\u003c/p>\n\u003cp>Villagran, now 69, speaks proudly of a lifetime of political activism. After he was expelled in 1967, he returned to San Jose State to earn a masters degree. He became a social worker and returned to San Jose State to teach in the School of Social Work, where he’s still an emeritus lecturer.\u003c/p>\n\u003cp>Over the years, he’s written articles and opinion pieces for local papers and blogs. His interests range from current politics, like the presidency of \u003ca href=\"https://www.indybay.org/newsitems/2017/07/28/18801101.php\" target=\"_blank\" rel=\"noopener noreferrer\">Donald Trump\u003c/a>, to the historical, like \u003ca href=\"https://www.indybay.org/newsitems/2016/06/08/18787319.php#18786938\" target=\"_blank\" rel=\"noopener noreferrer\">this essay\u003c/a> on four San Jose women who attempted to block the loading of napalm bombs headed for Vietnam in 1966. Currently, Villagran is focused on highlighting the Latino history of the South Bay with a group called the \u003ca href=\"https://www.facebook.com/LaRazaHistoricalSocietySCV/\" target=\"_blank\" rel=\"noopener noreferrer\">La Raza Historical Society of Santa Clara Valley\u003c/a>.\u003c/p>\n\u003cp>Villagran says he would like the university to mark the area where students angrily protested Dow Chemical with a monument outside the administration building.\u003c/p>\n\u003cp>“There should be something here like that. Right here. Because that’s where it all happened,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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