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"content": "\u003ch3>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop)\u003c/h3>\n\u003cp>Before Alice McLeod met \u003ca href=\"http://www.johncoltrane.com\">saxophonist John Coltrane\u003c/a> she was already a respected jazz pianist who had studied with bebop genius Bud Powell in Paris and accompanied another modern jazz patriarch, expat \u003ca href=\"https://www.youtube.com/watch?v=Rb47-tIQRAc\">drummer Kenny Clarke\u003c/a>, on French television. Their fateful first encounter took place in the fall of 1963 when she was in a band led by \u003ca href=\"http://www.npr.org/programs/jazzprofiles/archive/gibbs.html\">vibraphonist Terry Gibbs\u003c/a> opening for Coltrane’s quartet at Birdland. Instantly smitten with each other, they quickly became a couple. In the years before Coltrane’s death from liver cancer in 1967 she was an essential part of his spiritually charged music as it became increasingly ecstatic, shedding conventional jazz harmony, rhythm and form.\u003c/p>\n\u003cp>Alice Coltrane only started recording under her own name after her husband’s death, releasing about a dozen albums of \u003ca href=\"https://www.youtube.com/watch?v=QUMuDWDVd20\">gorgeous celestial jazz\u003c/a> from 1968 to 1978 featuring her piano and harp alongside some of jazz's greatest improvisers. And legend has it that she withdrew from music to focus on her Vedic spiritual practice at an ashram, a public silence that lasted until her son, saxophonist Ravi Coltrane, coaxed her back into the studio for 2004’s “Translinear Light.\" She played a final concert at the Nob Hill Masonic Center on Nov. 4, 2006 with Ravi, Charlie Haden and Roy Haynes, before her death two months later.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hyADcmvIbsQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The legend of Alice Coltrane’s silence was wrong though, and a new album by Luaka Bop fills in a richly creative and largely unknown chapter in her life. \u003c/p>\n\u003cp>“World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda” gathers pieces she created for worship at the Sai Anantam Ashram she created in Agoura Hills. Featuring Coltrane on vocals, synthesizer, organ and harp, the music is often breathtaking, albeit repetitive and hypnotic, which was her intention. Created to enhance meditative states, you could call the music new age, but that catch-all term hardly does it justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is full of surprises, as synthesizer passages give way to gospel-steeped refrains. I love the way she freely mixes styles and elements from her earlier musical incarnations as a young organist in Detroit’s Mount Olive Baptist Church and a 1950s bebop acolyte. About four minutes into the opening track “Om Rama,” Panduranga John Henderson’s vocals come in after her swooping synthesizer. He’s played organ and sung with Ray Charles in the mid-'70s, and he doesn’t shed his fervent feel for soul at the ashram door. Her vocals are calm, calming and incantatory on “Om Shanti,” where she’s joined by an echoing chorus. Some pieces stay at a low simmer, like the drone-driven “Rama Rama,” while others reach ecstatic heights propelled by chants, tambourines and hand claps (“Krishna Japaye” and “Hari Nayaran”).\u003c/p>\n\u003cp>“Ecstatic Music” draws from four cassettes that Coltrane released between 1982 and 1995 on a tiny local label devoted to Vedic teachings, and the original recording engineer Baker Bigsby did an impressive job transferring the tapes to new formats. One of my favorite pieces is “Journey to Satchidananda” which recasts a tune from her classic 1970 album \"\u003ca href=\"https://www.youtube.com/watch?v=NxPMKgY_8qk\">Journey in Satchidananda\u003c/a>.”\u003c/p>\n\u003cp>This music is worth spending time with, though it sometimes requires patience. On its own it offers enlightenment about a major artist, but I also hope the album points people back to her earlier music, which doesn’t get get nearly enough credit. Alice Coltrane and Pharoah Sanders’ cosmic jazz provides a good deal of the framework behind Kamasi Washington’s breakthrough album “The Epic.”\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-11463346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Music Action Lab: Foundation (Giant Steps)\u003c/h3>\n\u003cp>If Alice Coltrane sought to enlighten with her music, the Music Action Ensemble was designed to change the world. It’s a project created by \u003ca href=\"http://giantstepsmusic.org/who-we-are/\">Drew Foxman\u003c/a>, which he calls “a global musical social entrepreneurship incubator.” Last year the initiative brought together an international cast of 10 young musicians in San Francisco. They worked with mentors, jazz drummer \u003ca href=\"http://www.ericharland.com\">extraordinaire Eric Harland\u003c/a> and Tunisian \u003ca href=\"http://emelmathlouthi.com\">singer/songwriter Emel Mathlouth\u003c/a>i, a harbinger of the Arab Spring, then spent three weeks playing together and composing songs, some of which are gathered on the new album “Foundation” (Giant Steps).\u003c/p>\n\u003cp>What’s most impressive is that the 10 players do sound like an ensemble, an accomplishment built on the rhythm section featuring powerhouse \u003ca href=\"http://giantstepsmusic.org/icaro-sa/\">percussionist Icaro Sá\u003c/a>, from Salvador da Bahia in Brazil’s northeast, Bay Area \u003ca href=\"http://giantstepsmusic.org/owen-clapp/\">bassist Owen Clapp\u003c/a>, and Chicago percussionist/drummer \u003ca href=\"http://giantstepsmusic.org/tyler-nam-berg/\">Tyler Nam Berg\u003c/a>. Sometimes the music is surprisingly familiar, drawing on the international lingua franca of hip hop and R&B, but there’s also Afropop, Brazilian grooves, classical Arabic cadences, and Pakistani folk music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=llwqXf2tyPo\u003c/p>\n\u003cp>The album opens with Pakastani rubab \u003ca href=\"http://www.pakium.pk/2011/09/16/introducing-farhan-bogra-young-talented-rubab-player-interview\">player Farhan Bogra\u003c/a>’s “Sheen Ghar,” a sinuous melody delivered by trumpeter Will Magid and Japanese-American \u003ca href=\"http://aishafukushima.com/bio\">vocalist/rapper Aisha Fukushima\u003c/a>, the project’s primary vocalist (who’s already a global force as an activist and educator). She trades verses with Rwandan \u003ca href=\"http://www.agrlcanmac.com/2015/03/learning-my-rwandan-heritage-rwandan.html\">vocalist Teta Diana\u003c/a> on Owen Clapp’s “Beautiful,” an anthem that decries the way society eats away at the confidence of young women.\u003c/p>\n\u003cp>If the lyrics tend toward the earnest and didactic, the music is consistently thoughtful and well-integrated despite the far-flung traditions and influences on tap. Even an undistinguished radio-friendly R&B number like Tyler Nam Berg’s “Dance Joint” holds interest with a polyrhythmic churn. The ensemble sounds far more at ease on Togolese guitarist Amen Viana’s\u003c/p>\n\u003cp>“Share,” with its graceful call and response between Viana’s vocals and the horns of Will Magid and saxophonist Derek Beckvold. One of the most successful tracks is Magid’s instrumental “King Cardamom” which opens with a sharp dialogue between his trumpet trumpet and Bogra’s rubab.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Foundation” is the first installment from the first Music Action Ensemble lab. The idea is that each lab culminates in an album that comes with an educational curriculum to teach and spread the message of the music. It’s a utopian undertaking that could easily fall flat. But judging by the tracks included here, this project has more than delivered on its musical promise.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop)\u003c/h3>\n\u003cp>Before Alice McLeod met \u003ca href=\"http://www.johncoltrane.com\">saxophonist John Coltrane\u003c/a> she was already a respected jazz pianist who had studied with bebop genius Bud Powell in Paris and accompanied another modern jazz patriarch, expat \u003ca href=\"https://www.youtube.com/watch?v=Rb47-tIQRAc\">drummer Kenny Clarke\u003c/a>, on French television. Their fateful first encounter took place in the fall of 1963 when she was in a band led by \u003ca href=\"http://www.npr.org/programs/jazzprofiles/archive/gibbs.html\">vibraphonist Terry Gibbs\u003c/a> opening for Coltrane’s quartet at Birdland. Instantly smitten with each other, they quickly became a couple. In the years before Coltrane’s death from liver cancer in 1967 she was an essential part of his spiritually charged music as it became increasingly ecstatic, shedding conventional jazz harmony, rhythm and form.\u003c/p>\n\u003cp>Alice Coltrane only started recording under her own name after her husband’s death, releasing about a dozen albums of \u003ca href=\"https://www.youtube.com/watch?v=QUMuDWDVd20\">gorgeous celestial jazz\u003c/a> from 1968 to 1978 featuring her piano and harp alongside some of jazz's greatest improvisers. And legend has it that she withdrew from music to focus on her Vedic spiritual practice at an ashram, a public silence that lasted until her son, saxophonist Ravi Coltrane, coaxed her back into the studio for 2004’s “Translinear Light.\" She played a final concert at the Nob Hill Masonic Center on Nov. 4, 2006 with Ravi, Charlie Haden and Roy Haynes, before her death two months later.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hyADcmvIbsQ?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The legend of Alice Coltrane’s silence was wrong though, and a new album by Luaka Bop fills in a richly creative and largely unknown chapter in her life. \u003c/p>\n\u003cp>“World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda” gathers pieces she created for worship at the Sai Anantam Ashram she created in Agoura Hills. Featuring Coltrane on vocals, synthesizer, organ and harp, the music is often breathtaking, albeit repetitive and hypnotic, which was her intention. Created to enhance meditative states, you could call the music new age, but that catch-all term hardly does it justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is full of surprises, as synthesizer passages give way to gospel-steeped refrains. I love the way she freely mixes styles and elements from her earlier musical incarnations as a young organist in Detroit’s Mount Olive Baptist Church and a 1950s bebop acolyte. About four minutes into the opening track “Om Rama,” Panduranga John Henderson’s vocals come in after her swooping synthesizer. He’s played organ and sung with Ray Charles in the mid-'70s, and he doesn’t shed his fervent feel for soul at the ashram door. Her vocals are calm, calming and incantatory on “Om Shanti,” where she’s joined by an echoing chorus. Some pieces stay at a low simmer, like the drone-driven “Rama Rama,” while others reach ecstatic heights propelled by chants, tambourines and hand claps (“Krishna Japaye” and “Hari Nayaran”).\u003c/p>\n\u003cp>“Ecstatic Music” draws from four cassettes that Coltrane released between 1982 and 1995 on a tiny local label devoted to Vedic teachings, and the original recording engineer Baker Bigsby did an impressive job transferring the tapes to new formats. One of my favorite pieces is “Journey to Satchidananda” which recasts a tune from her classic 1970 album \"\u003ca href=\"https://www.youtube.com/watch?v=NxPMKgY_8qk\">Journey in Satchidananda\u003c/a>.”\u003c/p>\n\u003cp>This music is worth spending time with, though it sometimes requires patience. On its own it offers enlightenment about a major artist, but I also hope the album points people back to her earlier music, which doesn’t get get nearly enough credit. Alice Coltrane and Pharoah Sanders’ cosmic jazz provides a good deal of the framework behind Kamasi Washington’s breakthrough album “The Epic.”\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-11463346\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/Foundation-Album-Cover-copy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003ch3>Music Action Lab: Foundation (Giant Steps)\u003c/h3>\n\u003cp>If Alice Coltrane sought to enlighten with her music, the Music Action Ensemble was designed to change the world. It’s a project created by \u003ca href=\"http://giantstepsmusic.org/who-we-are/\">Drew Foxman\u003c/a>, which he calls “a global musical social entrepreneurship incubator.” Last year the initiative brought together an international cast of 10 young musicians in San Francisco. They worked with mentors, jazz drummer \u003ca href=\"http://www.ericharland.com\">extraordinaire Eric Harland\u003c/a> and Tunisian \u003ca href=\"http://emelmathlouthi.com\">singer/songwriter Emel Mathlouth\u003c/a>i, a harbinger of the Arab Spring, then spent three weeks playing together and composing songs, some of which are gathered on the new album “Foundation” (Giant Steps).\u003c/p>\n\u003cp>What’s most impressive is that the 10 players do sound like an ensemble, an accomplishment built on the rhythm section featuring powerhouse \u003ca href=\"http://giantstepsmusic.org/icaro-sa/\">percussionist Icaro Sá\u003c/a>, from Salvador da Bahia in Brazil’s northeast, Bay Area \u003ca href=\"http://giantstepsmusic.org/owen-clapp/\">bassist Owen Clapp\u003c/a>, and Chicago percussionist/drummer \u003ca href=\"http://giantstepsmusic.org/tyler-nam-berg/\">Tyler Nam Berg\u003c/a>. Sometimes the music is surprisingly familiar, drawing on the international lingua franca of hip hop and R&B, but there’s also Afropop, Brazilian grooves, classical Arabic cadences, and Pakistani folk music.\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/llwqXf2tyPo'\n title='//www.youtube.com/embed/llwqXf2tyPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album opens with Pakastani rubab \u003ca href=\"http://www.pakium.pk/2011/09/16/introducing-farhan-bogra-young-talented-rubab-player-interview\">player Farhan Bogra\u003c/a>’s “Sheen Ghar,” a sinuous melody delivered by trumpeter Will Magid and Japanese-American \u003ca href=\"http://aishafukushima.com/bio\">vocalist/rapper Aisha Fukushima\u003c/a>, the project’s primary vocalist (who’s already a global force as an activist and educator). She trades verses with Rwandan \u003ca href=\"http://www.agrlcanmac.com/2015/03/learning-my-rwandan-heritage-rwandan.html\">vocalist Teta Diana\u003c/a> on Owen Clapp’s “Beautiful,” an anthem that decries the way society eats away at the confidence of young women.\u003c/p>\n\u003cp>If the lyrics tend toward the earnest and didactic, the music is consistently thoughtful and well-integrated despite the far-flung traditions and influences on tap. Even an undistinguished radio-friendly R&B number like Tyler Nam Berg’s “Dance Joint” holds interest with a polyrhythmic churn. The ensemble sounds far more at ease on Togolese guitarist Amen Viana’s\u003c/p>\n\u003cp>“Share,” with its graceful call and response between Viana’s vocals and the horns of Will Magid and saxophonist Derek Beckvold. One of the most successful tracks is Magid’s instrumental “King Cardamom” which opens with a sharp dialogue between his trumpet trumpet and Bogra’s rubab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jacques Pépin launched his long television career at KQED with a series called “Today’s Gourmet” and has since starred in almost a dozen other cooking shows at KQED. Now, a new American Masters documentary, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/jacques-pepin-art-craft-film/8435/\" target=\"_blank\">\u003cem>Jacques Pépin: The Art of Craft\u003c/em>\u003c/a>, explores Pépin’s love of cooking and how he has helped change cooking in America. He talks with KQED Newsroom about why he chose to work for the burgeoning Howard Johnson's food chain instead of cooking for the Kennedy White House, his long friendship with Julia Child and his idea of a perfect meal. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/ashready\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Eady \u003c/a>brings us the story of \u003ca href=\"https://jacobthehorse.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob the Horse\u003c/a> — a Los Angeles band upset by Trump’s incendiary stance on Muslims, Jews and immigrants. Rick Chapman, the drummer, is Latino. Josh Fleury, the lead guitarist, is half Chinese. And lead singer Aviv Rubenstien is Jewish.\u003c/em>\u003c/p>\n\u003cp>Before the election, Jacob the Horse didn’t play music that was at all political. They wrote a lot of rock songs about women, unrequited love and relationships gone wrong. Like the sweet and slow love song, “\u003ca href=\"https://jacobthehorse.bandcamp.com/track/hitchcock-blonde-2\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock Blonde\u003c/a>.”\u003c/p>\n\u003cp>But since Nov. 8, the band’s fear, frustration and anger have come pouring out. They went from writing lyrics like:\u003c/p>\n\u003cp>\u003cem>“I promise I can make things right if you only let me stay the night,”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>to\u003c/p>\n\u003cp>\u003cem>“I’ll scream until I’ve got no air left to scream.”\u003c/em>\u003c/p>\n\u003cp>“We had a rehearsal right after the election results and said, ‘Let’s write a song about how angry we are!’ ” explains bassist Mark Desrosiers.\u003c/p>\n\u003cp>Lead singer Aviv Rubenstien says the first few months of the Trump presidency have put him in touch with his Jewish roots. Despite having Israeli immigrant parents and growing up in a predominantly Jewish town, he spent his teenage years trying to fit in with his non-Jewish peers.\u003c/p>\n\u003cp>“I desperately, desperately wanted to be American,” Aviv says, letting out an introspective sigh. “I wasn’t ever Jewish first.”\u003c/p>\n\u003cfigure id=\"attachment_11466636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead singer Aviv Rubenstien sports a yellow Star of David on his jacket as a personal form of protest against rising anti-Semitism. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since Trump took office in January, \u003ca href=\"http://www.cnn.com/2017/04/24/us/antisemitic-incidents-reports-trnd/\" target=\"_blank\" rel=\"noopener noreferrer\">attacks on synagogues have spiked\u003c/a>. On International Holocaust Day, Trump failed to acknowledge the deaths of 6 million Jews during the Holocaust. And of course, Sean Spicer made \u003ca href=\"https://www.nytimes.com/2017/04/11/us/politics/sean-spicer-hitler-gas-holocaust-center.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">his infamous comment\u003c/a> about the use of chemical weapons during World War II.\u003c/p>\n\u003cp>All four of Aviv’s grandparents survived the Holocaust. He decides to take a stand at Jacob The Horse’s album release party at a local bar.\u003c/p>\n\u003cp>[contextly_sidebar id=”IZJDJa5283c6dSQv43q5NHmocI1Tt8V9″]\u003c/p>\n\u003cp>The room buzzes with excitement as Mark, Aviv, Rick and Josh set up their equipment. Aviv steps up to the microphone and thanks the audience for coming to the show. He’s wearing a half-dollar-size pale gold Star of David — the same star European Jews were forced to wear during the Holocaust.\u003c/p>\n\u003cp>“I think it’s a more thoughtful form of protest than just wearing a shirt that says, like, ‘Go to Hell, Trump’ or whatever,” says Aviv. “It also is a reminder for me [that] I wouldn’t have had an option not to wear [the Star of David] 60 or 70 years ago.”\u003c/p>\n\u003cp>Although the tiny star blends into Aviv’s dark denim jacket, some fans notice it. Michael Epstein is one of them. He likes seeing the provocative symbol worn by a fellow Jew.\u003c/p>\n\u003cp>“I feel empowered, encouraged, and not afraid to do the same sort of thing,” he says.\u003c/p>\n\u003cp>The other members of Jacob the Horse have also gotten more political. Josh, for example, worries about his Taiwanese immigrant mother being affected by Trump’s policies.\u003c/p>\n\u003cfigure id=\"attachment_11466639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466639\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead guitarist Josh Fleury and drummer Rick Chapman jam during a late-night rehearsal. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of been tough for me to think about,” Josh admits. “If a man like Trump was president back when my mom tried to move out here, she may not have been able to come out here at all, and then I may not have had the life I had.”\u003c/p>\n\u003cp>About halfway through the album release show, Jacob the Horse erupts into its newest song, the rock ‘n’ roll battle cry, “Dead by 45.” As the musicians play, brows furrowed and strumming intensely, they radiate the heat of their new fiery style.\u003c/p>\n\u003cp>Aviv explains the song’s title. “Well, [Trump] is the 45th president, and he’s going to kill us. We’ll all be dead.”\u003c/p>\n\u003cp>Aviv then gives a lyrical breakdown of the song, because it’s hard to actually make out the words of the ballad over the guitars.\u003c/p>\n\u003cblockquote>\u003cp>I’m a fool now that it’s over\u003cbr>\nBut it all will be okay\u003cbr>\nBecause when they drop the big one\u003cbr>\nWe’ll all be orange anyway\u003cbr>\nAnd forever and forever, when you’re tired every day\u003cbr>\n‘Cause when you’re stupid, that’s the punishment you pay\u003c/p>\u003c/blockquote>\n\u003cp>Aviv explains, “The people that were positive [Trump] wouldn’t win [the election] are dumb, and the people that voted for him are dumb.”\u003c/p>\n\u003cp>But Aviv says the song has an overall positive tone. “It’s not like ‘I’m so angry.’ It’s like, ‘we’re screwed, but here we go!’”\u003c/p>\n\u003cp>The most important part of the song goes like this:\u003c/p>\n\u003cblockquote>\u003cp>I feel fine ’cause we’ll be dead by 45\u003cbr>\nAnd if some k*** from California can sing about it, then, baby, so can I\u003c/p>\u003c/blockquote>\n\u003cp>Aviv says he uses the derogatory term because he wants to defuse slurs against Jews, and celebrate his Jewish identity through his music.\u003c/p>\n\u003cfigure id=\"attachment_11466640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob the Horse performs at its album release show at Molly Malone’s Irish Pub in Los Angeles. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and the rest of the band hope that anyone listening to “Dead by 45” will feel inspired to stand up to the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band plans to donate the proceeds from the new album to the \u003ca href=\"https://www.splcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Poverty Law Center\u003c/a> and, of course, write more protest songs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/ashready\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Eady \u003c/a>brings us the story of \u003ca href=\"https://jacobthehorse.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob the Horse\u003c/a> — a Los Angeles band upset by Trump’s incendiary stance on Muslims, Jews and immigrants. Rick Chapman, the drummer, is Latino. Josh Fleury, the lead guitarist, is half Chinese. And lead singer Aviv Rubenstien is Jewish.\u003c/em>\u003c/p>\n\u003cp>Before the election, Jacob the Horse didn’t play music that was at all political. They wrote a lot of rock songs about women, unrequited love and relationships gone wrong. Like the sweet and slow love song, “\u003ca href=\"https://jacobthehorse.bandcamp.com/track/hitchcock-blonde-2\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock Blonde\u003c/a>.”\u003c/p>\n\u003cp>But since Nov. 8, the band’s fear, frustration and anger have come pouring out. They went from writing lyrics like:\u003c/p>\n\u003cp>\u003cem>“I promise I can make things right if you only let me stay the night,”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>to\u003c/p>\n\u003cp>\u003cem>“I’ll scream until I’ve got no air left to scream.”\u003c/em>\u003c/p>\n\u003cp>“We had a rehearsal right after the election results and said, ‘Let’s write a song about how angry we are!’ ” explains bassist Mark Desrosiers.\u003c/p>\n\u003cp>Lead singer Aviv Rubenstien says the first few months of the Trump presidency have put him in touch with his Jewish roots. Despite having Israeli immigrant parents and growing up in a predominantly Jewish town, he spent his teenage years trying to fit in with his non-Jewish peers.\u003c/p>\n\u003cp>“I desperately, desperately wanted to be American,” Aviv says, letting out an introspective sigh. “I wasn’t ever Jewish first.”\u003c/p>\n\u003cfigure id=\"attachment_11466636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead singer Aviv Rubenstien sports a yellow Star of David on his jacket as a personal form of protest against rising anti-Semitism. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since Trump took office in January, \u003ca href=\"http://www.cnn.com/2017/04/24/us/antisemitic-incidents-reports-trnd/\" target=\"_blank\" rel=\"noopener noreferrer\">attacks on synagogues have spiked\u003c/a>. On International Holocaust Day, Trump failed to acknowledge the deaths of 6 million Jews during the Holocaust. And of course, Sean Spicer made \u003ca href=\"https://www.nytimes.com/2017/04/11/us/politics/sean-spicer-hitler-gas-holocaust-center.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">his infamous comment\u003c/a> about the use of chemical weapons during World War II.\u003c/p>\n\u003cp>All four of Aviv’s grandparents survived the Holocaust. He decides to take a stand at Jacob The Horse’s album release party at a local bar.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The room buzzes with excitement as Mark, Aviv, Rick and Josh set up their equipment. Aviv steps up to the microphone and thanks the audience for coming to the show. He’s wearing a half-dollar-size pale gold Star of David — the same star European Jews were forced to wear during the Holocaust.\u003c/p>\n\u003cp>“I think it’s a more thoughtful form of protest than just wearing a shirt that says, like, ‘Go to Hell, Trump’ or whatever,” says Aviv. “It also is a reminder for me [that] I wouldn’t have had an option not to wear [the Star of David] 60 or 70 years ago.”\u003c/p>\n\u003cp>Although the tiny star blends into Aviv’s dark denim jacket, some fans notice it. Michael Epstein is one of them. He likes seeing the provocative symbol worn by a fellow Jew.\u003c/p>\n\u003cp>“I feel empowered, encouraged, and not afraid to do the same sort of thing,” he says.\u003c/p>\n\u003cp>The other members of Jacob the Horse have also gotten more political. Josh, for example, worries about his Taiwanese immigrant mother being affected by Trump’s policies.\u003c/p>\n\u003cfigure id=\"attachment_11466639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466639\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead guitarist Josh Fleury and drummer Rick Chapman jam during a late-night rehearsal. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of been tough for me to think about,” Josh admits. “If a man like Trump was president back when my mom tried to move out here, she may not have been able to come out here at all, and then I may not have had the life I had.”\u003c/p>\n\u003cp>About halfway through the album release show, Jacob the Horse erupts into its newest song, the rock ‘n’ roll battle cry, “Dead by 45.” As the musicians play, brows furrowed and strumming intensely, they radiate the heat of their new fiery style.\u003c/p>\n\u003cp>Aviv explains the song’s title. “Well, [Trump] is the 45th president, and he’s going to kill us. We’ll all be dead.”\u003c/p>\n\u003cp>Aviv then gives a lyrical breakdown of the song, because it’s hard to actually make out the words of the ballad over the guitars.\u003c/p>\n\u003cblockquote>\u003cp>I’m a fool now that it’s over\u003cbr>\nBut it all will be okay\u003cbr>\nBecause when they drop the big one\u003cbr>\nWe’ll all be orange anyway\u003cbr>\nAnd forever and forever, when you’re tired every day\u003cbr>\n‘Cause when you’re stupid, that’s the punishment you pay\u003c/p>\u003c/blockquote>\n\u003cp>Aviv explains, “The people that were positive [Trump] wouldn’t win [the election] are dumb, and the people that voted for him are dumb.”\u003c/p>\n\u003cp>But Aviv says the song has an overall positive tone. “It’s not like ‘I’m so angry.’ It’s like, ‘we’re screwed, but here we go!’”\u003c/p>\n\u003cp>The most important part of the song goes like this:\u003c/p>\n\u003cblockquote>\u003cp>I feel fine ’cause we’ll be dead by 45\u003cbr>\nAnd if some k*** from California can sing about it, then, baby, so can I\u003c/p>\u003c/blockquote>\n\u003cp>Aviv says he uses the derogatory term because he wants to defuse slurs against Jews, and celebrate his Jewish identity through his music.\u003c/p>\n\u003cfigure id=\"attachment_11466640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob the Horse performs at its album release show at Molly Malone’s Irish Pub in Los Angeles. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and the rest of the band hope that anyone listening to “Dead by 45” will feel inspired to stand up to the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band plans to donate the proceeds from the new album to the \u003ca href=\"https://www.splcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Poverty Law Center\u003c/a> and, of course, write more protest songs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Like a God,' Google AI Beats Human Champ of Notoriously Complex 'Go' Game",
"title": "'Like a God,' Google AI Beats Human Champ of Notoriously Complex 'Go' Game",
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"content": "\u003cp>In the first of three matches with the world's No. 1 Go player, a Google artificial intelligence program claimed victory Tuesday. It won the round by just a fraction of a point in Wuzhen, China, but the win was enough to leave its grandmaster opponent impressed and thoroughly confounded by the result.\u003c/p>\n\u003cp>Last year, after Google's AlphaGo \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/12/470193083/going-going-gone-master-go-player-loses-best-of-5-match-with-a-i\">dispatched a human grandmaster\u003c/a> in the notoriously complex board game for the first time, 19-year-old Ke Jie expressed confidence he wouldn't share the same fate, \u003ca href=\"https://www.nytimes.com/2017/05/23/business/google-deepmind-alphago-go-champion-defeat.html?_r=0\">according to The New York Times\u003c/a>. After all, Ke had defeated Lee Sedol \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiukaSmq4bUAhXD8CYKHYbTDYkQFggoMAA&url=https%3A%2F%2Fgogameguru.com%2F2nd-mlily-cup-final%2F&usg=AFQjCNFacMG2nd7GGQuRLtpj2p0HA_ITxg&sig2=lNu9EAzEwzWG9NgLqYeLjA\">several times\u003c/a> before himself.\u003c/p>\n\u003cp>By the match's end Tuesday, Ke felt markedly different about his inhuman competitor.\u003c/p>\n\u003cp>\"Last year, it was still quite humanlike when it played,\" Ke said. \"But this year, it became like a god of Go.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z-HL5nppBnM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His statement feels rather apt considering that, like a god, AlphaGo is its own greatest instructor. Last year, NPR's Geoff Brumfiel \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/08/469638745/how-googles-neural-network-hopes-to-beat-a-go-world-champion\">broke down the basics\u003c/a> of the program developed by Google's DeepMind lab:\u003c/p>\n\u003cblockquote>\u003cp>\"It started by studying a database of about 100,000 human matches, and then continued by playing against itself millions of times.\u003c/p>\n\u003cp>\"As it went, it reprogrammed itself and improved. This type of self-learning program is known as a neural network, and it's based on theories of how the human brain works.\u003c/p>\n\u003cp>\"AlphaGo consists of two neural networks: The first tries to figure out the best move to play each turn, and the second evaluates who is winning the match overall.\"\u003c/p>\u003c/blockquote>\n\u003cp>DeepMind has only further developed the architecture of the program since it defeated Lee last year.\u003c/p>\n\u003cp>Also like a god, AlphaGo has been demonstrating its influence far and wide among the game's top players — including Ke, who \u003ca href=\"https://www.wired.com/2017/05/revamped-alphago-wins-first-game-chinese-go-grandmaster/\">Wired notes\u003c/a> adopted some tactics from AlphaGo. The program played many of the world's top players under the pseudonym \"Master\" in online matches earlier this year, according to the magazine, and its unorthodox playing style affected Ke's.\u003c/p>\n\u003cp>[contextly_sidebar id=\"zheGSSUw3Jql409pa4yeLX1CSImXFvfc\"]\u003c/p>\n\u003cp>In a \u003ca href=\"https://blog.google/topics/machine-learning/alphago-machine-learning-game-go/\">blog post last year\u003c/a>, DeepMind CEO and co-founder Demis Hassabis explained what attracted his lab to the ancient game of Go, which has been around at least since the days of Confucius:\u003c/p>\n\u003cblockquote>\u003cp>\"[A]s simple as the rules are, Go is a game of profound complexity. There are more possible positions than the number of atoms in the universe, and more than a googol times larger than chess.\"\u003c/p>\u003c/blockquote>\n\u003cp>It doesn't hurt that the game originated -- and remains very popular -- in China, with which Google has shared a fraught relationship. Roughly seven years ago, the California-based tech giant \u003ca href=\"http://www.npr.org/2011/07/22/125028043/google-to-shift-chinese-users-to-hong-kong\">pulled out of the country\u003c/a>, citing discomfort with Chinese censorship requirements.\u003c/p>\n\u003cp>Although \u003ca href=\"http://www.reuters.com/article/us-science-intelligence-go-idUSKBN18J0PE\">Reuters reports\u003c/a> that Eric Schmidt, chief of Google parent Alphabet, watched the match in person in China, the \u003cem>Times\u003c/em> notes that \"there was no obvious live video of the event\" available to viewers on the Chinese mainland. Chinese officials don't allow access to Google-owned YouTube, where the match was live-streamed, or Google search.\u003c/p>\n\u003cp>Yet Google continues to have designs on the massive Chinese market, announcing recently that it intends to bring some of its products back to China, according to Reuters.\u003c/p>\n\u003cp>For now, though, skittish onlookers watching the \u003ca href=\"http://www.usgo.org/news/2017/05/alphago-ke-jie-match-schedule-released/\">next two matches\u003c/a> between Ke and AlphaGo on Thursday and Saturday might do well to remember Geoff's reassurance: \"This program will not lead to a dystopian future in which humanity is enslaved by killer robots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"At least not for a few more years.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Like+A+God%2C%27+Google+A.I.+Beats+Human+Champ+Of+Notoriously+Complex+%27Go%27+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the first of three matches with the world's No. 1 Go player, a Google artificial intelligence program claimed victory Tuesday. It won the round by just a fraction of a point in Wuzhen, China, but the win was enough to leave its grandmaster opponent impressed and thoroughly confounded by the result.\u003c/p>\n\u003cp>Last year, after Google's AlphaGo \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/12/470193083/going-going-gone-master-go-player-loses-best-of-5-match-with-a-i\">dispatched a human grandmaster\u003c/a> in the notoriously complex board game for the first time, 19-year-old Ke Jie expressed confidence he wouldn't share the same fate, \u003ca href=\"https://www.nytimes.com/2017/05/23/business/google-deepmind-alphago-go-champion-defeat.html?_r=0\">according to The New York Times\u003c/a>. After all, Ke had defeated Lee Sedol \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiukaSmq4bUAhXD8CYKHYbTDYkQFggoMAA&url=https%3A%2F%2Fgogameguru.com%2F2nd-mlily-cup-final%2F&usg=AFQjCNFacMG2nd7GGQuRLtpj2p0HA_ITxg&sig2=lNu9EAzEwzWG9NgLqYeLjA\">several times\u003c/a> before himself.\u003c/p>\n\u003cp>By the match's end Tuesday, Ke felt markedly different about his inhuman competitor.\u003c/p>\n\u003cp>\"Last year, it was still quite humanlike when it played,\" Ke said. \"But this year, it became like a god of Go.\"\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/Z-HL5nppBnM'\n title='//www.youtube.com/embed/Z-HL5nppBnM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His statement feels rather apt considering that, like a god, AlphaGo is its own greatest instructor. Last year, NPR's Geoff Brumfiel \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/08/469638745/how-googles-neural-network-hopes-to-beat-a-go-world-champion\">broke down the basics\u003c/a> of the program developed by Google's DeepMind lab:\u003c/p>\n\u003cblockquote>\u003cp>\"It started by studying a database of about 100,000 human matches, and then continued by playing against itself millions of times.\u003c/p>\n\u003cp>\"As it went, it reprogrammed itself and improved. This type of self-learning program is known as a neural network, and it's based on theories of how the human brain works.\u003c/p>\n\u003cp>\"AlphaGo consists of two neural networks: The first tries to figure out the best move to play each turn, and the second evaluates who is winning the match overall.\"\u003c/p>\u003c/blockquote>\n\u003cp>DeepMind has only further developed the architecture of the program since it defeated Lee last year.\u003c/p>\n\u003cp>Also like a god, AlphaGo has been demonstrating its influence far and wide among the game's top players — including Ke, who \u003ca href=\"https://www.wired.com/2017/05/revamped-alphago-wins-first-game-chinese-go-grandmaster/\">Wired notes\u003c/a> adopted some tactics from AlphaGo. The program played many of the world's top players under the pseudonym \"Master\" in online matches earlier this year, according to the magazine, and its unorthodox playing style affected Ke's.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In a \u003ca href=\"https://blog.google/topics/machine-learning/alphago-machine-learning-game-go/\">blog post last year\u003c/a>, DeepMind CEO and co-founder Demis Hassabis explained what attracted his lab to the ancient game of Go, which has been around at least since the days of Confucius:\u003c/p>\n\u003cblockquote>\u003cp>\"[A]s simple as the rules are, Go is a game of profound complexity. There are more possible positions than the number of atoms in the universe, and more than a googol times larger than chess.\"\u003c/p>\u003c/blockquote>\n\u003cp>It doesn't hurt that the game originated -- and remains very popular -- in China, with which Google has shared a fraught relationship. Roughly seven years ago, the California-based tech giant \u003ca href=\"http://www.npr.org/2011/07/22/125028043/google-to-shift-chinese-users-to-hong-kong\">pulled out of the country\u003c/a>, citing discomfort with Chinese censorship requirements.\u003c/p>\n\u003cp>Although \u003ca href=\"http://www.reuters.com/article/us-science-intelligence-go-idUSKBN18J0PE\">Reuters reports\u003c/a> that Eric Schmidt, chief of Google parent Alphabet, watched the match in person in China, the \u003cem>Times\u003c/em> notes that \"there was no obvious live video of the event\" available to viewers on the Chinese mainland. Chinese officials don't allow access to Google-owned YouTube, where the match was live-streamed, or Google search.\u003c/p>\n\u003cp>Yet Google continues to have designs on the massive Chinese market, announcing recently that it intends to bring some of its products back to China, according to Reuters.\u003c/p>\n\u003cp>For now, though, skittish onlookers watching the \u003ca href=\"http://www.usgo.org/news/2017/05/alphago-ke-jie-match-schedule-released/\">next two matches\u003c/a> between Ke and AlphaGo on Thursday and Saturday might do well to remember Geoff's reassurance: \"This program will not lead to a dystopian future in which humanity is enslaved by killer robots.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"At least not for a few more years.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Like+A+God%2C%27+Google+A.I.+Beats+Human+Champ+Of+Notoriously+Complex+%27Go%27+Game&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "30 Years on, U2's 'The Joshua Tree' Still Draws Fans to the Edge of Death Valley",
"title": "30 Years on, U2's 'The Joshua Tree' Still Draws Fans to the Edge of Death Valley",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>On the inside cover of \"The Joshua Tree,\" the members of U2 stare grimly into the camera, a lone Joshua tree looming behind them.\u003c/p>\n\u003cp>The story goes that it was Dutch photographer and filmmaker \u003ca href=\"http://antoncorbijn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anton Corbijn\u003c/a> who spotted the tree while motoring along Highway 190 with the band out of Death Valley National Park.\u003c/p>\n\u003cp>U2 had spent several days exploring the otherworldly desert landscapes of the Coachella Valley and Death Valley (the photo that graces \"The Joshua Tree\" album cover was shot at Zabriskie Point in Death Valley).\u003c/p>\n\u003cfigure id=\"attachment_11466994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11466994 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg\" alt=\"Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They pulled over and hiked about 10 minutes south from the highway. Once at the tree, they took a series of photos and then pushed on toward Los Angeles, where they’d later film a \u003ca href=\"https://www.youtube.com/watch?v=GzZWSrr5wFI\" target=\"_blank\" rel=\"noopener noreferrer\">music video \u003c/a>for one of “The Joshua Tree’s” biggest hits (“Where the Streets Have No Name”) at the top of a liquor store (now a Mexican restaurant) on Seventh Street and Main at the edge of L.A.’s Skid Row.\u003c/p>\n\u003cp>That downtown location is as easy to find as it is to download the entire \"The Joshua Tree\" album, released in March 1987. But if you set out to find that mysterious tree, you’re unlikely to find it easily.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are no obvious landmarks or road markers to guide you there. After some considerable online sleuthing, I finally run down some GPS coordinates that I hope are correct.\u003c/p>\n\u003cfigure id=\"attachment_11467004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467004\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outtakes from Anton Corbijn's U2 photo shoot near Death Valley. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Driving toward the western edge of Death Valley (the opposite direction U2 was driving on the morning \"The Joshua Tree\" photos were taken), I spot a small cluster of Joshua trees off in the distance after driving about 23 miles east of Olancha. But these are shorter and younger than the majestic, towering tree immortalized on the U2 album.\u003c/p>\n\u003cp>I'm hoping to see a car or two pulled over, a tell-tale sign that some U2 pilgrims may be making the trek. But there’s nothing but the wide-open desert expanse and breathtaking views of the Coso Range and snow-capped Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_11467008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11467008 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you set out on a search of your own, there’s one important thing to know: The fabled tree died and toppled over years ago, its massive trunk and gnarled, desiccated branches outstretched on the desert floor.\u003c/p>\n\u003cp>After hiking about a quarter of a mile toward the trees, things start coming into view.\u003c/p>\n\u003cp>Messages in the sand spelled out with small stones beckon visitors closer. There’s a formation in the shape of a heart with \"U2\" spelled out in the middle in matching stones. Another formation reads \"Leave it behind,\" a reference to one of U2’s more recent hits, \u003ca href=\"https://www.youtube.com/watch?v=gwKEdFoUB0o\" target=\"_blank\" rel=\"noopener noreferrer\">\"Walk On.\"\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11467010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467010\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors have left behind an array of tributes for U2 and the fabled Joshua tree. These guitars lean against the tree's fallen trunk. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors have left behind an array of tributes for band and tree; weathered old acoustic guitars with rusty strings, stones with hand-painted messages, a piece of driftwood painted with the colors of the Irish flag.\u003c/p>\n\u003cp>There’s a massive silver road case jammed with notes, photos and trinkets.\u003c/p>\n\u003cfigure id=\"attachment_11467022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467022\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive silver road case jammed with notes, photos and trinkets at the U2 Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a large metal ammunition case filled to the brim; more handwritten notes, pictures, ticket stubs from past U2 concerts across the world, guitar picks and even some military dog tags.\u003c/p>\n\u003cp>There’s a photo of a guy with shaggy beard and shorts, standing on a boat along with a handwritten message.\u003c/p>\n\u003cp>“I ran from Joshua Tree National park to here on the 19\u003csup>th\u003c/sup> of January 2017 to find what I was looking for,” he writes.\u003c/p>\n\u003cfigure id=\"attachment_11467012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">38-year-old British marathoner Rob Pope left his photo and a message. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Follow me all the way to Maine and beyond.” He's left his phone number.\u003c/p>\n\u003cp>He’s 38-year-old \u003ca href=\"http://www.goingthedistancerun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Pope\u003c/a>, a British marathoner re-creating the coast-to-coast run from the film “Forrest Gump.” Along the way he’s raising money for the \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions.aspx?sc=AWY1200WCGA1&gclid=CNaSz_LD_NMCFZS6wAodS7UFiA\" target=\"_blank\" rel=\"noopener noreferrer\">World Wildlife Fund\u003c/a> and Peace Direct .\u003c/p>\n\u003cp>Pope is in Maine when I reach him, winding down after another long day of running. I tell him about finding his picture way out near Death Valley.\u003c/p>\n\u003cp>“That’s amazing, dude. I was wondering if anyone would ever see that! Isn’t that place magical, man?” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again.'\u003ccite>Ernie Navarre\u003c/cite>\u003c/aside>\n\u003cp>Pope is now running back across the country. He hopes to make it to Chicago by June 4 to see U2’s performance at Soldier Field. Then he’ll push on to California.\u003c/p>\n\u003cp>“When people ask, 'What is the best place you’ve run through so far?' I almost invariably say 'Joshua Tree and Death Valley,' ” says Pope. “I was just struck by the vastness of it all. I felt just felt lucky to be there.\u003c/p>\n\u003cp>\"By the way,\" he adds,“I had 'The Joshua Tree' on loop the whole time. And I played it 8½ times in the traversing of the [Joshua Tree National] Park when I was running.”\u003c/p>\n\u003cfigure id=\"attachment_11467017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467017\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immense bronze plaque set deep in the soil about 15 years ago at the site of U2's Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Joshua Tree” and the landscape that helped shape it can leave a lasting impression. They inspired one of the site’s most mysterious tributes: an immense bronze plaque set deep in the soil about 15 years ago.\u003c/p>\n\u003cp>Below an engraving of the actual Joshua Tree, there’s a simple question inspired by one of U2’s biggest hits; ‘Have you found what you’re looking for?’\u003c/p>\n\u003cp>“I’m asking it as much of myself as I am anybody else. It’s like, 'Are you seeking joy? And do you think that you’re going to find it outside of yourself?' \" says the bronze plaque’s creator, \u003ca href=\"http://u2tree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ernie Navarre\u003c/a>.\u003c/p>\n\u003cp>It was shortly after the 9/11 terrorist attacks when the San Diego guitar designer conceived of the idea to create a lasting monument to the album and the location.\u003c/p>\n\u003cp>Navarre had just lost a job at Dreamworks Animation. He lived out of his car for a while and couch-surfed with friends while he cast about for a new direction.\u003c/p>\n\u003cp>“I needed to do something, get out of town away from this. So I started exploring the desert a little bit,” says Navarre. “I thought, you know, I wonder if that tree is out here. Maybe I’ll bump into it.\"\u003c/p>\n\u003cfigure id=\"attachment_11467026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Navarre (R) with friends Matthew Leatherman (L) and Devon Oddone in 2003 after installing the U2 Joshua Tree bronze tribute. \u003ccite>(Matthew Leatherman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navarre made several treks to the desert and finally pinned down the location near Highway 190. But he still couldn’t find the tree, which by then had already fallen over. So he figured he’d find a suitable spot and install the plaque anyway.\u003c/p>\n\u003cp>He went on a last search and this time, just as the sun was setting, he found it. He and a couple of buddies returned the next night with flashlights, bags of cement and shovels and got to work.\u003c/p>\n\u003cp>“Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again,” says Navarre.\u003c/p>\n\u003cp>“The Joshua Tree’s” original title was “The Two Americas,” which makes sense. To many, the record evokes freedom in the open road and the untamed expanses of the American Southwest. But several songs like “Bullet the Blue Sky” also rail against Reagan–era American foreign policy.\u003c/p>\n\u003cp>But something’s always puzzled San Gabriel Valley-based musicians and U2 fans David Tokaji and Russell Wiener: Why isn’t there \u003cem>a song\u003c/em> called “The Joshua Tree?”\u003c/p>\n\u003cp>There of course isn't. So, they wrote one called \"(Chopping Down) The Joshua Tree.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UOWpXgcx3LM\u003c/p>\n\u003cp>It’s the premise of a tribute band Tokaji and Wiener formed with fellow musician Andy Hill called the \u003ca href=\"http://www.thetitletrackers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Title Trackers \u003c/a>to create title tracks for classic rock albums that don’t have one, each written and performed in the style of that artist.\u003c/p>\n\u003cp>“They're all bands we love, but we also love to poke a little bit of affectionate fun. It’s a loving parody,” says Tokaji, who’s always been told he sings like Bono anyway.\u003c/p>\n\u003cp>“People who love U2, they hear the song and laugh their asses off,” adds Wiener, who replicates The Edge’s chiming, propulsive guitar work with startling accuracy. In fact, he’s pranked some people, asking; Hey, have you heard this U2 song that never got released?\u003c/p>\n\u003cp>“People who don’t like them just go like, 'Yeah, that’s a U2 song, I hate that song,' \" laughs Wiener.\u003c/p>\n\u003cp>The Title Trackers set out on their own journey to find the elusive Joshua tree two years ago. When they did, they shot a music video to go with their fake title track. It lovingly mocks a band they adore and pays tribute to the site itself.\u003c/p>\n\u003cp>“For somebody who is even a casual fan, it's really hard not to be moved to be out there,” says Takaji. “If nothing else, to see the power and the beauty and the richness that this site, and that album by extension, has brought to people’s lives.”\u003c/p>\n\u003cfigure id=\"attachment_11467033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467033\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear if anyone in U2 knows this place near the edge of Death Valley has become a sacred pilgrimage site for fans and curious desert explorers alike.\u003c/p>\n\u003cp>But in a recent interview on \u003ca href=\"http://www.npr.org/2017/03/20/520443744/u2-on-the-joshua-tree-a-lasting-ode-to-a-divided-america\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Morning Edition\u003c/a>, vocalist Bono did say the searching spirit that helped inspire the record is as relevant today as it was 30 years ago when a different celebrity-turned-politician was leading the “two Americas.\"\u003c/p>\n\u003cp>“And at a time like this, it is a moment to re-evaluate yourself, your value system, what you believe in,” said Bono. “And I imagine Americans are going through that right now, you know, 'What is this country?' ”\u003c/p>\n\u003cfigure id=\"attachment_11467114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Among the tributes at the site of U2’s Joshua tree, a thank-you note made of marble. \u003ccite>(Steven Cuevas / KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>To find the Joshua Tree site, here’s a helpful hint: If traveling from the west, use \u003ca href=\"https://www.google.com/maps/place/Olancha,+CA+93549/@36.2707219,-118.0367465,13z/data=!3m1!4b1!4m5!3m4!1s0x80c0615957e32429:0x4abbaec4c0c38c39!8m2!3d36.2818827!4d-118.0064718\" target=\"_blank\" rel=\"noopener noreferrer\">Olancha\u003c/a> as a starting point. From Olancha drive east toward Death Valley on Highway 190. When you’ve driven about 23.2 miles, pull off to the side of the road when and where it’s safe to do so. Hike south from 190 for about seven to 10 minutes. The site should start coming into view. If not, you may be in the wrong area. A pair of binoculars or a camera zoom lens will also help locate the spot. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you go, plan ahead. Check out a map or two and familiarize yourself with the Death Valley area’s main hubs. Have plenty of gas, water, food and if possible a spare tire and other emergency items. It is the desert, after all, so cellphone service is very unreliable and road services like gas and food are limited. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the inside cover of \"The Joshua Tree,\" the members of U2 stare grimly into the camera, a lone Joshua tree looming behind them.\u003c/p>\n\u003cp>The story goes that it was Dutch photographer and filmmaker \u003ca href=\"http://antoncorbijn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anton Corbijn\u003c/a> who spotted the tree while motoring along Highway 190 with the band out of Death Valley National Park.\u003c/p>\n\u003cp>U2 had spent several days exploring the otherworldly desert landscapes of the Coachella Valley and Death Valley (the photo that graces \"The Joshua Tree\" album cover was shot at Zabriskie Point in Death Valley).\u003c/p>\n\u003cfigure id=\"attachment_11466994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11466994 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg\" alt=\"Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They pulled over and hiked about 10 minutes south from the highway. Once at the tree, they took a series of photos and then pushed on toward Los Angeles, where they’d later film a \u003ca href=\"https://www.youtube.com/watch?v=GzZWSrr5wFI\" target=\"_blank\" rel=\"noopener noreferrer\">music video \u003c/a>for one of “The Joshua Tree’s” biggest hits (“Where the Streets Have No Name”) at the top of a liquor store (now a Mexican restaurant) on Seventh Street and Main at the edge of L.A.’s Skid Row.\u003c/p>\n\u003cp>That downtown location is as easy to find as it is to download the entire \"The Joshua Tree\" album, released in March 1987. But if you set out to find that mysterious tree, you’re unlikely to find it easily.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are no obvious landmarks or road markers to guide you there. After some considerable online sleuthing, I finally run down some GPS coordinates that I hope are correct.\u003c/p>\n\u003cfigure id=\"attachment_11467004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467004\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outtakes from Anton Corbijn's U2 photo shoot near Death Valley. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Driving toward the western edge of Death Valley (the opposite direction U2 was driving on the morning \"The Joshua Tree\" photos were taken), I spot a small cluster of Joshua trees off in the distance after driving about 23 miles east of Olancha. But these are shorter and younger than the majestic, towering tree immortalized on the U2 album.\u003c/p>\n\u003cp>I'm hoping to see a car or two pulled over, a tell-tale sign that some U2 pilgrims may be making the trek. But there’s nothing but the wide-open desert expanse and breathtaking views of the Coso Range and snow-capped Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_11467008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11467008 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you set out on a search of your own, there’s one important thing to know: The fabled tree died and toppled over years ago, its massive trunk and gnarled, desiccated branches outstretched on the desert floor.\u003c/p>\n\u003cp>After hiking about a quarter of a mile toward the trees, things start coming into view.\u003c/p>\n\u003cp>Messages in the sand spelled out with small stones beckon visitors closer. There’s a formation in the shape of a heart with \"U2\" spelled out in the middle in matching stones. Another formation reads \"Leave it behind,\" a reference to one of U2’s more recent hits, \u003ca href=\"https://www.youtube.com/watch?v=gwKEdFoUB0o\" target=\"_blank\" rel=\"noopener noreferrer\">\"Walk On.\"\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11467010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467010\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors have left behind an array of tributes for U2 and the fabled Joshua tree. These guitars lean against the tree's fallen trunk. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors have left behind an array of tributes for band and tree; weathered old acoustic guitars with rusty strings, stones with hand-painted messages, a piece of driftwood painted with the colors of the Irish flag.\u003c/p>\n\u003cp>There’s a massive silver road case jammed with notes, photos and trinkets.\u003c/p>\n\u003cfigure id=\"attachment_11467022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467022\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive silver road case jammed with notes, photos and trinkets at the U2 Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a large metal ammunition case filled to the brim; more handwritten notes, pictures, ticket stubs from past U2 concerts across the world, guitar picks and even some military dog tags.\u003c/p>\n\u003cp>There’s a photo of a guy with shaggy beard and shorts, standing on a boat along with a handwritten message.\u003c/p>\n\u003cp>“I ran from Joshua Tree National park to here on the 19\u003csup>th\u003c/sup> of January 2017 to find what I was looking for,” he writes.\u003c/p>\n\u003cfigure id=\"attachment_11467012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">38-year-old British marathoner Rob Pope left his photo and a message. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Follow me all the way to Maine and beyond.” He's left his phone number.\u003c/p>\n\u003cp>He’s 38-year-old \u003ca href=\"http://www.goingthedistancerun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Pope\u003c/a>, a British marathoner re-creating the coast-to-coast run from the film “Forrest Gump.” Along the way he’s raising money for the \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions.aspx?sc=AWY1200WCGA1&gclid=CNaSz_LD_NMCFZS6wAodS7UFiA\" target=\"_blank\" rel=\"noopener noreferrer\">World Wildlife Fund\u003c/a> and Peace Direct .\u003c/p>\n\u003cp>Pope is in Maine when I reach him, winding down after another long day of running. I tell him about finding his picture way out near Death Valley.\u003c/p>\n\u003cp>“That’s amazing, dude. I was wondering if anyone would ever see that! Isn’t that place magical, man?” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again.'\u003ccite>Ernie Navarre\u003c/cite>\u003c/aside>\n\u003cp>Pope is now running back across the country. He hopes to make it to Chicago by June 4 to see U2’s performance at Soldier Field. Then he’ll push on to California.\u003c/p>\n\u003cp>“When people ask, 'What is the best place you’ve run through so far?' I almost invariably say 'Joshua Tree and Death Valley,' ” says Pope. “I was just struck by the vastness of it all. I felt just felt lucky to be there.\u003c/p>\n\u003cp>\"By the way,\" he adds,“I had 'The Joshua Tree' on loop the whole time. And I played it 8½ times in the traversing of the [Joshua Tree National] Park when I was running.”\u003c/p>\n\u003cfigure id=\"attachment_11467017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467017\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immense bronze plaque set deep in the soil about 15 years ago at the site of U2's Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Joshua Tree” and the landscape that helped shape it can leave a lasting impression. They inspired one of the site’s most mysterious tributes: an immense bronze plaque set deep in the soil about 15 years ago.\u003c/p>\n\u003cp>Below an engraving of the actual Joshua Tree, there’s a simple question inspired by one of U2’s biggest hits; ‘Have you found what you’re looking for?’\u003c/p>\n\u003cp>“I’m asking it as much of myself as I am anybody else. It’s like, 'Are you seeking joy? And do you think that you’re going to find it outside of yourself?' \" says the bronze plaque’s creator, \u003ca href=\"http://u2tree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ernie Navarre\u003c/a>.\u003c/p>\n\u003cp>It was shortly after the 9/11 terrorist attacks when the San Diego guitar designer conceived of the idea to create a lasting monument to the album and the location.\u003c/p>\n\u003cp>Navarre had just lost a job at Dreamworks Animation. He lived out of his car for a while and couch-surfed with friends while he cast about for a new direction.\u003c/p>\n\u003cp>“I needed to do something, get out of town away from this. So I started exploring the desert a little bit,” says Navarre. “I thought, you know, I wonder if that tree is out here. Maybe I’ll bump into it.\"\u003c/p>\n\u003cfigure id=\"attachment_11467026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Navarre (R) with friends Matthew Leatherman (L) and Devon Oddone in 2003 after installing the U2 Joshua Tree bronze tribute. \u003ccite>(Matthew Leatherman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navarre made several treks to the desert and finally pinned down the location near Highway 190. But he still couldn’t find the tree, which by then had already fallen over. So he figured he’d find a suitable spot and install the plaque anyway.\u003c/p>\n\u003cp>He went on a last search and this time, just as the sun was setting, he found it. He and a couple of buddies returned the next night with flashlights, bags of cement and shovels and got to work.\u003c/p>\n\u003cp>“Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again,” says Navarre.\u003c/p>\n\u003cp>“The Joshua Tree’s” original title was “The Two Americas,” which makes sense. To many, the record evokes freedom in the open road and the untamed expanses of the American Southwest. But several songs like “Bullet the Blue Sky” also rail against Reagan–era American foreign policy.\u003c/p>\n\u003cp>But something’s always puzzled San Gabriel Valley-based musicians and U2 fans David Tokaji and Russell Wiener: Why isn’t there \u003cem>a song\u003c/em> called “The Joshua Tree?”\u003c/p>\n\u003cp>There of course isn't. So, they wrote one called \"(Chopping Down) The Joshua Tree.\"\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/UOWpXgcx3LM'\n title='//www.youtube.com/embed/UOWpXgcx3LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s the premise of a tribute band Tokaji and Wiener formed with fellow musician Andy Hill called the \u003ca href=\"http://www.thetitletrackers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Title Trackers \u003c/a>to create title tracks for classic rock albums that don’t have one, each written and performed in the style of that artist.\u003c/p>\n\u003cp>“They're all bands we love, but we also love to poke a little bit of affectionate fun. It’s a loving parody,” says Tokaji, who’s always been told he sings like Bono anyway.\u003c/p>\n\u003cp>“People who love U2, they hear the song and laugh their asses off,” adds Wiener, who replicates The Edge’s chiming, propulsive guitar work with startling accuracy. In fact, he’s pranked some people, asking; Hey, have you heard this U2 song that never got released?\u003c/p>\n\u003cp>“People who don’t like them just go like, 'Yeah, that’s a U2 song, I hate that song,' \" laughs Wiener.\u003c/p>\n\u003cp>The Title Trackers set out on their own journey to find the elusive Joshua tree two years ago. When they did, they shot a music video to go with their fake title track. It lovingly mocks a band they adore and pays tribute to the site itself.\u003c/p>\n\u003cp>“For somebody who is even a casual fan, it's really hard not to be moved to be out there,” says Takaji. “If nothing else, to see the power and the beauty and the richness that this site, and that album by extension, has brought to people’s lives.”\u003c/p>\n\u003cfigure id=\"attachment_11467033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467033\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear if anyone in U2 knows this place near the edge of Death Valley has become a sacred pilgrimage site for fans and curious desert explorers alike.\u003c/p>\n\u003cp>But in a recent interview on \u003ca href=\"http://www.npr.org/2017/03/20/520443744/u2-on-the-joshua-tree-a-lasting-ode-to-a-divided-america\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Morning Edition\u003c/a>, vocalist Bono did say the searching spirit that helped inspire the record is as relevant today as it was 30 years ago when a different celebrity-turned-politician was leading the “two Americas.\"\u003c/p>\n\u003cp>“And at a time like this, it is a moment to re-evaluate yourself, your value system, what you believe in,” said Bono. “And I imagine Americans are going through that right now, you know, 'What is this country?' ”\u003c/p>\n\u003cfigure id=\"attachment_11467114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Among the tributes at the site of U2’s Joshua tree, a thank-you note made of marble. \u003ccite>(Steven Cuevas / KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>To find the Joshua Tree site, here’s a helpful hint: If traveling from the west, use \u003ca href=\"https://www.google.com/maps/place/Olancha,+CA+93549/@36.2707219,-118.0367465,13z/data=!3m1!4b1!4m5!3m4!1s0x80c0615957e32429:0x4abbaec4c0c38c39!8m2!3d36.2818827!4d-118.0064718\" target=\"_blank\" rel=\"noopener noreferrer\">Olancha\u003c/a> as a starting point. From Olancha drive east toward Death Valley on Highway 190. When you’ve driven about 23.2 miles, pull off to the side of the road when and where it’s safe to do so. Hike south from 190 for about seven to 10 minutes. The site should start coming into view. If not, you may be in the wrong area. A pair of binoculars or a camera zoom lens will also help locate the spot. \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>If you go, plan ahead. Check out a map or two and familiarize yourself with the Death Valley area’s main hubs. Have plenty of gas, water, food and if possible a spare tire and other emergency items. It is the desert, after all, so cellphone service is very unreliable and road services like gas and food are limited. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "they-call-us-monsters-a-new-lens-on-teens-facing-life-in-prison",
"title": "'They Call Us Monsters': A New Lens on Teens Facing Life in Prison",
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"headTitle": "‘They Call Us Monsters’: A New Lens on Teens Facing Life in Prison | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"QVFJPGfAmJrCvx9zKiHkPpLNrGSF4wG0\"]\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n",
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"content": "\u003cp>Some 200 protesters gathered at President Trump’s golf course near Los Angeles and spread out in the grass to form the word “RESIST!”\u003c/p>\n\u003cp>A group calling itself “Indivisible San Pedro” organized the demonstration Saturday at a public park nestled within Trump National Golf Course in Rancho Palos Verdes.\u003c/p>\n\u003cp>Peter Warren, a retired journalist and volunteer with the group, said Indivisible San Pedro is calling for a special prosecutor to investigate the Trump campaign and Russia’s interference in the 2016 elections. They’re also urging Trump to release his tax returns.\u003c/p>\n\u003cp>“This is not a candidate running for president; this is the president of the United States,” said Warren. “He needs to [release his tax returns].”\u003c/p>\n\u003cp>It took 15 minutes to form the 30-foot-tall letters, after which the group sang “God Bless America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Warren says it would have been too hard to spell out “release your taxes,” so they opted for “resist” instead.\u003c/p>\n\u003cp>He says golf course officials and sheriff’s deputies watched from the clubhouse but didn’t intervene. Warren says the group held their demonstration in the public access area of the golf course.\u003c/p>\n\u003cp>Warren says this was one of the group’s bigger actions, calling it a “family event.” Kids as young as 1½ participated.\u003c/p>\n\u003cp>As for organizing strategy, Warren says Indivisible San Pedro aims to push people to call their direct representatives on Capitol Hill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Don’t call Paul Ryan. Don’t call Mitch McConnell,” said Warren. “You have to talk to your members of Congress and tell them: ‘Here’s what I want.’ “\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Warren says it would have been too hard to spell out “release your taxes,” so they opted for “resist” instead.\u003c/p>\n\u003cp>He says golf course officials and sheriff’s deputies watched from the clubhouse but didn’t intervene. Warren says the group held their demonstration in the public access area of the golf course.\u003c/p>\n\u003cp>Warren says this was one of the group’s bigger actions, calling it a “family event.” Kids as young as 1½ participated.\u003c/p>\n\u003cp>As for organizing strategy, Warren says Indivisible San Pedro aims to push people to call their direct representatives on Capitol Hill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Don’t call Paul Ryan. Don’t call Mitch McConnell,” said Warren. “You have to talk to your members of Congress and tell them: ‘Here’s what I want.’ “\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Preserving the Legacy of Fresno's Hmong B-Boys",
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"content": "\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"vaSK9TaTtRXgMsTgxWwaugDD2JUUQQzU\"]\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95MGpzuOjvY\u003c/p>\n\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\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/95MGpzuOjvY'\n title='//www.youtube.com/embed/95MGpzuOjvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
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