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"content": "\u003cp>Khatchadour Khatchadourian’s voice is a troubadour’s voice. Round and gentle, the \u003ca href=\"https://www.kqed.org/news/tag/music\">sound\u003c/a> seems to emanate from his soul rather than from his chest, filling any room he’s in with warmth.\u003c/p>\n\u003cp>But even with his mesmerizing voice, the Bay Area musician may be better known for playing an instrument than using his God-given pipes.\u003c/p>\n\u003cp>To be fair, it’s a really cool instrument: the \u003cem>duduk\u003c/em>, an ancient Armenian double reed woodwind carved from apricot wood. The duduk’s melancholy voice is an enduring \u003ca href=\"http://archive.org/details/roughguidetoworl00simo/page/334/mode/2up\">symbol\u003c/a> of Armenia, its plaintive tone said to express the \u003ca href=\"https://archive.org/details/roughguidetoworl00simo/page/334/mode/2up\">soul\u003c/a> and tragedy of the country’s history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While you might not recognize the name, there’s a good chance you’ve heard the haunting, almost otherworldly sound the duduk makes. This humble shepherd’s flute wandered out of the Armenian countryside and into Hollywood, making cameos on the scores of movies and shows like \u003ca href=\"https://www.youtube.com/watch?v=_nxEDN3909M&list=RD_nxEDN3909M&start_radio=1\">\u003cem>The Gladiator\u003c/em>\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=JrpVgVOYEgc&list=RDJrpVgVOYEgc&start_radio=1\"> \u003cem>The Last Temptation of Christ.\u003c/em>\u003c/a> The duduk was even recently synthesized on both \u003ca href=\"https://www.youtube.com/watch?v=wOVzpJQTNhk&list=RDwOVzpJQTNhk&start_radio=1\">\u003cem>Dune\u003c/em> \u003c/a>soundtracks.\u003c/p>\n\u003cp>Audiences in the Bay Area don’t get many chances to hear the instrument live — unless they’re able to catch Khatchadourian. Those who follow him know him by his Instagram handle: “\u003ca href=\"https://www.instagram.com/dudukwhisperer/\">The Duduk Whisperer.\u003c/a>”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3756810110\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s a good marketing gimmick,” he joked, on a recent phone call.\u003c/p>\n\u003cp>Hollywood reaches for the instrument, time and time again, for many of the same reasons Khatchadourian does. The sounds of the duduk transport you somewhere beyond yourself. “When it hits you, it hits you,” he told KQED. “The duduk takes you to where it wants to go.”\u003c/p>\n\u003cfigure id=\"attachment_12061347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061347\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadourian displays two of his duduks, Armenian folk instruments, in his backyard in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll have to catch him while you can. Save \u003ca href=\"https://www.sfbayecalendar.com/?p=2613\">one performance \u003c/a>this weekend, Khatchadourian, 39, is taking a break from performing publicly for the time being to focus on crafting his sixth studio album, which he’s calling \u003cem>Breath\u003c/em> — a fitting title for a performer whose ability to sing and produce tones with the physically-demanding double reed depends on his lung strength.\u003c/p>\n\u003cp>The title is also a nod to the technique of breathing to move forward through pain. In his newly-built home studio in Santa Rosa, Khatchadourian is working out how an artist can create in the face of personal and collective hardship — which these days, he said, feels like is all around him.\u003c/p>\n\u003cp>The album concept took shape in 2023, following the shock and anguish Khatchadourian and Armenians around the world experienced witnessing Azerbaijan’s forced displacement of more than \u003ca href=\"https://www.kqed.org/news/11954142/more-california-armenians-are-moving-back-to-their-parents-native-land\">100,000 Armenians in Nagorno-Karabakh\u003c/a>, an enclave within the country that Armenians call “Artsakh.” That dispersal followed a \u003ca href=\"https://www.kqed.org/news/11841878/this-one-feels-different-bay-area-armenians-call-for-solidarity-as-homeland-faces-attacks\">pattern of war, starvation and violence \u003c/a>that led Luis Moreno Ocampo, an Argentinian lawyer and former prosecutor for the International Criminal Court, to \u003ca href=\"https://www.washingtonpost.com/opinions/2023/09/22/nagorno-karabakh-genocide-armenia/\">call\u003c/a> the crisis “the Armenian genocide of 2023.”[aside postID=news_12058796 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250913-NIMISHAAUNTY00688_TV-KQED.jpg']The events “left a wound in the collective Armenian psyche,” Khatchadourian said. The world’s silence made it all the more painful. That, in relation to the “ethnic cleansing and the ongoing genocide happening to Palestinians in Gaza,” left Khatchadourian temporarily frozen, he said, weighed down by the “heartbreak, the disappointment” of the politics of the moment.\u003c/p>\n\u003cp>But the musician learned a long time ago how to channel and transmute his pain into music. “My early years on this planet,” he said, “have given me enough psychological material to process through my 30s.”\u003c/p>\n\u003cp>Khatchadourian was born in Beirut, a Middle Eastern city of myth. While older generations remember a cultural metropolis, known as the Paris of the Middle East, Khatchadourian’s earliest memories are of the Lebanese Civil War.\u003c/p>\n\u003cp>The brutal conflict, which racked the country from 1975–1991, separated his family. His dad fled to Los Angeles in search of work opportunities, while his mother took then-3-year-old Khatchadour and his sister to Aleppo to live with his paternal grandparents. As a child in Syria, Khatchadourian caught his first glimpse of the duduk in the hands of a young musician who was part of a traveling folk music troupe from Armenia. For the most part, his musical education came in the form of a children’s choir, singing Armenian, Arabic and some English-language music.\u003c/p>\n\u003cfigure id=\"attachment_12061346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadour Khatchadourian plays the duduk in his backyard in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twelve years later, the family reunited in California. The transition to life in a new country was rough, Khatchadourian said, especially for a teenager who had lived through so much turmoil.\u003c/p>\n\u003cp>During this chapter, he didn’t do “any music for about 10 years, just total silence,” he said.\u003c/p>\n\u003cp>Hoping to leave the nest and strike out on his own, Khatchadourian moved to the Bay Area to study political science at UC Berkeley. He almost became an academic, researching the Armenian community of Lebanon, which had formed after the \u003ca href=\"https://www.kqed.org/news/tag/armenian-genocide\">1915 Armenian genocide\u003c/a>, and had been fractured by the civil war. But studying his own experience only brought Khatchadourian more darkness.\u003c/p>\n\u003cp>It was at that point that he discovered the duduk.[aside postID=news_12058091 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/250831-CREATIVEMUTUALAID00140_TV-KQED.jpg']“I was suffering … tremendously isolated, and trying to find kind of a meaning within myself, and the duduk spoke to that,” he reflected, before adding, “I wouldn’t say it’s cheaper than therapy.”\u003c/p>\n\u003cp>This forthcoming album has been the most challenging to produce to date, he said. He’s composed more than 250 hours of original or arranged pieces so far, some formed out of the folk music and other sonic relics from Artsakh and written in the region’s unique Armenian dialect.\u003c/p>\n\u003cp>Recording the foundations of the album left him feeling raw and emotional, he said. “I was processing the war, and at the same time processing the shifting nature of Armenian identity,” he said. “It shakes quite a bit inside of me every time I hear it.”\u003c/p>\n\u003cp>One of Khatchadourian’s guides in this wilderness is the 19th century Armenian composer and ethnomusicologist, Komitas Vardapet. Born Soghomon Soghomonian, in what is now western Turkey, Komitas went from village to village collecting Armenian and Kurdish folk songs and traditions and transcribing them into western musical notation. He also composed his own songs, many of which received \u003ca href=\"https://www.theguardian.com/music/2011/apr/21/komitas-vardapet-folk-music-armenia\">acclaim\u003c/a> beyond his lifetime.\u003c/p>\n\u003cp>Komitas was said to be on the verge of deciphering \u003ca href=\"https://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Asia/Armenia/_Texts/KURARM/45*.html\">\u003cem>khaz\u003c/em>\u003c/a>, an Armenian musical notation system, when on April 24, 1915, he was rounded up with nearly 300 other Armenian intellectuals to be slaughtered by the Ottoman government, although Turkey continues to deny that a genocide occurred.\u003c/p>\n\u003cp>While Komitas survived the genocide, thanks in part to intervention from the U.S. Ambassador to the Ottoman Empire \u003ca href=\"https://aurorahumanitarian.org/en/henry-morgenthau\">Henry Morgenthau\u003c/a>, he suffered a mental breakdown, and spent his final years in an asylum. The key to \u003cem>khaz\u003c/em>, as well as a vast archive of folk music, was lost. The handful of songs that survived, however, would go on to become the foundation of contemporary Armenian classical music.\u003c/p>\n\u003cfigure id=\"attachment_12061343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadour Khatchadourian’s duduk collection rests on a desk in his home studio in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last spring, Khatchadourian performed and sang the Komitas song, \u003cem>Make a Breeze,\u003c/em> at an art gallery in Berkeley. The singer begs the mountains, clouds and rivers to send a gust of air that will soothe the singer’s pain. As Khatchadourian played, a handful of audience members sighed audibly in peaceful relief. The performance seemed to capture the audience’s collective heartache, and transform it, even for a moment.\u003c/p>\n\u003cp>“Whether it’s a song from the 1700s or the 1800s, there is a continuity of wisdom,” Khatchadourian told the crowd. “Maybe that will be an invitation to healing, or letting it be, or letting it live within you.”\u003c/p>\n\u003cp>\u003cem>Want to hear the duduk yourself? \u003c/em>\u003ca href=\"https://www.sfbayecalendar.com/?p=2613\">\u003cem>Khatchadour Khatchadourian \u003c/em>\u003c/a>\u003cem>will play at St. John Armenian Apostolic Church on Oct. 25, at 275 Olympic Way in San Francisco. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Thanks to Barbar Band for providing some of the music in the piece, performed and arranged by Khatchadour Khatchadourian and Karine Vann.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Khatchadour Khatchadourian’s voice is a troubadour’s voice. Round and gentle, the \u003ca href=\"https://www.kqed.org/news/tag/music\">sound\u003c/a> seems to emanate from his soul rather than from his chest, filling any room he’s in with warmth.\u003c/p>\n\u003cp>But even with his mesmerizing voice, the Bay Area musician may be better known for playing an instrument than using his God-given pipes.\u003c/p>\n\u003cp>To be fair, it’s a really cool instrument: the \u003cem>duduk\u003c/em>, an ancient Armenian double reed woodwind carved from apricot wood. The duduk’s melancholy voice is an enduring \u003ca href=\"http://archive.org/details/roughguidetoworl00simo/page/334/mode/2up\">symbol\u003c/a> of Armenia, its plaintive tone said to express the \u003ca href=\"https://archive.org/details/roughguidetoworl00simo/page/334/mode/2up\">soul\u003c/a> and tragedy of the country’s history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While you might not recognize the name, there’s a good chance you’ve heard the haunting, almost otherworldly sound the duduk makes. This humble shepherd’s flute wandered out of the Armenian countryside and into Hollywood, making cameos on the scores of movies and shows like \u003ca href=\"https://www.youtube.com/watch?v=_nxEDN3909M&list=RD_nxEDN3909M&start_radio=1\">\u003cem>The Gladiator\u003c/em>\u003c/a> and\u003ca href=\"https://www.youtube.com/watch?v=JrpVgVOYEgc&list=RDJrpVgVOYEgc&start_radio=1\"> \u003cem>The Last Temptation of Christ.\u003c/em>\u003c/a> The duduk was even recently synthesized on both \u003ca href=\"https://www.youtube.com/watch?v=wOVzpJQTNhk&list=RDwOVzpJQTNhk&start_radio=1\">\u003cem>Dune\u003c/em> \u003c/a>soundtracks.\u003c/p>\n\u003cp>Audiences in the Bay Area don’t get many chances to hear the instrument live — unless they’re able to catch Khatchadourian. Those who follow him know him by his Instagram handle: “\u003ca href=\"https://www.instagram.com/dudukwhisperer/\">The Duduk Whisperer.\u003c/a>”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3756810110\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s a good marketing gimmick,” he joked, on a recent phone call.\u003c/p>\n\u003cp>Hollywood reaches for the instrument, time and time again, for many of the same reasons Khatchadourian does. The sounds of the duduk transport you somewhere beyond yourself. “When it hits you, it hits you,” he told KQED. “The duduk takes you to where it wants to go.”\u003c/p>\n\u003cfigure id=\"attachment_12061347\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061347\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00463_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadourian displays two of his duduks, Armenian folk instruments, in his backyard in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll have to catch him while you can. Save \u003ca href=\"https://www.sfbayecalendar.com/?p=2613\">one performance \u003c/a>this weekend, Khatchadourian, 39, is taking a break from performing publicly for the time being to focus on crafting his sixth studio album, which he’s calling \u003cem>Breath\u003c/em> — a fitting title for a performer whose ability to sing and produce tones with the physically-demanding double reed depends on his lung strength.\u003c/p>\n\u003cp>The title is also a nod to the technique of breathing to move forward through pain. In his newly-built home studio in Santa Rosa, Khatchadourian is working out how an artist can create in the face of personal and collective hardship — which these days, he said, feels like is all around him.\u003c/p>\n\u003cp>The album concept took shape in 2023, following the shock and anguish Khatchadourian and Armenians around the world experienced witnessing Azerbaijan’s forced displacement of more than \u003ca href=\"https://www.kqed.org/news/11954142/more-california-armenians-are-moving-back-to-their-parents-native-land\">100,000 Armenians in Nagorno-Karabakh\u003c/a>, an enclave within the country that Armenians call “Artsakh.” That dispersal followed a \u003ca href=\"https://www.kqed.org/news/11841878/this-one-feels-different-bay-area-armenians-call-for-solidarity-as-homeland-faces-attacks\">pattern of war, starvation and violence \u003c/a>that led Luis Moreno Ocampo, an Argentinian lawyer and former prosecutor for the International Criminal Court, to \u003ca href=\"https://www.washingtonpost.com/opinions/2023/09/22/nagorno-karabakh-genocide-armenia/\">call\u003c/a> the crisis “the Armenian genocide of 2023.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The events “left a wound in the collective Armenian psyche,” Khatchadourian said. The world’s silence made it all the more painful. That, in relation to the “ethnic cleansing and the ongoing genocide happening to Palestinians in Gaza,” left Khatchadourian temporarily frozen, he said, weighed down by the “heartbreak, the disappointment” of the politics of the moment.\u003c/p>\n\u003cp>But the musician learned a long time ago how to channel and transmute his pain into music. “My early years on this planet,” he said, “have given me enough psychological material to process through my 30s.”\u003c/p>\n\u003cp>Khatchadourian was born in Beirut, a Middle Eastern city of myth. While older generations remember a cultural metropolis, known as the Paris of the Middle East, Khatchadourian’s earliest memories are of the Lebanese Civil War.\u003c/p>\n\u003cp>The brutal conflict, which racked the country from 1975–1991, separated his family. His dad fled to Los Angeles in search of work opportunities, while his mother took then-3-year-old Khatchadour and his sister to Aleppo to live with his paternal grandparents. As a child in Syria, Khatchadourian caught his first glimpse of the duduk in the hands of a young musician who was part of a traveling folk music troupe from Armenia. For the most part, his musical education came in the form of a children’s choir, singing Armenian, Arabic and some English-language music.\u003c/p>\n\u003cfigure id=\"attachment_12061346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00444_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadour Khatchadourian plays the duduk in his backyard in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Twelve years later, the family reunited in California. The transition to life in a new country was rough, Khatchadourian said, especially for a teenager who had lived through so much turmoil.\u003c/p>\n\u003cp>During this chapter, he didn’t do “any music for about 10 years, just total silence,” he said.\u003c/p>\n\u003cp>Hoping to leave the nest and strike out on his own, Khatchadourian moved to the Bay Area to study political science at UC Berkeley. He almost became an academic, researching the Armenian community of Lebanon, which had formed after the \u003ca href=\"https://www.kqed.org/news/tag/armenian-genocide\">1915 Armenian genocide\u003c/a>, and had been fractured by the civil war. But studying his own experience only brought Khatchadourian more darkness.\u003c/p>\n\u003cp>It was at that point that he discovered the duduk.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was suffering … tremendously isolated, and trying to find kind of a meaning within myself, and the duduk spoke to that,” he reflected, before adding, “I wouldn’t say it’s cheaper than therapy.”\u003c/p>\n\u003cp>This forthcoming album has been the most challenging to produce to date, he said. He’s composed more than 250 hours of original or arranged pieces so far, some formed out of the folk music and other sonic relics from Artsakh and written in the region’s unique Armenian dialect.\u003c/p>\n\u003cp>Recording the foundations of the album left him feeling raw and emotional, he said. “I was processing the war, and at the same time processing the shifting nature of Armenian identity,” he said. “It shakes quite a bit inside of me every time I hear it.”\u003c/p>\n\u003cp>One of Khatchadourian’s guides in this wilderness is the 19th century Armenian composer and ethnomusicologist, Komitas Vardapet. Born Soghomon Soghomonian, in what is now western Turkey, Komitas went from village to village collecting Armenian and Kurdish folk songs and traditions and transcribing them into western musical notation. He also composed his own songs, many of which received \u003ca href=\"https://www.theguardian.com/music/2011/apr/21/komitas-vardapet-folk-music-armenia\">acclaim\u003c/a> beyond his lifetime.\u003c/p>\n\u003cp>Komitas was said to be on the verge of deciphering \u003ca href=\"https://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Asia/Armenia/_Texts/KURARM/45*.html\">\u003cem>khaz\u003c/em>\u003c/a>, an Armenian musical notation system, when on April 24, 1915, he was rounded up with nearly 300 other Armenian intellectuals to be slaughtered by the Ottoman government, although Turkey continues to deny that a genocide occurred.\u003c/p>\n\u003cp>While Komitas survived the genocide, thanks in part to intervention from the U.S. Ambassador to the Ottoman Empire \u003ca href=\"https://aurorahumanitarian.org/en/henry-morgenthau\">Henry Morgenthau\u003c/a>, he suffered a mental breakdown, and spent his final years in an asylum. The key to \u003cem>khaz\u003c/em>, as well as a vast archive of folk music, was lost. The handful of songs that survived, however, would go on to become the foundation of contemporary Armenian classical music.\u003c/p>\n\u003cfigure id=\"attachment_12061343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12061343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/10/251022-DUDUKWHISPERER00169_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Khatchadour Khatchadourian’s duduk collection rests on a desk in his home studio in Santa Rosa on Oct. 22, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last spring, Khatchadourian performed and sang the Komitas song, \u003cem>Make a Breeze,\u003c/em> at an art gallery in Berkeley. The singer begs the mountains, clouds and rivers to send a gust of air that will soothe the singer’s pain. As Khatchadourian played, a handful of audience members sighed audibly in peaceful relief. The performance seemed to capture the audience’s collective heartache, and transform it, even for a moment.\u003c/p>\n\u003cp>“Whether it’s a song from the 1700s or the 1800s, there is a continuity of wisdom,” Khatchadourian told the crowd. “Maybe that will be an invitation to healing, or letting it be, or letting it live within you.”\u003c/p>\n\u003cp>\u003cem>Want to hear the duduk yourself? \u003c/em>\u003ca href=\"https://www.sfbayecalendar.com/?p=2613\">\u003cem>Khatchadour Khatchadourian \u003c/em>\u003c/a>\u003cem>will play at St. John Armenian Apostolic Church on Oct. 25, at 275 Olympic Way in San Francisco. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Thanks to Barbar Band for providing some of the music in the piece, performed and arranged by Khatchadour Khatchadourian and Karine Vann.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stories of LA’s Zorthian Ranch, ‘A Portal to a Different Way of Life,’ Damaged in the Eaton Fire",
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"headTitle": "Stories of LA’s Zorthian Ranch, ‘A Portal to a Different Way of Life,’ Damaged in the Eaton Fire | KQED",
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"content": "\u003cp>“It woke you up in a way where you felt your humanity and you felt the humanity of the people around you. You understood what it felt like to really love people.”\u003c/p>\n\u003cp>I can’t stop thinking about this line from my friend Tara Zorthian. I was interviewing her about her former home, the Zorthian Ranch, which burned down in\u003ca href=\"https://www.kqed.org/news/12033286/in-fire-scarred-altadena-these-residents-refused-to-leave\"> the Eaton Canyon fire\u003c/a>.\u003c/p>\n\u003cp>I was searching to capture the meaning of a place that is impossible to define.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a ranch. An artist community. A homestead. A portal to a different way of life. But there’s something else going on there. A sense of magic, hidden in the mountains, that reveals itself to those who leave behind the trappings of modern urban life and surrender to the silliest, most whimsical, most open version of themselves.\u003c/p>\n\u003cp>I have witnessed this place transform people. It even happened to me, a journalist from New Jersey with a rather serious disposition. I only lived at the Ranch for a matter of months, but have been a visitor for much longer. And during that time, I unlocked a new version of myself that I didn’t know existed.\u003c/p>\n\u003cfigure id=\"attachment_12034244\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-2048x1268.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Left) Writer Sam Anderson outside a burned out bus at Zorthian Ranch on March 28 in Altadena, California. (Right) One of the burned vehicles on the ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first time I came to the Ranch was in 2019 for a volunteer workday. As my tiny Volkswagen rattled across the precarious bridge and up the windy dirt road, I felt nervous with anticipation. What is this place? How does it possibly exist among the dense urban sprawl of \u003ca href=\"https://www.kqed.org/news/tag/los-angeles-county\">Los Angeles\u003c/a>?\u003c/p>\n\u003cp>I arrived at the top of the road to find a rambling property filled with strange buildings and objects. Art was everywhere. It was like nothing I had ever seen before.\u003c/p>\n\u003cp>I joined a group of twenty or so people engaged in some form of toiling. I can’t remember what we did that day – probably pulled weeds or tossed some rocks into a pile or something similar. It was a sweltering summer day and by the afternoon everyone was covered in dirt and sweat.\u003c/p>\n\u003cp>What’s emblazoned in my memory forever is what happened after the work was done. Everyone stripped completely naked and jumped in the pool. Music turned on. Drinks appeared. A raucous party began.\u003c/p>\n\u003cp>The pool was perched on top of a mountain with a panoramic view of Los Angeles. As the sun began to set over the hills, brilliant shades of orange and pink blazed across the sky and I had an indescribable feeling that I tapped into something special. What was this community I had encountered, filled with such creative, brilliant people?\u003c/p>\n\u003cp>[aside postID=news_12033286 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/03/20250312_Stay-Behinds_JB_00010-1020x680.jpg']\u003c/p>\n\u003cp>I came back as frequently as I could, driven by some deep impulse that what I experienced there was magic. I couldn’t quite define the feeling, but I knew I wanted more of it.\u003c/p>\n\u003cp>Over the next five years, I got to know the place and its people in a more intimate way. Words are a poor substitute for what I experienced there, but it involved strange art performances, puppet shows,\u003ca href=\"https://slamgranderson.substack.com/p/zorthian-ranch-pizza-party\"> pizza parties\u003c/a> and surrealist dinners, costumes and music of all types, deep conversations, sleepovers with friends, staying up all night until the sunrise and a profound sense of love and belonging.\u003c/p>\n\u003cp>Like Tara said, it woke you up. You felt your humanity. You understood what it meant to really love people.\u003c/p>\n\u003cp>My experience is but a small fraction of what the Zorthian Ranch really was — and is.\u003c/p>\n\u003cp>The Ranch has been around for nearly a century. It was founded by Jirayr Zorthian, a refugee from the Armenian genocide, who over the years developed a unique space that was both homestead and social scene. It became a magnet for bohemian artists in the ’50s and ’60s. It hosted countless parties, shows and performances, and over the years what happened to me — the discovery of magic within myself — happened to hundreds, if not thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_12034239\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tara Zorthian, a granddaughter of founder Jirayr Zorthian, at Zorthian Ranch on March 28 in Altadena, California. She lived on the ranch for eight years before moving away two years ago. The Eaton fire destroyed several structures as well as vegetation on the Ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cliche is that you don’t know what you got till it’s gone. But I think we did know. All of us who lived, visited and participated in the Ranch came away with a sense of how special it was.\u003c/p>\n\u003cp>In the course of producing this non-narrated radio piece, I set out to capture that sense of specialness. And I knew that would be a challenge from the outset.\u003c/p>\n\u003cp>For starters, the 20 people who used to live here are now displaced. The community has scattered. Where previously I could simply show up and find several people to talk to, now I had to go about tracking them down to the various friend’s houses (and couches) where they were staying.\u003c/p>\n\u003cp>Another challenge was trying to wrap my arms around such a sprawling subject. I understood that ultimately, any attempt to tell the entire story of the Zorthian Ranch in a single piece would be doomed to failure. I myself had actually tried — and failed — before. Along with a colleague of mine, I set out to uncover the fate of The Phantasmagoria of Military Intelligence Training, which is the most enduring mystery of the Zorthian Ranch.\u003c/p>\n\u003cp>The story goes that Jirayr Zorthian created his greatest artwork of all time — a true masterpiece — in the form of a 157-foot mural that was first installed at the Pentagon, then possibly shuffled around other military locations, before it was lost forever.[aside postID=news_12029129 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/02/0A4A3428-1020x680.jpg']The piece depicted the training and recruitment process of the military in not uncritical terms (could that be a motivation behind its disappearance?) and while the original has never been found, there is at least\u003ca href=\"https://www.youtube.com/watch?v=LOFV1Mp1Nc4\"> a video\u003c/a> documenting what it looked like.\u003c/p>\n\u003cp>Suffice it to say my documentary about this missing art piece didn’t pan out. But the particular rabbit hole it sent me down — playfully referred to as “the Zortex” by those who live here — only reinforced my enduring fascination with the place.\u003c/p>\n\u003cp>Several talented individuals have contributed to telling the story of the Zorthian Ranch, and while no one’s produced a truly definitive documentary about the place, there are several great attempts currently available to view (\u003ca href=\"https://www.youtube.com/watch?v=kQ-GOuEZBUk\">such as this one, directed by Elisabeth de LeDoulx)\u003c/a>.\u003c/p>\n\u003cp>In typical Zorthian fashion, it becomes not about the efforts of one individual, but rather a collective effort spanning decades to document our own community, and articulate why it matters.\u003c/p>\n\u003cp>In my own small way, I hope to contribute to those efforts. But where most efforts to tell this story have been celebratory, this one is a tragedy.\u003c/p>\n\u003cfigure id=\"attachment_12034252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zorthian community members volunteer to clean up the rubble that remains after Eaton Fire destroyed The Barn, photographed on March 28, 2025 in Altadena, California. The Barn is where art shows and classes used to be held on the Ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interviewing members of the community in the aftermath of this fire was a difficult and emotional experience for everyone involved. But in spite of the grim circumstances, I am surprised at how much cohesion emerged from what appeared to be a rather difficult and chaotic subject.\u003c/p>\n\u003cp>Themes like community, friendship, and love rose to the surface.\u003c/p>\n\u003cp>Now, after spending the last few weeks trying to document that ethereal feeling I experienced in my first visit to the Ranch in 2019, I’ve arrived at a simpler explanation for why it all matters.\u003c/p>\n\u003cp>The Ranch was a space where community could gather. Where artists, musicians and performers could live for very low rent. Where humans could coexist and care for the land and the plants and animals that call it home, like our ancestors did.\u003c/p>\n\u003cp>In a way, life at the Ranch couldn’t be more simple. But in a city that often feels trapped in the vice of late stage capitalism, the Ranch became a radical idea.\u003c/p>\n\u003cfigure id=\"attachment_12034235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What remains of the kitchen in Julia Zorthian and Gunner Sixx’s home, photographed on March 28, 2025 in Altadena, California. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12034245\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_30_duo-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034245\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_30_duo-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1585\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Left) The former site of The Barn at Zorthian Ranch on March 28 in Altadena, California. The Barn is where art shows and classes were held before the fire. (Right) Robert “Blobbie” Kirkhuff among the ruins of the Watchtower at Zorthian Ranch. The Watchtower was his home before the Eaton fire destroyed it. The skyline of downtown Los Angeles is visible in the background. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happens when you create a space for community to live and gather together, to be in harmony with nature and to create and cultivate our own resources, both materially and spiritually?\u003c/p>\n\u003cp>The answer is magic. And unfortunately, that kind of magic is not available to very many people these days.\u003c/p>\n\u003cp>The devastating fire that destroyed Altadena — and most of the Zorthian Ranch — exposed the fragility of so many broken systems in the Western way of life: the lack of affordable housing or any real social safety net, the way we’ve ravaged our ecosystem and ignored Indigenous knowledge around fire, the lack of access to green open spaces for city dwellers and the difficulty of sourcing local and sustainable food products.\u003c/p>\n\u003cp>[aside postID=news_12020872 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/01/GettyImages-2193000280-1020x653.jpg']\u003c/p>\n\u003cp>But among the most important gaps in our current way of life is cultivating places to gather together, with the people you love, and experience what it is to be a human in communion with other humans.\u003c/p>\n\u003cp>In that way, the Zorthian Ranch is more than a place in \u003ca href=\"https://www.kqed.org/news/12026093/they-want-to-rebuild-after-the-eaton-fire-but-first-comes-the-struggle-to-survive\">Altadena\u003c/a>. It’s an idea. And ideas cannot be destroyed by fire.\u003c/p>\n\u003cp>My hope is that by sharing stories about places like the Ranch, we keep alive the idea that cultivating spaces for community to gather together in love and creativity is among the most important things we will ever do in our lifetimes.\u003c/p>\n\u003cp>I’m excited to watch how the Zorthians choose to rebuild. If you want to help contribute to those efforts, you can\u003ca href=\"https://www.gofundme.com/f/Support-zorthian-ranch\"> support their fundraiser\u003c/a>.\u003c/p>\n\u003cp>Now, this place that transformed the lives of so many people is undergoing a great transformation of its own. Jirayr’s son Alan is steadfast in his commitment to rebuilding. Cleanup efforts are ongoing, and some residents have already begun to move back to the Ranch.\u003c/p>\n\u003cp>And if the past is any indication, the future of the Zorthian Ranch will be something special to behold.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It woke you up in a way where you felt your humanity and you felt the humanity of the people around you. You understood what it felt like to really love people.”\u003c/p>\n\u003cp>I can’t stop thinking about this line from my friend Tara Zorthian. I was interviewing her about her former home, the Zorthian Ranch, which burned down in\u003ca href=\"https://www.kqed.org/news/12033286/in-fire-scarred-altadena-these-residents-refused-to-leave\"> the Eaton Canyon fire\u003c/a>.\u003c/p>\n\u003cp>I was searching to capture the meaning of a place that is impossible to define.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a ranch. An artist community. A homestead. A portal to a different way of life. But there’s something else going on there. A sense of magic, hidden in the mountains, that reveals itself to those who leave behind the trappings of modern urban life and surrender to the silliest, most whimsical, most open version of themselves.\u003c/p>\n\u003cp>I have witnessed this place transform people. It even happened to me, a journalist from New Jersey with a rather serious disposition. I only lived at the Ranch for a matter of months, but have been a visitor for much longer. And during that time, I unlocked a new version of myself that I didn’t know existed.\u003c/p>\n\u003cfigure id=\"attachment_12034244\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1536x951.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-2048x1268.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_06_duo-1920x1189.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Left) Writer Sam Anderson outside a burned out bus at Zorthian Ranch on March 28 in Altadena, California. (Right) One of the burned vehicles on the ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first time I came to the Ranch was in 2019 for a volunteer workday. As my tiny Volkswagen rattled across the precarious bridge and up the windy dirt road, I felt nervous with anticipation. What is this place? How does it possibly exist among the dense urban sprawl of \u003ca href=\"https://www.kqed.org/news/tag/los-angeles-county\">Los Angeles\u003c/a>?\u003c/p>\n\u003cp>I arrived at the top of the road to find a rambling property filled with strange buildings and objects. Art was everywhere. It was like nothing I had ever seen before.\u003c/p>\n\u003cp>I joined a group of twenty or so people engaged in some form of toiling. I can’t remember what we did that day – probably pulled weeds or tossed some rocks into a pile or something similar. It was a sweltering summer day and by the afternoon everyone was covered in dirt and sweat.\u003c/p>\n\u003cp>What’s emblazoned in my memory forever is what happened after the work was done. Everyone stripped completely naked and jumped in the pool. Music turned on. Drinks appeared. A raucous party began.\u003c/p>\n\u003cp>The pool was perched on top of a mountain with a panoramic view of Los Angeles. As the sun began to set over the hills, brilliant shades of orange and pink blazed across the sky and I had an indescribable feeling that I tapped into something special. What was this community I had encountered, filled with such creative, brilliant people?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I came back as frequently as I could, driven by some deep impulse that what I experienced there was magic. I couldn’t quite define the feeling, but I knew I wanted more of it.\u003c/p>\n\u003cp>Over the next five years, I got to know the place and its people in a more intimate way. Words are a poor substitute for what I experienced there, but it involved strange art performances, puppet shows,\u003ca href=\"https://slamgranderson.substack.com/p/zorthian-ranch-pizza-party\"> pizza parties\u003c/a> and surrealist dinners, costumes and music of all types, deep conversations, sleepovers with friends, staying up all night until the sunrise and a profound sense of love and belonging.\u003c/p>\n\u003cp>Like Tara said, it woke you up. You felt your humanity. You understood what it meant to really love people.\u003c/p>\n\u003cp>My experience is but a small fraction of what the Zorthian Ranch really was — and is.\u003c/p>\n\u003cp>The Ranch has been around for nearly a century. It was founded by Jirayr Zorthian, a refugee from the Armenian genocide, who over the years developed a unique space that was both homestead and social scene. It became a magnet for bohemian artists in the ’50s and ’60s. It hosted countless parties, shows and performances, and over the years what happened to me — the discovery of magic within myself — happened to hundreds, if not thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_12034239\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034239\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_23-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tara Zorthian, a granddaughter of founder Jirayr Zorthian, at Zorthian Ranch on March 28 in Altadena, California. She lived on the ranch for eight years before moving away two years ago. The Eaton fire destroyed several structures as well as vegetation on the Ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cliche is that you don’t know what you got till it’s gone. But I think we did know. All of us who lived, visited and participated in the Ranch came away with a sense of how special it was.\u003c/p>\n\u003cp>In the course of producing this non-narrated radio piece, I set out to capture that sense of specialness. And I knew that would be a challenge from the outset.\u003c/p>\n\u003cp>For starters, the 20 people who used to live here are now displaced. The community has scattered. Where previously I could simply show up and find several people to talk to, now I had to go about tracking them down to the various friend’s houses (and couches) where they were staying.\u003c/p>\n\u003cp>Another challenge was trying to wrap my arms around such a sprawling subject. I understood that ultimately, any attempt to tell the entire story of the Zorthian Ranch in a single piece would be doomed to failure. I myself had actually tried — and failed — before. Along with a colleague of mine, I set out to uncover the fate of The Phantasmagoria of Military Intelligence Training, which is the most enduring mystery of the Zorthian Ranch.\u003c/p>\n\u003cp>The story goes that Jirayr Zorthian created his greatest artwork of all time — a true masterpiece — in the form of a 157-foot mural that was first installed at the Pentagon, then possibly shuffled around other military locations, before it was lost forever.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The piece depicted the training and recruitment process of the military in not uncritical terms (could that be a motivation behind its disappearance?) and while the original has never been found, there is at least\u003ca href=\"https://www.youtube.com/watch?v=LOFV1Mp1Nc4\"> a video\u003c/a> documenting what it looked like.\u003c/p>\n\u003cp>Suffice it to say my documentary about this missing art piece didn’t pan out. But the particular rabbit hole it sent me down — playfully referred to as “the Zortex” by those who live here — only reinforced my enduring fascination with the place.\u003c/p>\n\u003cp>Several talented individuals have contributed to telling the story of the Zorthian Ranch, and while no one’s produced a truly definitive documentary about the place, there are several great attempts currently available to view (\u003ca href=\"https://www.youtube.com/watch?v=kQ-GOuEZBUk\">such as this one, directed by Elisabeth de LeDoulx)\u003c/a>.\u003c/p>\n\u003cp>In typical Zorthian fashion, it becomes not about the efforts of one individual, but rather a collective effort spanning decades to document our own community, and articulate why it matters.\u003c/p>\n\u003cp>In my own small way, I hope to contribute to those efforts. But where most efforts to tell this story have been celebratory, this one is a tragedy.\u003c/p>\n\u003cfigure id=\"attachment_12034252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_05-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Zorthian community members volunteer to clean up the rubble that remains after Eaton Fire destroyed The Barn, photographed on March 28, 2025 in Altadena, California. The Barn is where art shows and classes used to be held on the Ranch. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interviewing members of the community in the aftermath of this fire was a difficult and emotional experience for everyone involved. But in spite of the grim circumstances, I am surprised at how much cohesion emerged from what appeared to be a rather difficult and chaotic subject.\u003c/p>\n\u003cp>Themes like community, friendship, and love rose to the surface.\u003c/p>\n\u003cp>Now, after spending the last few weeks trying to document that ethereal feeling I experienced in my first visit to the Ranch in 2019, I’ve arrived at a simpler explanation for why it all matters.\u003c/p>\n\u003cp>The Ranch was a space where community could gather. Where artists, musicians and performers could live for very low rent. Where humans could coexist and care for the land and the plants and animals that call it home, like our ancestors did.\u003c/p>\n\u003cp>In a way, life at the Ranch couldn’t be more simple. But in a city that often feels trapped in the vice of late stage capitalism, the Ranch became a radical idea.\u003c/p>\n\u003cfigure id=\"attachment_12034235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_11-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">What remains of the kitchen in Julia Zorthian and Gunner Sixx’s home, photographed on March 28, 2025 in Altadena, California. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_12034245\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_30_duo-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12034245\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2025/04/20250328_Zorthian-Ranch_SK_30_duo-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1585\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Left) The former site of The Barn at Zorthian Ranch on March 28 in Altadena, California. The Barn is where art shows and classes were held before the fire. (Right) Robert “Blobbie” Kirkhuff among the ruins of the Watchtower at Zorthian Ranch. The Watchtower was his home before the Eaton fire destroyed it. The skyline of downtown Los Angeles is visible in the background. \u003ccite>(Stella Kalinina for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What happens when you create a space for community to live and gather together, to be in harmony with nature and to create and cultivate our own resources, both materially and spiritually?\u003c/p>\n\u003cp>The answer is magic. And unfortunately, that kind of magic is not available to very many people these days.\u003c/p>\n\u003cp>The devastating fire that destroyed Altadena — and most of the Zorthian Ranch — exposed the fragility of so many broken systems in the Western way of life: the lack of affordable housing or any real social safety net, the way we’ve ravaged our ecosystem and ignored Indigenous knowledge around fire, the lack of access to green open spaces for city dwellers and the difficulty of sourcing local and sustainable food products.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But among the most important gaps in our current way of life is cultivating places to gather together, with the people you love, and experience what it is to be a human in communion with other humans.\u003c/p>\n\u003cp>In that way, the Zorthian Ranch is more than a place in \u003ca href=\"https://www.kqed.org/news/12026093/they-want-to-rebuild-after-the-eaton-fire-but-first-comes-the-struggle-to-survive\">Altadena\u003c/a>. It’s an idea. And ideas cannot be destroyed by fire.\u003c/p>\n\u003cp>My hope is that by sharing stories about places like the Ranch, we keep alive the idea that cultivating spaces for community to gather together in love and creativity is among the most important things we will ever do in our lifetimes.\u003c/p>\n\u003cp>I’m excited to watch how the Zorthians choose to rebuild. If you want to help contribute to those efforts, you can\u003ca href=\"https://www.gofundme.com/f/Support-zorthian-ranch\"> support their fundraiser\u003c/a>.\u003c/p>\n\u003cp>Now, this place that transformed the lives of so many people is undergoing a great transformation of its own. Jirayr’s son Alan is steadfast in his commitment to rebuilding. Cleanup efforts are ongoing, and some residents have already begun to move back to the Ranch.\u003c/p>\n\u003cp>And if the past is any indication, the future of the Zorthian Ranch will be something special to behold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hundreds of New Laws Set to Go Into Effect in California in the New Year",
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"headTitle": "Hundreds of New Laws Set to Go Into Effect in California in the New Year | KQED",
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"content": "\u003cp>Cheaper abortions, raises for some workers and grace for jaywalkers and loiterers are some of the hundreds of new laws that take effect in California next year.\u003c/p>\n\u003cp>Gov. Gavin Newsom signed 997 new laws in 2022 and many of them take effect on January 1 while some go into effect later in the year.\u003c/p>\n\u003cp>Here’s a look at some of them.\u003c/p>\n\u003ch2>Cheaper abortions\u003c/h2>\n\u003cp>Private insurance companies \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB245\">can’t charge\u003c/a> people co-pays or deductibles for abortions anymore. That \u003ca href=\"https://apnews.com/article/abortion-us-supreme-court-business-health-california-d4b58d86434c9c790b8bbfcb7240f2af\">will save\u003c/a> an average of $543 for a medication abortion and $887 for a procedural abortion, according to an analysis by the California Health Benefits Review Program. Lawmakers also did the \u003ca href=\"https://apnews.com/article/abortion-health-california-gavin-newsom-84b7bf414b16f55454ce3e81544f5a10\">same thing for vasectomies\u003c/a>, but \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB523\">that law\u003c/a> won’t take effect until 2024.\u003c/p>\n\u003ch2>Higher pay\u003c/h2>\n\u003cp>California’s minimum wage will jump to \u003ca href=\"https://apnews.com/article/california-gavin-newsom-minimum-wage-inflation-686b6c1ddc9240f76e8e61613717edd8\">$15.50 per hour\u003c/a>. That will mean raises for about 3 million workers who earn minimum wage. The increase was triggered by inflation, as required by \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201520160SB3\">a law\u003c/a> passed in 2016.\u003c/p>\n\u003ch2>Grace for pedestrians\u003c/h2>\n\u003cp>Jaywalking and loitering will be enforced differently in 2023. Police officers \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2147\">won’t be able to ticket\u003c/a> people for crossing the street outside of an intersection — unless they are in immediate danger of getting hit by a car. Likewise, police won’t be able to ticket people for \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB357\">loitering for the purpose of prostitution\u003c/a>.\u003c/p>\n\u003ch2>Haven for transgender kids\u003c/h2>\n\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB107\">new law\u003c/a> will try to stop other states from punishing children who come to California for transgender surgeries and other \u003ca href=\"https://apnews.com/article/california-gender-identity-sacramento-gavin-newsom-1bef273ba60e61a17960eaf8107f37f6\">gender-affirming care\u003c/a>. The law will block out-of-state subpoenas and stop health providers from sharing information with out-of-state entities related to gender-affirming care, defined as “medically necessary health care that respects the gender identity of the patient, as experienced and defined by the patient.” That includes hormone therapy to suppress secondary sex characteristics.\u003c/p>\n\u003ch2>Cyber flashing lawsuits\u003c/h2>\n\u003cp>Beginning in January, you can \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB53\">sue someone\u003c/a> for sending you “obscene material” against your will. Known as “cyber flashing,” this includes nude photos or videos or other material depicting sex acts. A court could award economic and noneconomic damages, plus penalties of between $1,500 and $30,000.\u003c/p>\n\u003ch2>More housing\u003c/h2>\n\u003cp>Shuttered stores could soon become affordable housing. \u003ca href=\"https://apnews.com/article/business-california-gavin-newsom-government-and-politics-420473872ae2c94a4a357789a397caaf\">Two new laws\u003c/a> will open up much of the state’s commercial land for residential development while mostly preventing local governments from blocking the projects. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2011\">One law\u003c/a> will let developers build housing on some commercial land as long as a certain percentage of the housing is affordable. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB6\">Another law\u003c/a> will let developers build market-rate housing on some commercial land, but the projects will still have to go through an environmental review process.\u003c/p>\n\u003ch2>Early release for critically ill incarcerated people\u003c/h2>\n\u003cp>California \u003ca href=\"https://apnews.com/article/prisons-california-treatment-of-prisoners-695248f5abb7cbf0b02ccdde15b18c7a\">will release\u003c/a> more ill and dying incarcerated people in 2023. A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB960\">new law\u003c/a> eases the current standard for compassionate release, which critics said was too restrictive. Of the 304 incarcerated people who sought compassionate release between January 2015 and April 2021, just 53 were released by the courts, according to the nonprofit advocacy group Families Against Mandatory Minimums.\u003c/p>\n\u003ch2>Disruptive meetings\u003c/h2>\n\u003cp>Public meetings have always been a place for people to voice their frustrations with government. But the pandemic restrictions have only made those meetings more intense. In 2023, a \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB1100\">new law\u003c/a> sets rules for when local officials can remove people from public meetings for \u003ca href=\"https://apnews.com/article/education-california-united-states-sacramento-gavin-newsom-88ea4f3c2164dc0f345799dbc0d2edae\">being too disruptive\u003c/a>. The law says the presiding officer can remove someone only after warning them first.\u003c/p>\n\u003ch2>Protected rap lyrics\u003c/h2>\n\u003cp>In criminal trials, prosecutors often use the defendants’ words against them. That includes things like rap lyrics, which prosecutors sometimes use to attack someone’s character or connect the crime to gang violence. A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2799\">new law\u003c/a> aims to restrict the use of “creative content” in courts, requiring a judge to first hold a hearing about whether the content is admissible.\u003c/p>\n\u003ch2>No more ‘pink tax’\u003c/h2>\n\u003cp>Women often pay a lot more for shampoo and deodorant than men do. That’s because retailers often charge more for products that are marketed toward women, a practice known as the “pink tax.” A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB1287\">new law\u003c/a> says that retailers must charge the same prices for products that are “substantially similar” regardless of their marketing.\u003c/p>\n\u003ch2>New state holidays\u003c/h2>\n\u003cp>California will have three new state holidays in 2023: \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1655&search_keywords=juneteenth\">Juneteenth\u003c/a>, the \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB2596&search_keywords=lunar%23%23%23new%23%23%23year\">Lunar New Year\u003c/a> and \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1801&search_keywords=Armenian%23%23%23Genocide%23%23%23Remembrance\">Armenian Genocide Remembrance Day\u003c/a>. Juneteenth will be June 19th and celebrates the abolishment of slavery in the United States. Lunar New Year is celebrated in Asian countries and coincides with the first new moon between the end of January and the first 15 days of the first month of the lunar calendar. Armenian Genocide Remembrance Day would be April 24 and would recognize the killing of millions of Armenians in the Ottoman Empire during World War I.\u003c/p>\n\u003ch2>More time to grieve\u003c/h2>\n\u003cp>Most workers will be guaranteed at least five days off when a loved one dies. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1949\">The law\u003c/a> applies to government agencies and private companies with at least five employees. “Family member” means spouse, child, parent, sibling, grandparent, grandchild, domestic partner or parent-in-law.\u003c/p>\n\u003ch2>Salary disclosure\u003c/h2>\n\u003cp>Considering applying for a job but frustrated because you don’t know what the salary might be? A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB1162\">new law\u003c/a> in California aims to fix that. Starting in January, companies with at least 15 employees must include the pay scale in all job postings.\u003c/p>\n\u003ch2>Oil drilling\u003c/h2>\n\u003cp>A law to ban new oil drilling within 3,200 feet of homes, schools and other community sites is set to take effect January 1, but it may soon be put on hold by \u003ca href=\"https://apnews.com/article/politics-business-california-gavin-newsom-climate-and-environment-27ebf1d22b0bab5b6e11756e1b3c3df6\">a referendum\u003c/a>. A campaign organized by oil and gas groups have organized the ballot drive, hoping that voters will overturn the law in 2024. Signatures are currently being verified.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cheaper abortions, raises for some workers and grace for jaywalkers and loiterers are some of the hundreds of new laws that take effect in California next year.\u003c/p>\n\u003cp>Gov. Gavin Newsom signed 997 new laws in 2022 and many of them take effect on January 1 while some go into effect later in the year.\u003c/p>\n\u003cp>Here’s a look at some of them.\u003c/p>\n\u003ch2>Cheaper abortions\u003c/h2>\n\u003cp>Private insurance companies \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB245\">can’t charge\u003c/a> people co-pays or deductibles for abortions anymore. That \u003ca href=\"https://apnews.com/article/abortion-us-supreme-court-business-health-california-d4b58d86434c9c790b8bbfcb7240f2af\">will save\u003c/a> an average of $543 for a medication abortion and $887 for a procedural abortion, according to an analysis by the California Health Benefits Review Program. Lawmakers also did the \u003ca href=\"https://apnews.com/article/abortion-health-california-gavin-newsom-84b7bf414b16f55454ce3e81544f5a10\">same thing for vasectomies\u003c/a>, but \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB523\">that law\u003c/a> won’t take effect until 2024.\u003c/p>\n\u003ch2>Higher pay\u003c/h2>\n\u003cp>California’s minimum wage will jump to \u003ca href=\"https://apnews.com/article/california-gavin-newsom-minimum-wage-inflation-686b6c1ddc9240f76e8e61613717edd8\">$15.50 per hour\u003c/a>. That will mean raises for about 3 million workers who earn minimum wage. The increase was triggered by inflation, as required by \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201520160SB3\">a law\u003c/a> passed in 2016.\u003c/p>\n\u003ch2>Grace for pedestrians\u003c/h2>\n\u003cp>Jaywalking and loitering will be enforced differently in 2023. Police officers \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2147\">won’t be able to ticket\u003c/a> people for crossing the street outside of an intersection — unless they are in immediate danger of getting hit by a car. Likewise, police won’t be able to ticket people for \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB357\">loitering for the purpose of prostitution\u003c/a>.\u003c/p>\n\u003ch2>Haven for transgender kids\u003c/h2>\n\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB107\">new law\u003c/a> will try to stop other states from punishing children who come to California for transgender surgeries and other \u003ca href=\"https://apnews.com/article/california-gender-identity-sacramento-gavin-newsom-1bef273ba60e61a17960eaf8107f37f6\">gender-affirming care\u003c/a>. The law will block out-of-state subpoenas and stop health providers from sharing information with out-of-state entities related to gender-affirming care, defined as “medically necessary health care that respects the gender identity of the patient, as experienced and defined by the patient.” That includes hormone therapy to suppress secondary sex characteristics.\u003c/p>\n\u003ch2>Cyber flashing lawsuits\u003c/h2>\n\u003cp>Beginning in January, you can \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB53\">sue someone\u003c/a> for sending you “obscene material” against your will. Known as “cyber flashing,” this includes nude photos or videos or other material depicting sex acts. A court could award economic and noneconomic damages, plus penalties of between $1,500 and $30,000.\u003c/p>\n\u003ch2>More housing\u003c/h2>\n\u003cp>Shuttered stores could soon become affordable housing. \u003ca href=\"https://apnews.com/article/business-california-gavin-newsom-government-and-politics-420473872ae2c94a4a357789a397caaf\">Two new laws\u003c/a> will open up much of the state’s commercial land for residential development while mostly preventing local governments from blocking the projects. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2011\">One law\u003c/a> will let developers build housing on some commercial land as long as a certain percentage of the housing is affordable. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB6\">Another law\u003c/a> will let developers build market-rate housing on some commercial land, but the projects will still have to go through an environmental review process.\u003c/p>\n\u003ch2>Early release for critically ill incarcerated people\u003c/h2>\n\u003cp>California \u003ca href=\"https://apnews.com/article/prisons-california-treatment-of-prisoners-695248f5abb7cbf0b02ccdde15b18c7a\">will release\u003c/a> more ill and dying incarcerated people in 2023. A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB960\">new law\u003c/a> eases the current standard for compassionate release, which critics said was too restrictive. Of the 304 incarcerated people who sought compassionate release between January 2015 and April 2021, just 53 were released by the courts, according to the nonprofit advocacy group Families Against Mandatory Minimums.\u003c/p>\n\u003ch2>Disruptive meetings\u003c/h2>\n\u003cp>Public meetings have always been a place for people to voice their frustrations with government. But the pandemic restrictions have only made those meetings more intense. In 2023, a \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB1100\">new law\u003c/a> sets rules for when local officials can remove people from public meetings for \u003ca href=\"https://apnews.com/article/education-california-united-states-sacramento-gavin-newsom-88ea4f3c2164dc0f345799dbc0d2edae\">being too disruptive\u003c/a>. The law says the presiding officer can remove someone only after warning them first.\u003c/p>\n\u003ch2>Protected rap lyrics\u003c/h2>\n\u003cp>In criminal trials, prosecutors often use the defendants’ words against them. That includes things like rap lyrics, which prosecutors sometimes use to attack someone’s character or connect the crime to gang violence. A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB2799\">new law\u003c/a> aims to restrict the use of “creative content” in courts, requiring a judge to first hold a hearing about whether the content is admissible.\u003c/p>\n\u003ch2>No more ‘pink tax’\u003c/h2>\n\u003cp>Women often pay a lot more for shampoo and deodorant than men do. That’s because retailers often charge more for products that are marketed toward women, a practice known as the “pink tax.” A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220AB1287\">new law\u003c/a> says that retailers must charge the same prices for products that are “substantially similar” regardless of their marketing.\u003c/p>\n\u003ch2>New state holidays\u003c/h2>\n\u003cp>California will have three new state holidays in 2023: \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1655&search_keywords=juneteenth\">Juneteenth\u003c/a>, the \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB2596&search_keywords=lunar%23%23%23new%23%23%23year\">Lunar New Year\u003c/a> and \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1801&search_keywords=Armenian%23%23%23Genocide%23%23%23Remembrance\">Armenian Genocide Remembrance Day\u003c/a>. Juneteenth will be June 19th and celebrates the abolishment of slavery in the United States. Lunar New Year is celebrated in Asian countries and coincides with the first new moon between the end of January and the first 15 days of the first month of the lunar calendar. Armenian Genocide Remembrance Day would be April 24 and would recognize the killing of millions of Armenians in the Ottoman Empire during World War I.\u003c/p>\n\u003ch2>More time to grieve\u003c/h2>\n\u003cp>Most workers will be guaranteed at least five days off when a loved one dies. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220AB1949\">The law\u003c/a> applies to government agencies and private companies with at least five employees. “Family member” means spouse, child, parent, sibling, grandparent, grandchild, domestic partner or parent-in-law.\u003c/p>\n\u003ch2>Salary disclosure\u003c/h2>\n\u003cp>Considering applying for a job but frustrated because you don’t know what the salary might be? A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=202120220SB1162\">new law\u003c/a> in California aims to fix that. Starting in January, companies with at least 15 employees must include the pay scale in all job postings.\u003c/p>\n\u003ch2>Oil drilling\u003c/h2>\n\u003cp>A law to ban new oil drilling within 3,200 feet of homes, schools and other community sites is set to take effect January 1, but it may soon be put on hold by \u003ca href=\"https://apnews.com/article/politics-business-california-gavin-newsom-climate-and-environment-27ebf1d22b0bab5b6e11756e1b3c3df6\">a referendum\u003c/a>. A campaign organized by oil and gas groups have organized the ballot drive, hoping that voters will overturn the law in 2024. Signatures are currently being verified.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Armenians Came to SF to Escape Genocide. Now, Fears of That History Are Resurfacing",
"headTitle": "Armenians Came to SF to Escape Genocide. Now, Fears of That History Are Resurfacing | KQED",
"content": "\u003cp>Generations of Armenians and descendants of those who escaped the Armenian Genocide have found refuge in San Francisco. That’s the epicenter of a robust church community center and where Armenian Americans can celebrate their culture, history and heritage. It’s also where \u003ca href=\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\">a recent spate of suspected hate crimes\u003c/a> are \u003cspan data-react-class=\"shared/components/HtmlEditor\" data-react-props='{\"sanitizedValue\":\"\\u003cp\\u003eGenerations of Armenians and descendants of those who escaped the Armenian genocide have found refuge in San Francisco. That’s the epicenter of a robust church community center and where Armenian Americans can celebrate their culture, history and heritage. It’s also where \\u003ca href=\\\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\\\"\\u003ea recent spate of suspected hate crimes\\u003c/a\\u003e are raising fears about the ways conflicts abroad can seep into life here in the Bay Area.\\u003c/p\\u003e\\u003cp\\u003eGuest: \\u003ca href=\\\"https://twitter.com/nananastia\\\"\\u003eNastia Voynovskaya\\u003c/a\\u003e, KQED Arts and Culture editor and reporter\\u003c/p\\u003e\",\"inputName\":\"episode[summary]\"}' data-react-cache-id=\"shared/components/HtmlEditor-0\">raising fears about the current border conflict — and painful memories of violence.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"https://twitter.com/nananastia\">Nastia Voynovskaya\u003c/a>, KQED Arts and Culture editor and reporter\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2935671829\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Generations of Armenians and descendants of those who escaped the Armenian Genocide have found refuge in San Francisco. That’s the epicenter of a robust church community center and where Armenian Americans can celebrate their culture, history and heritage. It’s also where \u003ca href=\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\">a recent spate of suspected hate crimes\u003c/a> are \u003cspan data-react-class=\"shared/components/HtmlEditor\" data-react-props='{\"sanitizedValue\":\"\\u003cp\\u003eGenerations of Armenians and descendants of those who escaped the Armenian genocide have found refuge in San Francisco. That’s the epicenter of a robust church community center and where Armenian Americans can celebrate their culture, history and heritage. It’s also where \\u003ca href=\\\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\\\"\\u003ea recent spate of suspected hate crimes\\u003c/a\\u003e are raising fears about the ways conflicts abroad can seep into life here in the Bay Area.\\u003c/p\\u003e\\u003cp\\u003eGuest: \\u003ca href=\\\"https://twitter.com/nananastia\\\"\\u003eNastia Voynovskaya\\u003c/a\\u003e, KQED Arts and Culture editor and reporter\\u003c/p\\u003e\",\"inputName\":\"episode[summary]\"}' data-react-cache-id=\"shared/components/HtmlEditor-0\">raising fears about the current border conflict — and painful memories of violence.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"https://twitter.com/nananastia\">Nastia Voynovskaya\u003c/a>, KQED Arts and Culture editor and reporter\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2935671829\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story includes a correction.\u003c/em>\u003c/p>\n\u003cp>For many Armenians in the Bay Area, the recent outbreak of violence in part of their homeland has sparked grave concerns and painful memories of past conflicts.\u003c/p>\n\u003cp>“It’s been a tense time,” said Oakland resident Greg Nemet, who was among thousands of protesters walking across the Golden Gate Bridge on Saturday in a show of solidarity with the Armenian people. “Everybody is extremely on guard.”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Roxanne Makasdjian, executive director of the Genocide Education Project\"]‘It’s very frightening to watch — somewhat helplessly — when your homeland, the very survival is at stake.’[/pullquote]In late September, \u003ca href=\"https://www.vox.com/21507583/armenia-azerbaijan-nagorno-karabakh-explained\">fighting reignited\u003c/a> in the Nagorno-Karabakh region, a territory of roughly 150,000 mostly ethnic Armenians, located in the Caucasus Mountains. Although internationally recognized as part of neighboring Azerbaijan, the region has been governed by Armenians since the fall of the Soviet Union nearly 30 years ago.\u003c/p>\n\u003cp>At least 350 people have already been killed in the escalating military conflict over the last few weeks, with Turkish forces backing Azerbaijan, and violence spreading to the civilian population. It’s the worst fighting the region — \u003ca href=\"https://www.nytimes.com/2020/10/08/opinion/nagorno-karabakh-armenia-azerbaijan.html?\" target=\"_blank\" rel=\"noopener noreferrer\">known to Armenians as Artsakh\u003c/a> — has seen since a\u003ca href=\"https://www.politico.eu/article/the-nagorno-karabakh-conflict-explained-armenia-azerbaijan/\"> bloody ethnic war\u003c/a> in the 1990s that killed upward of 30,000 people, and ended in a ceasefire but no lasting resolution.\u003c/p>\n\u003cp>Armenians in the Bay Area are “praying for a peaceful resolution” and “rallying together to make sure that the world at large understands,” Nemet said.\u003c/p>\n\u003cp>Concern has also risen sharply among the Bay Area’s sizable Armenian community, which includes roughly 50,000 people, following three suspected\u003ca href=\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\" target=\"_blank\" rel=\"noopener noreferrer\"> hate crime\u003c/a> incidents last month.\u003c/p>\n\u003cp>https://twitter.com/nina_spar/status/1315002813559103488\u003c/p>\n\u003cp>Many observers also see a disturbing connection between the current conflict and the \u003ca href=\"https://www.ushmm.org/information/exhibitions/online-exhibitions/special-focus/armenia\">Armenian Genocide in 1915\u003c/a>, when more than a million ethnic Armenians were killed or expelled from Turkey by Ottoman authorities.\u003c/p>\n\u003cp>San Francisco resident Lena Dakessian Halteh, who attended Saturday’s protest, has been channeling her response into art. “My most recent piece, titled ‘Soaring Cranes,’ was inspired by Diasporan Armenian identity, particularly within the context of the current humanitarian crisis stemming from the attacks,” she wrote in an email.\u003c/p>\n\u003cp>https://www.instagram.com/p/CGIGqYgH4ct/?igshid=1nvy8p6nqe36p\u003c/p>\n\u003cp>“After Armenians were expelled from their homeland following the Armenian Genocide, the ‘Krounk’ (Crane) emerged as a Diasporic symbol — one of our displacement and also our call to return,” she wrote.\u003c/p>\n\u003cp>Halteh says what is happening is personal for her and many Bay Area Armenians because they are descendants of survivors of genocide. “My grandparents were refugees who fled the Genocide and settled in Palestine, Syria and later Lebanon,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11841903\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841903\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/10/Lena_Nimer-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Lena Dakessian Halteh’s son holds a ‘Palestinians for Armenia’ sign on the Golden Gate Bridge on Saturday, Oct. 10, 2020. \u003ccite>(Courtesy of Lena Dakessian Halteh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Makasdjian, executive director of the Bay Area-based Genocide Education Project, says she has barely slept since the attacks began several weeks ago.\u003c/p>\n\u003cp>“It’s very frightening to watch — somewhat helplessly — when your homeland, the very survival is at stake,” she said.\u003c/p>\n\u003cp>Like Halteh, Makasdjian’s grandparents survived the Armenian Genocide, and she now helps educators in California teach about the tragedy. “We’re in serious crisis mode,” she said.\u003c/p>\n\u003cp>It wasn’t until 2019 that the U.S. government \u003ca href=\"https://www.nytimes.com/2019/12/12/us/politics/senate-armenian-genocide.html\" target=\"_blank\" rel=\"noopener noreferrer\">officially recognized the 1915 Armenian genocide\u003c/a>. “When perpetrators of genocide see that they can get away with it … they keep going,” she said.\u003c/p>\n\u003cp>[aside postID=\"news_13886652\"]Makasdjian wants Americans to know that the U.S. government, which she says has supplied weapons to Turkey, is complicit in the current unrest. “Our American friends need to understand that and work with us — we hope to call upon our government to sanction Turkey and stop selling arms to [Azerbaijan],” she said.\u003c/p>\n\u003cp>Makasdjian is also asking House Speaker Nancy Pelosi to call for a vote on a resolution introduced by U.S. Rep Jackie Speier, D-San Mateo,\u003ca href=\"https://thehill.com/policy/international/519263-lawmakers-introduce-resolution-condemning-azerbaijan-turkey-for-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> that condemns Azerbaijan \u003c/a>for instigating the current conflict in the Nagorno-Karabakh region.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nanor Balabanian, a longtime Bay Area resident and teacher, spoke to KQED by phone from Armenia, where she had relocated just days before this latest conflict began.\u003c/p>\n\u003cp>“The reason this issue is different than other world issues is because this is a repetition of a genocide. … In 1915, the genocide happened because the world was silent,” said Balabanian, who is of Armenian descent, but was born in Syria, raised in Lebanon and moved to California as a teenager. She most recently taught history and English at a high school in East Palo Alto.\u003c/p>\n\u003cp>“I left the Bay to come here [to Armenia] and start a learning center,” she said, speaking from Armenia’s capital. “But now I’m going to focus on rebuilding houses.”\u003c/p>\n\u003cp>Balabanian says the silence from the international community feels personal. She’d like to see social justice movements in the Bay Area, as well as civil society more broadly, show support for her people.\u003c/p>\n\u003cp>“I’ve always supported every movement, Black Lives Matter — we were there at the protests. Issues against immigrants and the immigrant community and the deportation centers — we were there protesting,” she said. “Do you know what’s going on here? How many times do I have to tell you how I need your help? I need your advocacy.”\u003c/p>\n\u003cp>\u003cem>Correction: The original version of this article stated that hundreds of people participated in the march on Saturday across the Golden Gate Bridge. There were, in fact, thousands of demonstrators — roughly 3,000 by one estimate. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED’s Nina Sparling and Kate Wolffe contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In late September, \u003ca href=\"https://www.vox.com/21507583/armenia-azerbaijan-nagorno-karabakh-explained\">fighting reignited\u003c/a> in the Nagorno-Karabakh region, a territory of roughly 150,000 mostly ethnic Armenians, located in the Caucasus Mountains. Although internationally recognized as part of neighboring Azerbaijan, the region has been governed by Armenians since the fall of the Soviet Union nearly 30 years ago.\u003c/p>\n\u003cp>At least 350 people have already been killed in the escalating military conflict over the last few weeks, with Turkish forces backing Azerbaijan, and violence spreading to the civilian population. It’s the worst fighting the region — \u003ca href=\"https://www.nytimes.com/2020/10/08/opinion/nagorno-karabakh-armenia-azerbaijan.html?\" target=\"_blank\" rel=\"noopener noreferrer\">known to Armenians as Artsakh\u003c/a> — has seen since a\u003ca href=\"https://www.politico.eu/article/the-nagorno-karabakh-conflict-explained-armenia-azerbaijan/\"> bloody ethnic war\u003c/a> in the 1990s that killed upward of 30,000 people, and ended in a ceasefire but no lasting resolution.\u003c/p>\n\u003cp>Armenians in the Bay Area are “praying for a peaceful resolution” and “rallying together to make sure that the world at large understands,” Nemet said.\u003c/p>\n\u003cp>Concern has also risen sharply among the Bay Area’s sizable Armenian community, which includes roughly 50,000 people, following three suspected\u003ca href=\"https://www.kqed.org/arts/13886652/shaken-by-three-suspected-hate-crimes-sfs-armenian-community-gathers-hope\" target=\"_blank\" rel=\"noopener noreferrer\"> hate crime\u003c/a> incidents last month.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Many observers also see a disturbing connection between the current conflict and the \u003ca href=\"https://www.ushmm.org/information/exhibitions/online-exhibitions/special-focus/armenia\">Armenian Genocide in 1915\u003c/a>, when more than a million ethnic Armenians were killed or expelled from Turkey by Ottoman authorities.\u003c/p>\n\u003cp>San Francisco resident Lena Dakessian Halteh, who attended Saturday’s protest, has been channeling her response into art. “My most recent piece, titled ‘Soaring Cranes,’ was inspired by Diasporan Armenian identity, particularly within the context of the current humanitarian crisis stemming from the attacks,” she wrote in an email.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“After Armenians were expelled from their homeland following the Armenian Genocide, the ‘Krounk’ (Crane) emerged as a Diasporic symbol — one of our displacement and also our call to return,” she wrote.\u003c/p>\n\u003cp>Halteh says what is happening is personal for her and many Bay Area Armenians because they are descendants of survivors of genocide. “My grandparents were refugees who fled the Genocide and settled in Palestine, Syria and later Lebanon,” she added.\u003c/p>\n\u003cfigure id=\"attachment_11841903\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841903\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/10/Lena_Nimer-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Lena Dakessian Halteh’s son holds a ‘Palestinians for Armenia’ sign on the Golden Gate Bridge on Saturday, Oct. 10, 2020. \u003ccite>(Courtesy of Lena Dakessian Halteh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roxanne Makasdjian, executive director of the Bay Area-based Genocide Education Project, says she has barely slept since the attacks began several weeks ago.\u003c/p>\n\u003cp>“It’s very frightening to watch — somewhat helplessly — when your homeland, the very survival is at stake,” she said.\u003c/p>\n\u003cp>Like Halteh, Makasdjian’s grandparents survived the Armenian Genocide, and she now helps educators in California teach about the tragedy. “We’re in serious crisis mode,” she said.\u003c/p>\n\u003cp>It wasn’t until 2019 that the U.S. government \u003ca href=\"https://www.nytimes.com/2019/12/12/us/politics/senate-armenian-genocide.html\" target=\"_blank\" rel=\"noopener noreferrer\">officially recognized the 1915 Armenian genocide\u003c/a>. “When perpetrators of genocide see that they can get away with it … they keep going,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nanor Balabanian, a longtime Bay Area resident and teacher, spoke to KQED by phone from Armenia, where she had relocated just days before this latest conflict began.\u003c/p>\n\u003cp>“The reason this issue is different than other world issues is because this is a repetition of a genocide. … In 1915, the genocide happened because the world was silent,” said Balabanian, who is of Armenian descent, but was born in Syria, raised in Lebanon and moved to California as a teenager. She most recently taught history and English at a high school in East Palo Alto.\u003c/p>\n\u003cp>“I left the Bay to come here [to Armenia] and start a learning center,” she said, speaking from Armenia’s capital. “But now I’m going to focus on rebuilding houses.”\u003c/p>\n\u003cp>Balabanian says the silence from the international community feels personal. She’d like to see social justice movements in the Bay Area, as well as civil society more broadly, show support for her people.\u003c/p>\n\u003cp>“I’ve always supported every movement, Black Lives Matter — we were there at the protests. Issues against immigrants and the immigrant community and the deportation centers — we were there protesting,” she said. “Do you know what’s going on here? How many times do I have to tell you how I need your help? I need your advocacy.”\u003c/p>\n\u003cp>\u003cem>Correction: The original version of this article stated that hundreds of people participated in the march on Saturday across the Golden Gate Bridge. There were, in fact, thousands of demonstrators — roughly 3,000 by one estimate. \u003c/em>\u003c/p>\n\u003cp>\u003cem>KQED’s Nina Sparling and Kate Wolffe contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Bay Bridge Banner Commemorates Armenian Genocide",
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"content": "\u003cp>Westbound drivers on the Bay Bridge might notice the return of an unusual sign: a banner that says \"Armenian Genocide 1915\" and includes the link to \u003ca href=\"https://genocideeducation.org/\">GenocideEducation.org\u003c/a>. The banner, installed Monday morning, hangs above the Yerba Buena Island tunnel as part of Genocide Awareness and Prevention Month.\u003c/p>\n\u003cp>This is the third year that a coalition of Armenian-American organizations paid $10,500 for the coveted ad location. Roxanne Makasdjian, a representative of the Bay Area Armenian Genocide Commemorative Committee, says that the banner represents an effort to remember and to acknowledge the risk of genocide today.\u003c/p>\n\u003cp>She cites the strife in Syria as one example: “Some of the locations where Armenians took their last breaths, where you can still find Armenian bones very close to the surface in the sand, where a small memorial existed, was bombed in Syria recently.”\u003c/p>\n\u003cp>The Turkish government denies the existence of the genocide that occurred as the Ottoman Empire collapsed following World War I.\u003c/p>\n\u003cp>\"The U.S. government has recognized [the Armenian genocide], but whenever there's been a resolution that has risen through the Congress, the State Department puts pressure on Congress to not bring it to a vote,\" Makasdjian told KQED.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Makasdjian, in the past an unknown group paid for a rival ad that cited a website dedicated to denying the Armenian genocide.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Between 30,000 to 50,000 people of Armenian descent live in the Bay Area, and more than 20 Armenian-affiliated groups donated money to the banner.\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"https://twitter.com/marianaurbannew\">Mariana Urban\u003c/a> and \u003ca href=\"https://twitter.com/bertjohnsonfoto\">Bert Johnson\u003c/a> \u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Westbound drivers on the Bay Bridge might notice the return of an unusual sign: a banner that says \"Armenian Genocide 1915\" and includes the link to \u003ca href=\"https://genocideeducation.org/\">GenocideEducation.org\u003c/a>. The banner, installed Monday morning, hangs above the Yerba Buena Island tunnel as part of Genocide Awareness and Prevention Month.\u003c/p>\n\u003cp>This is the third year that a coalition of Armenian-American organizations paid $10,500 for the coveted ad location. Roxanne Makasdjian, a representative of the Bay Area Armenian Genocide Commemorative Committee, says that the banner represents an effort to remember and to acknowledge the risk of genocide today.\u003c/p>\n\u003cp>She cites the strife in Syria as one example: “Some of the locations where Armenians took their last breaths, where you can still find Armenian bones very close to the surface in the sand, where a small memorial existed, was bombed in Syria recently.”\u003c/p>\n\u003cp>The Turkish government denies the existence of the genocide that occurred as the Ottoman Empire collapsed following World War I.\u003c/p>\n\u003cp>\"The U.S. government has recognized [the Armenian genocide], but whenever there's been a resolution that has risen through the Congress, the State Department puts pressure on Congress to not bring it to a vote,\" Makasdjian told KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Armenian Genocide Anniversary Sparks Fiery Art in Los Angeles",
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"content": "\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of Armenian-Americans of a certain age can relate to L.A. actress and comedienne Lory Tatoulian.\u003c/p>\n\u003cp>“I remember when my grandfather would come and visit us, he would share a room with me and he would wake up in the middle of the night screaming,” recalls Tatoulian, sitting beside her mother, Araxy Tatoulian, in the kitchen of Lory's home in downtown Pasadena.\u003c/p>\n\u003cp>“And I remember getting scared and running to my mom’s bedroom, and I didn’t understand what was happening,” she says.\u003c/p>\n\u003cp>Lory's mother would try to calm her down.\u003c/p>\n\u003cp>“And I would say, 'Lory, he has a pain, and later on when you grow up I’m going to tell you the story,' ” Araxy Tatoulian says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Araxy Tatoulian's parents survived the Armenian genocide, barely.\u003c/p>\n\u003cp>Her mother was wounded by Ottoman soldiers while she fought alongside men in the Armenian resistance.\u003c/p>\n\u003cp>She lived with the bullet until her death 30 years ago. The bullet is now part of a museum collection of genocide-related material in Armenia.\u003c/p>\n\u003cp>Araxy’s father, at the age of 8, was taken in by Arab Bedouins after his family was butchered. He was later reunited with surviving family in Lebanon.\u003c/p>\n\u003cfigure id=\"attachment_10500418\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\">\u003cimg class=\"wp-image-10500418 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-Tatoulians.jpg\" alt=\" Araxy Tataloulian (L) and her daughter Lory with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \" width=\"1920\" height=\"1544\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-400x322.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-800x643.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1440x1158.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-1180x949.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-Tatoulians-960x772.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\"> Araxy Tataloulian (L) and her daughter, Lory, with pictures of Araxy’s mother and father, survivors of the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lory Tatoulian says her grandparents rarely spoke of their experiences.\u003c/p>\n\u003cp>“But you just felt it in their eyes. It was manifest in the way they raised us with this underlying anxiety that something horrible could always happen,” Lory Tatoulian says. “That was an energy that was always present.”\u003c/p>\n\u003cp>But family life was also filled with a great deal of laughter and creativity. Her grandmother was also a stage actress and writer. Her mother, Araxy, is a teacher and poet.\u003c/p>\n\u003cp>“This is my story. This is a burden I also carry, and what am I to do with this pain?” Lory Tatoulian asks. “What am I to do with those stories, with those nightmares?”\u003c/p>\n\u003cp>Around 200 people crowded into \u003ca title=\"Abril Books\" href=\"http://www.abrilbooks.com/\">Abril Bookstore \u003c/a>in Glendale recently to hear Araxy and Lory Tatoulian sing traditional Armenian songs and share stories and photos of their family’s survival.\u003c/p>\n\u003cp>Araxy Tatoulian says her generation also kept stories of the genocide alive through art. But it’s younger generations who have really thrust it into the pop culture mainstream.\u003c/p>\n\u003cp>“This new generation, second and third generation, they feel like there’s a still a pain,\" says Araxy Tatoulian. \"So that’s why this year is very special. It’s a sacred centennial.\"\u003c/p>\n\u003cp>Hundreds of people also attended last week’s L.A. premiere of \u003ca title=\"1915: THE MOVIE\" href=\"http://www.1915themovie.com/\">\"1915: The Movie,\"\u003c/a> the first American feature film to explore how the anguish of the Armenian genocide continues to ripple across the generations.\u003c/p>\n\u003cp>“One hundred years after the Armenian genocide, this rather obsessed and haunted theater director is staging a play, which he believes will bring the ghosts of this forgotten crime back to life,” co-director and screenwriter Alec Mouhibian explains.\u003c/p>\n\u003cp>“And it turns out that personal confrontations with the truth need to be made before the historic confrontations can be made on the stage for the play to work,” Mouhibian says.\u003c/p>\n\u003cp>Both historic and contemporary confrontations must deal with the executions, death marches and land seizures of 100 years ago. Turkey concedes atrocities were committed against Christian Armenians under Ottoman rule during World War I. But it insists they occurred during wartime, when many Turks also perished.\u003c/p>\n\u003cp>To this day Turkey denies there was ever a systematic plan to wipe out Armenians, or that as many as 1.5 million Armenian men, woman and children perished.\u003c/p>\n\u003cp>“1915” co-director Garin Hovannisian, whose father, Raffi Hovannisian, is the first foreign minister of \u003ca href=\"http://en.wikipedia.org/wiki/Armenia\">Armenia\u003c/a>, says that as long as the denial persists, so, too, will the protests.\u003c/p>\n\u003cp>“If you’re aware as an Armenian, you’re also aware of the fact that Turkey’s denial is just not passive denial. It’s aggressive denial,” Hovannisian says. “So the battle is ongoing, and that’s why I think we have no opportunity to back down.”\u003c/p>\n\u003cp>One of the loudest voices in the call for genocide recognition is the Grammy Award-winning L.A. metal band \u003ca title=\"System of a Down\" href=\"http://www.systemofadown.com/\">System of a Down\u003c/a>.\u003c/p>\n\u003cp>All four members are also descendants of Armenian genocide survivors. This week System of a Down wrapped up an international tour commemorating the genocide’s centennial with its first-ever performance in Armenia, in a massive \u003ca title=\"System of a Down in Armenia\" href=\"https://www.youtube.com/watch?v=NYblpyVo_cc\">outdoor concert in the capital city, Yerevan. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_10500460\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\">\u003cimg class=\"wp-image-10500460 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg\" alt=\"Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first ever performance in Armenia. \" width=\"1920\" height=\"1220\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-400x254.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-800x508.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1440x915.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-1180x750.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-SOAD-Yerevan-960x610.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from the web simulcast of System of a Down’s April 23 outdoor performance in Yerevan, Armenia’s capital. It was the band’s first-ever performance in Armenia. \u003ccite>(System of a Down)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The important thing is justice,” said vocalist Serj Tankian, speaking about the band’s 20-year crusade in a video statement at the start of its \"Wake up the Souls\" tour.\u003c/p>\n\u003cp>“If someone killed my family and burned my house down and I’m running after them for 100 years, you have to have incrimination, you have to courts involved, etc,” Tankian says.\u003c/p>\n\u003cp>An online campaign launched this year by Glendale rapper R-Mean to raise awareness of the genocide sums it up in its slogan: \"\u003ca title=\"R-Mean Open Wounds video\" href=\"https://www.youtube.com/watch?v=0qDVkXKfm1M\">Our Wounds Are Still Open\u003c/a>.\"\u003c/p>\n\u003cp>Open wounds is also the theme of a street mural painted last year in L.A.’s Little Armenia neighborhood by artist Arutyun Gozukuchikyan, who goes by the name \u003ca title=\"ArtViaArt\" href=\"http://www.artviaart.com/\">ArtViaArt\u003c/a>.\u003c/p>\n\u003cp>The mural shows a forearm sliced open by a dagger, the year 1915 exposed beneath the skin. \"Our Wounds are Still Open\" is painted in letters that look as if they were carved into the concrete.\u003c/p>\n\u003cp>\"As for why and what difference this will make, it’s just documenting,” Gozukuchikyan says. “I don’t know what the next generation will do, but you’re kind of just painting history.”\u003c/p>\n\u003cfigure id=\"attachment_10500461\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\">\u003cimg class=\"wp-image-10500461 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/AG-ArtG.jpg\" alt=\"Arutyun Gozukuchikyan otherwise known as ArtViaArt and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/AG-ArtG-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arutyun Gozukuchikyan, otherwise known as ArtViaArt, and his recent street mural in L.A.’s Little Armenia commemorating the Armenian genocide. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A second mural completed a few months ago shows an elderly Armenian woman, Gozukuchikyan’s grandmother, her mouth bound with a cloth that's again inscribed with the year 1915.\u003c/p>\n\u003cp>Gozukuchikyan says a lot of older Armenians were hesitant to ever talk about the genocide, let alone to protest.\u003c/p>\n\u003cp>“This generation’s different, this generation’s stepping up,” Gozukuchikyan says. “This is our way of saying: No one wants to recognize this? We’ll recognize it ourselves.\"\u003c/p>\n\u003cp>Gozukuchikyan says he’s done with the genocide as a subject, for now anyway. All he could say is right up there on the walls.\u003c/p>\n\u003cp>It’s a sentiment that “1915” co-director Garvin Hovannissian can relate to.\u003c/p>\n\u003cp>“When we were making this film I’d always been thinking of April 24 as our last chance of telling the world what happened to us,” Hovannissian says.\u003c/p>\n\u003cp>“But it’s really the first time that many people are going to hear about (the genocide). And that’s another way of saying our work and struggle are still ahead of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And maybe through a film, song or street mural, the Armenian genocide will remain burnished in people’s memories for another hundred years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Between Homelands: Armenians Struggle to Preserve Their Language",
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"headTitle": "Between Homelands | The California Report | KQED News",
"content": "\u003cp>\u003cem>This week we’re launching a new series called “Between Homelands.” We’ve teamed up with students from USC Annenberg’s School for Communication and Journalism. They're bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>April 24 marks the centennial of the massacre of nearly 1.5 million Armenians that caused thousands of others to flee what is now Turkey. Many refer to this as the Armenian genocide.\u003c/p>\n\u003cp>Today, Los Angeles is home to the largest population of Armenians in the U.S. While their communities continue to thrive, Western Armenian, the dialect they brought with them, is in severe danger.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/202438862\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Hratch Sepetjian teaches at \u003ca class=\"pseudolink annotate\" href=\"http://www.agbumds.org/apps/pages/index.jsp?uREC_ID=74461&type=u\" target=\"_blank\">AGBU Manoogian-Demirdjian School\u003c/a>, a private Armenian school in Los Angeles. It works to promote and preserve Armenian language and culture.\u003c/p>\n\u003cfigure id=\"attachment_10500239\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8.jpg\">\u003cimg class=\"wp-image-10500239 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8-e1429891134591.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (6 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A student asks Hratch Sepetjian a question after his ninth-grade English class. The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its endangered languages list. Sepetjian hopes his class will help keep the language alive. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its \u003ca href=\"www.unesco.org/languages-atlas/\">endangered languages list\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Every day languages die,\" Sepetjian says. \"I'm not saying it's close, or soon, or in 10 years, but that day will come.\"\u003c/p>\n\u003cp>Western Armenian came close to dying on April 24, 1915. That is when the Ottoman Empire began systematically killing Armenians in their ancestral homeland.\u003c/p>\n\u003cp>“After the genocide, Western Armenian experienced a rebirth,” Sepetjian explains. “We opened schools and orphanages everywhere, and our mothers and fathers, grandmothers and grandfathers, who were Turkish-speaking, they taught their children Armenian.\"\u003c/p>\n\u003cp>But that didn’t last, and now some descendants of the survivors have assimilated to the point where they rarely speak Armenian.\u003c/p>\n\u003cfigure id=\"attachment_10500240\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8.jpg\">\u003cimg class=\"wp-image-10500240 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8-e1429891524741.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (1 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students in Hratch Sepetjian's class listen to a lecture in Armenian. The high school is one of about 10 Armenian schools in Los Angeles. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sepetjian's student, Erika Saringulian, transferred into the school last year. Although she’s now closer to the Armenian community, she’s worried about getting further from the language. She says she speaks Armenian only in class.\u003c/p>\n\u003cp>\"I don’t talk Armenian with my friends,\" Saringulian explains. \"None of us do.\"\u003c/p>\n\u003cp>Michael Culhaoglu has been at the school for years. He’s already looking to the next generation to keep the language alive.\u003c/p>\n\u003cp>\"At most, two or three people in this class are going to teach their kids Armenian,\" he says. Another student in the class interrupts him, and insists Culhaoglu will eventually speak to his children in Armenian.\u003c/p>\n\u003cp>\"No,\" Culhaoglu counters, \"because right now you speak to your family in English. So why would you teach it? It's going to be very difficult, unless you send them to an Armenian school.\"\u003c/p>\n\u003cp>Despite the fact that many of Hratch Sepetjian's students speak Armenian only in the classroom, he says he refuses to give up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As much as we can, we have to keep trying,” he says. “We can't give up, even if it's inevitable. We must not despair, we must try to remain Armenian, and Armenian-speaking.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week we’re launching a new series called “Between Homelands.” We’ve teamed up with students from USC Annenberg’s School for Communication and Journalism. They're bringing us stories of people living in California who have come from afar, or who were born in the U.S. but feel like cultural foreigners.\u003c/em>\u003c/p>\n\u003cp>April 24 marks the centennial of the massacre of nearly 1.5 million Armenians that caused thousands of others to flee what is now Turkey. Many refer to this as the Armenian genocide.\u003c/p>\n\u003cp>Today, Los Angeles is home to the largest population of Armenians in the U.S. While their communities continue to thrive, Western Armenian, the dialect they brought with them, is in severe danger.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/202438862&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/202438862'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Hratch Sepetjian teaches at \u003ca class=\"pseudolink annotate\" href=\"http://www.agbumds.org/apps/pages/index.jsp?uREC_ID=74461&type=u\" target=\"_blank\">AGBU Manoogian-Demirdjian School\u003c/a>, a private Armenian school in Los Angeles. It works to promote and preserve Armenian language and culture.\u003c/p>\n\u003cfigure id=\"attachment_10500239\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8.jpg\">\u003cimg class=\"wp-image-10500239 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-6-of-8-e1429891134591.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (6 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A student asks Hratch Sepetjian a question after his ninth-grade English class. The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its endangered languages list. Sepetjian hopes his class will help keep the language alive. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The United Nations Educational, Scientific and Cultural Organization (UNESCO) has Western Armenian on its \u003ca href=\"www.unesco.org/languages-atlas/\">endangered languages list\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Every day languages die,\" Sepetjian says. \"I'm not saying it's close, or soon, or in 10 years, but that day will come.\"\u003c/p>\n\u003cp>Western Armenian came close to dying on April 24, 1915. That is when the Ottoman Empire began systematically killing Armenians in their ancestral homeland.\u003c/p>\n\u003cp>“After the genocide, Western Armenian experienced a rebirth,” Sepetjian explains. “We opened schools and orphanages everywhere, and our mothers and fathers, grandmothers and grandfathers, who were Turkish-speaking, they taught their children Armenian.\"\u003c/p>\n\u003cp>But that didn’t last, and now some descendants of the survivors have assimilated to the point where they rarely speak Armenian.\u003c/p>\n\u003cfigure id=\"attachment_10500240\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8.jpg\">\u003cimg class=\"wp-image-10500240 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/Hratch-Sepetjian-Class-Pics-2.27-1-of-8-e1429891524741.jpg\" alt=\"Hratch Sepetjian Class Pics 2.27 (1 of 8)\" width=\"1920\" height=\"1280\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Students in Hratch Sepetjian's class listen to a lecture in Armenian. The high school is one of about 10 Armenian schools in Los Angeles. \u003ccite>(Andy Vasoyan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sepetjian's student, Erika Saringulian, transferred into the school last year. Although she’s now closer to the Armenian community, she’s worried about getting further from the language. She says she speaks Armenian only in class.\u003c/p>\n\u003cp>\"I don’t talk Armenian with my friends,\" Saringulian explains. \"None of us do.\"\u003c/p>\n\u003cp>Michael Culhaoglu has been at the school for years. He’s already looking to the next generation to keep the language alive.\u003c/p>\n\u003cp>\"At most, two or three people in this class are going to teach their kids Armenian,\" he says. Another student in the class interrupts him, and insists Culhaoglu will eventually speak to his children in Armenian.\u003c/p>\n\u003cp>\"No,\" Culhaoglu counters, \"because right now you speak to your family in English. So why would you teach it? It's going to be very difficult, unless you send them to an Armenian school.\"\u003c/p>\n\u003cp>Despite the fact that many of Hratch Sepetjian's students speak Armenian only in the classroom, he says he refuses to give up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As much as we can, we have to keep trying,” he says. “We can't give up, even if it's inevitable. We must not despair, we must try to remain Armenian, and Armenian-speaking.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/198036549\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">[soundcloud url=\"https://api.soundcloud.com/playlists/93272526\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five minutes before the Fresno State New Music Ensemble concert is supposed to start, a speaker blows. And one of the pieces on the program is purely electronic, so it’s pretty vital the speaker gets replaced.\u003c/p>\n\u003cp>It’s the kind of thing that would rattle any program director, let alone a 21-year-old senior who has organized the concert for his honors project to observe the 100\u003csup>th\u003c/sup> anniversary of the Armenian genocide. But percussionist and composer \u003ca href=\"http://josephbohigian.wix.com/composer\" target=\"_blank\">Joseph Bohigian\u003c/a> doesn’t seem too worked up.\u003c/p>\n\u003cp>“It’s out of my hands,” he says. \u003c/p>\n\u003cp>And yet all around him, the sounds of stagehands trying to make sure the problem gets resolved -- even as someone on the piano knocks out some dissonant chords -- bring to mind a jarring, atonal composition. The perfect setup for a contemporary or new music concert.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/198036549&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/198036549'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then quickly, it all comes together. The doors open and concertgoers head for their seats.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The concert is a diverse menu of sound from seven Armenian composers, including Bohigian, whose piece debuts tonight. There’s New York composer \u003ca href=\"http://www.evbvd.com/billyfloyd/index.html\" target=\"_blank\">Eve Beglarian\u003c/a>. Her piece, \"Waiting for Billy Floyd,\" has an Americana feel with its many instruments, including a guitar, violin and vibraphone.\u003c/p>\n\u003cp>“She recorded sounds when she was going down the Mississippi River and used that sort of as the background for the piece,” Bohigian says.\u003c/p>\n\u003cp>And there’s \u003ca href=\"http://tigranmansurian.com/\" target=\"_blank\">Tigran Mansurian\u003c/a>, the most well-known living Armenian composer. “His piece is definitely influenced by very traditional Armenian music,” says Bohigian. “Much more so than all the other composers.”\u003c/p>\n\u003cp>Bohigian’s piece, \"In the Shadow of Ararat,\" is the only composition written specifically for this concert. Mount Ararat is an iconic symbol that looms over the Armenian capital, Yerevan. “I wrote it to commemorate the anniversary, but I wouldn’t say the piece is about the genocide,\" he says. The piece uses traits common to Armenian music, such as repetition of short motives and monophonic and heterophonic textures.\u003c/p>\n\u003caside class=\"pullquote alignright\">\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/playlists/93272526&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/playlists/93272526'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/aside>\n\u003cp>Bohigian grew up hearing stories firsthand about the \u003ca href=\"http://www.armenian-genocide.org/genocide.html\" target=\"_blank\">Armenian genocide\u003c/a>, which started in 1915. His great-grandmother was a little girl living in the village of Tokat when the Ottoman government began its campaign to deport and kill all Armenians.\u003c/p>\n\u003cp>“All of her family, except for her and her mother, were killed either in Tokat or when they were marched down to the Syrian Desert,” says Bohigian. “She had, I think, five or six siblings, and they all died.”\u003c/p>\n\u003cp>In the 1920s, she came to Fresno, where a large Armenian community still exists. And she wrote a memoir with her son-in-law, Bob Der Mugrdechian, called \"Siranoosh, My Child.\"\u003c/p>\n\u003cp>“I knew my great-grandmother when I was little. I used to go to her house to eat watermelon with her,” he says. But he feels disconnected in some ways from the genocide because it happened so long ago. He decided to reread her memoir for inspiration when he wrote his composition. And, he says, he wants this concert to focus on what Armenians are doing today.\u003c/p>\n\u003cp>“We survived and we’re creating all these great things still,” he says. “So, I mean the goal was to get rid of Armenians, but it didn’t work.”\u003c/p>\n\u003cp>Charles Amirkhanian’s piece, \"Dzarin Bess Ga Khorim,\" is completely different from Eve Beglarian’s. “It’s purely electronics and uses elementary Armenian phrases,” says Bohigian.\u003c/p>\n\u003cp>Amirkhanian is the executive director of the contemporary music organization \u003ca href=\"http://www.otherminds.org/shtml/Amirkhanian.shtml\" target=\"_blank\">Other Minds \u003c/a>in San Francisco. His piece is a collage of words. He says he wrote it after a friend told him he was taking Armenian language classes. “And I said, ‘Gee, I’d love to do a sound poem in Armenian because it has such interesting, guttural sounds.’ ”\u003c/p>\n\u003cfigure id=\"attachment_10467367\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast.jpg\">\u003cimg class=\"size-medium wp-image-10467367\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg\" alt=\"Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \" width=\"800\" height=\"1032\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-800x1032.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-400x516.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1440x1857.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-1180x1522.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-768x990.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/03/Aznive-54-contrast-320x413.jpg 320w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Charles Amirkhanian at age 9 with his sister and maternal grandparents. The photo is from 1954 \u003ccite>(Eleanor Amirkhanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He recorded the piece in Sweden decades ago and says he went through the entire Stockholm phonebook trying to find an Armenian who could help with the pronunciation. But he couldn’t find one.\u003c/p>\n\u003cp>“So I just decided, ‘Well, I can pronounce these words. I’ll record them myself,’” he says. “But I had no idea that I was mispronouncing one of the key words in the piece.” The word is khndzor for apple. “And that word is repeated on and on and on for two minutes and, of course, Armenians when they hear it just think it’s ridiculous,” he says.\u003c/p>\n\u003cp>Amirkhanian grew up in Fresno singing with his grandparents in the Pilgrim Armenian Congregational Church. His maternal grandmother was shot in the eye before she fled the genocide. \"She had a glass eye when I was growing up,\" he says.\u003c/p>\n\u003cp>When Armenia became independent in 1991, there was very little electricity but lots of noise. Amirkhanian visited Yerevan a few years later. Groups of artists, including his relatives, would get together in the evenings and take turns performing by candlelight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They’d sing and dance all night,” says Amirkhanian. “They simply were so accustomed to being on stage or to performing music as amateurs, if they weren’t professionals. So wherever you find Armenians, you’re going to find music.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 19
},
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"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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"order": 4
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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},
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"title": "Here & Now",
"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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"officialWebsiteLink": "http://www.wbur.org/hereandnow",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
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"id": "inside-europe",
"title": "Inside Europe",
"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
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"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
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"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
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"rss": "https://partner.dw.com/xml/podcast_inside-europe"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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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"
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},
"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
"site": "arts",
"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
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"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
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},
"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": 13
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
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"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
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"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"rss": "https://feeds.simplecast.com/_xaPhs1s",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"
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},
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"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
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