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"content": "\u003cp>Traxamillion, born Sultan Banks, was a producer from San Jose who helped define the Bay Area’s sound and propelled the hyphy movement to the national stage. If there’s a Bay Area anthem you love, whether it’s “Sideshow”, “Super Hyphy” or “San Francisco Anthem,” Traxamillion had his fingerprints on it.\u003c/p>\n\u003cp>Traxamillion died on Jan. 2 in Santa Clara from a rare form of cancer at the age of 42. So today, we remember his legacy on the hyphy movement, the Bay Area, and local artists.\u003c/p>\n\u003cp>\u003cstrong>Guest: \u003c/strong>\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">Nastia Voynovskaya\u003c/a>, KQED Arts and Culture associate editor\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering Traxamillion, Whose Beats Defined the Bay Area Sound\u003c/a> by Nasta Voynovskaya, Gabe Meline, and Pendarvis Harshaw\u003c/li>\n\u003cli>Super Hyphy with Traxamillion\u003cstrong>, \u003c/strong>\u003ca href=\"https://podcasts.apple.com/mu/podcast/dad-bod-rap-pod/id1369624840\" target=\"_blank\" rel=\"noopener noreferrer\">Dad Bod Rap Pod\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp id=\"embed-code\" class=\"inconsolata\">\n\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=KQINC8310844389&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Follow \u003c/i>\u003ca href=\"https://www.kqed.org/news/tag/the-bay\">\u003ci>The Bay\u003c/i>\u003c/a>\u003ci> to hear more local Bay Area stories like this one. New episodes are released Monday, Wednesday and Friday at 3 a.m. Find The Bay on \u003c/i>\u003ca href=\"https://podcasts.apple.com/us/podcast/the-bay/id1350043452?mt=2\">\u003ci>Apple Podcasts\u003c/i>\u003c/a>\u003ci>, \u003c/i>\u003ca href=\"https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ\">\u003ci>Spotify\u003c/i>\u003c/a>\u003ci>, \u003c/i>\u003ca href=\"https://www.stitcher.com/podcast/kqed/the-bay\">\u003ci>Stitcher\u003c/i>\u003c/a>\u003ci>, NPR One or via \u003c/i>\u003ca href=\"https://www.amazon.com/KQED-The-Bay-Flash-Briefing/dp/B07H6YYV23\">\u003ci>Alexa\u003c/i>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11888465/happiest-climate-change-song-ever-fantastic-negrito-and-rolling-through-california\">Fantastic Negrito: Rolling Through California\u003c/a>\u003c/h2>\n\u003cp>Oakland-based artist Fantastic Negrito tells us about his new single featuring Miko Marks, “Rolling Through California,” a song that explores the dissonance between the California dream and the reality of living in our state today. The lyrics came to him a year ago, on the day that wildfire smoke turned skies red. “It felt apocalyptic and it felt like a message,” he says. “Looking at this blood-red sun, bloodshot sun in the sky, I wanted to tell the story of what was happening in the moment.”\u003c/p>\n\u003ch2 class=\"routes-Site-routes-Post-components-Post-components-PostTitle-___PostTitle__title\">\u003ca href=\"https://www.kqed.org/news/11888827/you-always-feel-that-someones-missing-how-a-trump-era-immigration-policy-has-kept-a-california-family-apart-for-two-years\">How a Trump-Era Immigration Policy Has Kept a California Family Apart for Two Years\u003c/a>\u003c/h2>\n\u003cp>When you’ve been living in the U.S. undocumented, and you’re finally able to become a legal resident, it’s a huge relief. That’s what one father in the Central Valley city of Los Banos was hoping to feel. He followed the rules and went back to Mexico for the final step to apply for his green card: an interview at the U.S. Consulate. His wife and kids expected him back in a week or two, but he was stopped from returning by a restrictive Trump administration rule that blocked thousands of others too. Zaidee Stavely tells us how, two years later, his kids are still waiting to get their dad back.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11888875/how-standing-up-to-racism-after-9-11-changed-one-immigrant-teenagers-life\">How Standing Up to Racism After 9/11 Changed One Immigrant Teenager’s Life\u003c/a>\u003c/h2>\n\u003cp>20 years ago, California Report host Sasha Khokha was a first year journalism student at Berkeley, and wanted to find out how the post 9/11 backlash against South Asians was affecting young people in my community. So she wrote a piece about an inspiring group of teenagers from Berkeley High for a publication called Asian Week. One of the young women she met and featured in the article was 17-year-old Fatima Shah. Sasha tracked her down 20 years later, to reflect on that time, and find out how it shaped her life today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it comes to cultural exports of the Bay Area, hyphy is in a league of its own.\u003c/p>\n\u003cp>The subgenre of hip-hop has an up-tempo, hyperactive beat that makes you want to dance. In the early 2000s, artists like E-40 and Too Short had audiences around the world loving this distinctly Bay Area sound. But to locals who lived through the hyphy movement, it was much bigger than music.\u003c/p>\n\u003cp>“It’s an energy. It’s a culture. It’s a dance. It’s expression,” E-40 \u003ca href=\"https://www.youtube.com/watch?v=djs_t8MSvfw\">said in an interview posted by Artisan News Service\u003c/a>. “It’s cars. It’s the sideshows. It’s the swinging of donuts. It’s scraper cars — the Buick LeSabres, the Park Avenues, the old-school muscle cars … It’s the struggle. It’s the way we dress. It’s our lingo. It’s a culture, man.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn\">Pendarvis Harshaw\u003c/a>, who is now host of \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">KQED’s Rightnowish podcast\u003c/a>, recalled growing up in the midst of the hyphy movement.\u003c/p>\n\u003cp>“The scrapers getting sideways, airbrushed T-shirts, big stunna shades, all of that — that was my teenage experience,” he said. “I remember being in Emeryville at the record release party for E-40’s “My Ghetto Report Card” … which was arguably the height of the hyphy movement.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s watched the culture and music evolve over the past 20 years. Now, young people who were just babies at the height of the hyphy movement are rediscovering it.\u003c/p>\n\u003cp>“To this new generation of young adults, what’s old is new again,” Harshaw said.\u003c/p>\n\u003cp>That’s also true for Bay Curious listener Lauren Tankeh. She grew up in San Carlos and remembers starting to listen to hyphy in high school. Now, she’s in college at Cal Poly and says when a hyphy song gets played at a party, all the Bay Area kids go crazy. She wants to know more about how the culture became so synonymous with the Bay.\u003c/p>\n\u003cp>\u003cem>Below is a conversation Pendarvis had with music producer Trackademicks for the Rightnowish podcast. They’ll answer Lauren’s question, taking us through the hip-hop legacy of Northern California, and dig in on the etymology of the word “hyphy.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11882076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11882076\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1.jpeg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El stares into the camera as Pendarvis Harshaw does a video interview with E-40 at Youth Uprising in Deep East Oakland. \u003ccite>(Courtesy of Jacky Johnson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySel0OB-TDw\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K71IXLQpGss\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoQ4AtsFWVM\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMnTawcUZLQ\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b8kTV4VtKA\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2QjOclOzkU\u003c/p>\n\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37_C3WaTNk\u003c/p>\n\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\n",
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"excerpt": "Over 15 years ago, Bay Area rappers put hyphy music and culture on the map. How did hyphy get its start here? ",
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"title": "‘It’s Pure Energy’: How Hyphy Came to Define Bay Area Hip-Hop | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to cultural exports of the Bay Area, hyphy is in a league of its own.\u003c/p>\n\u003cp>The subgenre of hip-hop has an up-tempo, hyperactive beat that makes you want to dance. In the early 2000s, artists like E-40 and Too Short had audiences around the world loving this distinctly Bay Area sound. But to locals who lived through the hyphy movement, it was much bigger than music.\u003c/p>\n\u003cp>“It’s an energy. It’s a culture. It’s a dance. It’s expression,” E-40 \u003ca href=\"https://www.youtube.com/watch?v=djs_t8MSvfw\">said in an interview posted by Artisan News Service\u003c/a>. “It’s cars. It’s the sideshows. It’s the swinging of donuts. It’s scraper cars — the Buick LeSabres, the Park Avenues, the old-school muscle cars … It’s the struggle. It’s the way we dress. It’s our lingo. It’s a culture, man.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/ogpenn\">Pendarvis Harshaw\u003c/a>, who is now host of \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\">KQED’s Rightnowish podcast\u003c/a>, recalled growing up in the midst of the hyphy movement.\u003c/p>\n\u003cp>“The scrapers getting sideways, airbrushed T-shirts, big stunna shades, all of that — that was my teenage experience,” he said. “I remember being in Emeryville at the record release party for E-40’s “My Ghetto Report Card” … which was arguably the height of the hyphy movement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s watched the culture and music evolve over the past 20 years. Now, young people who were just babies at the height of the hyphy movement are rediscovering it.\u003c/p>\n\u003cp>“To this new generation of young adults, what’s old is new again,” Harshaw said.\u003c/p>\n\u003cp>That’s also true for Bay Curious listener Lauren Tankeh. She grew up in San Carlos and remembers starting to listen to hyphy in high school. Now, she’s in college at Cal Poly and says when a hyphy song gets played at a party, all the Bay Area kids go crazy. She wants to know more about how the culture became so synonymous with the Bay.\u003c/p>\n\u003cp>\u003cem>Below is a conversation Pendarvis had with music producer Trackademicks for the Rightnowish podcast. They’ll answer Lauren’s question, taking us through the hip-hop legacy of Northern California, and dig in on the etymology of the word “hyphy.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11882076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11882076\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/07/EJbsFORUEAApF9v-1020x680-1.jpeg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jesus El stares into the camera as Pendarvis Harshaw does a video interview with E-40 at Youth Uprising in Deep East Oakland. \u003ccite>(Courtesy of Jacky Johnson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ySel0OB-TDw'\n title='//www.youtube.com/embed/ySel0OB-TDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K71IXLQpGss'\n title='//www.youtube.com/embed/K71IXLQpGss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AoQ4AtsFWVM'\n title='//www.youtube.com/embed/AoQ4AtsFWVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qMnTawcUZLQ'\n title='//www.youtube.com/embed/qMnTawcUZLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1b8kTV4VtKA'\n title='//www.youtube.com/embed/1b8kTV4VtKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v2QjOclOzkU'\n title='//www.youtube.com/embed/v2QjOclOzkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v37_C3WaTNk'\n title='//www.youtube.com/embed/v37_C3WaTNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Come on Papi, La Vacuna!': A New Arts Campaign Aims to Boost Vaccination Rates in San Joaquin Valley",
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"content": "\u003cp>“Together, so many years,” writes \u003ca href=\"https://www.kqed.org/news/10683695/californias-juan-felipe-herrera-inaugurates-term-as-u-s-poet-laureate\">Juan Felipe Herrera, former U.S. poet laureate\u003c/a>, in his recent poem “\u003ca href=\"https://actaonline.org/wp-content/uploads/2021/06/Tantos-An%CC%83os-Juntos_Bilingual.pdf\">Tantos Años Juntos\u003c/a>,” created to encourage farmworkers to get vaccinated.\u003c/p>\n\u003cp>“I do not want you to leave my side.”\u003c/p>\n\u003cp>Herrera has performed this poem at events throughout the Central Valley as part of a new cultural campaign called ACTAvando Contra COVID that is bringing songs, poems and radio dramas to farmworkers and other Spanish-speaking audiences. It’s a collaboration between the \u003ca href=\"http://actaonline.org\">Alliance for California Traditional Arts\u003c/a> (ACTA) and \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingüe\u003c/a>, the national Latino public radio network.\u003c/p>\n\u003cp>“Take the vaccine, I do not want you to leave my side,” the poem continues. “Nothing is stronger than our family and our love.”\u003c/p>\n\u003cfigure id=\"attachment_11879938\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879938 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg\" alt=\"A person wearing a hat reads a poem and smiles in an open-air space.\" width=\"2560\" height=\"1680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Felipe Herrera, former poet laureate of the United States, performs with Los Originarios del Plan at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the beginning of the pandemic, farmworkers throughout the Central Valley have been \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">hard hit by COVID infections\u003c/a>.\u003c/p>\n\u003cp>“The farmworkers had to be out there,” said Hugo Morales, executive director and co-founder of Radio Bilingüe. “Because they had to eat, they had to feed their families. They had to earn an income. \u003cspan style=\"font-weight: 400\">Many of them are undocumented, so there was essentially no assistance for them.”\u003c/span>\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Hugo Morales, Radio Bilingüe\"]‘The farmworkers had to be out there … because they had to eat, they had to feed their families. They had to earn an income.’[/pullquote]But the vaccination rate among farmworkers still lags far behind the rest of the state.\u003c/p>\n\u003cp>Nearly\u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\"> 60% of \u003c/a>Californians are fully vaccinated, but health experts warn that some regions, like the San Joaquin Valley, still have dramatically low vaccination rates. In Kings County, for example, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\">nearly three-quarters of Latino residents have yet to get a shot.\u003c/a>\u003c/p>\n\u003cp>One of the key challenges for boosting vaccinations rates has been the spread of misinformation on social media platforms.\u003c/p>\n\u003cp>Morales explains that the historic mistreatment of migrant workers has led to a mistrust of Western medicine — like when migrants who arrived as part of the Bracero program in the 1950s and 1960s were \u003ca href=\"https://thebraceroprogram.weebly.com/dehumanization.html\">sprayed with DDT.\u003c/a>\u003c/p>\n\u003cp>[aside postID=\"news_10341616\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2014/09/morenocrop1.jpeg\"]“Unfortunately, [misinformation] plays on the fears,” he said. “There’s a history there that is very concrete.”\u003c/p>\n\u003cp>But Morales and the other organizers of the campaign hope that art can help address these concerns.\u003c/p>\n\u003cp>Along with Herrera, ACTA has commissioned other celebrated artists, like Carmencristina Moreno, known as the \u003ca href=\"https://www.kqed.org/news/10341616/the-chicana-first-lady-of-song\">Chicana First Lady of Song\u003c/a>, who has written original works encouraging vulnerable communities like farmworkers to stay safe by utilizing face masks, washing their hands and getting vaccinated.\u003c/p>\n\u003cp>https://youtu.be/9GFBkDwh9rY\u003c/p>\n\u003cp>The campaign is also relying on musicians with deep ties to the immigrant community, like Leonel Mendoza Acevedo. His acoustic string ensemble, \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/Originarios-del-Plan-149320349234548/\">Los Originarios del Plan,\u003c/a> has roots in the Mexican state of Michoacán.\u003c/p>\n\u003cp>“When we talked about what kind of song would they compose for this, Leonel immediately said, ‘We should we should use the form of a Valona,’ ” said Amy Kitchener, ACTA’s executive director. “It’s like lyric poetry, for expressing social concerns.”\u003c/p>\n\u003cfigure id=\"attachment_11879939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879939 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg\" alt=\"A band, including a pair of violinists, a harpist and a guitarist, perform on a stage.\" width=\"2560\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-2048x1354.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1920x1270.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Originarios del Plan perform at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza thought it was really important to use the very traditional form from his area because it was a way to call his community into action. “When people hear the Valona, they know I’m talking to them,” he said.\u003c/p>\n\u003cp>“We were all hit by the pandemic, with the death of two good friends,” added Mendoza. “We know how important it is to get vaccinated and we don’t want any more deaths. The longer it takes for us to all get vaccinated, death may be waiting for us around the corner.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dUR9R09a6wM\u003c/p>\n\u003cp>Meanwhile, artists like \u003ca href=\"https://www.facebook.com/Gruporecreacion\">Grupo Recreación Musical\u003c/a> are increasing messaging to Spanish and Mixteco-speaking communities by writing and composing songs in both languages.\u003c/p>\n\u003cp>“One of the communities that is most vulnerable to this pandemic has been the Indigenous community,” said Morales, a Mixteco immigrant himself who pioneered radio programming in Indigenous languages spoken in Mexico.\u003c/p>\n\u003cp>“Those that are dying under the age of 50 are often Mexican-Americans and Indigenous people,” he said. “So it’s not over for the essential workers.”\u003c/p>\n\u003cfigure id=\"attachment_11879937\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879937 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg\" alt=\"A small child gets tested for COVID-19 by a nurse.\" width=\"2000\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A child being tested for COVID-19 during an ACTAvando Contra COVID event at the Madera Flea Market on June 13, 2021. Visitors could get tested and sign up for vaccines while musicians played. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radio drama is another tool artists are using to to get the word out.\u003c/p>\n\u003cp>Former Poet Laureate Herrera wrote and directed “¡Vacúnate Prudencio!,” a radio drama inspired by a weekly radio-comedy program from the 1930s called “La Familia Feliz” in Ciudad Juárez.\u003c/p>\n\u003cp>[aside postID=\"news_10683695\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Herrera-1440x1080.jpg\"]“The style is similar to Teatro Campesino, and farmworkers’ theater,” said Herrera. “A beautiful form, because it is so familiar, funny, exaggerated and real all at the same time.”\u003c/p>\n\u003cp>“It’s for the people. With all our love. The actors are from the San Joaquin Valley, my former students. It is an embrace for our communities.”\u003c/p>\n\u003cp>The story follows Prudencio, a father and husband who refuses to get vaccinated out of pride.\u003c/p>\n\u003cp>“He’s fairly sure that he’s so strong,” Kitchener from ACTA explained. “He’s strong like iron and like a tree, like he’s not going to need the vaccine. So his son in middle school comes in and starts to urge him [to get vaccinated] based on his information.”\u003c/p>\n\u003cp>“Come on papi, la vacuna! Just a shot in the arm and a cool mask, dad,” says Prudencio’s son in the story. “Tenemos que usarla, papi.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Together, so many years,” writes \u003ca href=\"https://www.kqed.org/news/10683695/californias-juan-felipe-herrera-inaugurates-term-as-u-s-poet-laureate\">Juan Felipe Herrera, former U.S. poet laureate\u003c/a>, in his recent poem “\u003ca href=\"https://actaonline.org/wp-content/uploads/2021/06/Tantos-An%CC%83os-Juntos_Bilingual.pdf\">Tantos Años Juntos\u003c/a>,” created to encourage farmworkers to get vaccinated.\u003c/p>\n\u003cp>“I do not want you to leave my side.”\u003c/p>\n\u003cp>Herrera has performed this poem at events throughout the Central Valley as part of a new cultural campaign called ACTAvando Contra COVID that is bringing songs, poems and radio dramas to farmworkers and other Spanish-speaking audiences. It’s a collaboration between the \u003ca href=\"http://actaonline.org\">Alliance for California Traditional Arts\u003c/a> (ACTA) and \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingüe\u003c/a>, the national Latino public radio network.\u003c/p>\n\u003cp>“Take the vaccine, I do not want you to leave my side,” the poem continues. “Nothing is stronger than our family and our love.”\u003c/p>\n\u003cfigure id=\"attachment_11879938\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879938 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg\" alt=\"A person wearing a hat reads a poem and smiles in an open-air space.\" width=\"2560\" height=\"1680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1536x1008.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-2048x1344.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera018-1920x1260.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Felipe Herrera, former poet laureate of the United States, performs with Los Originarios del Plan at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the beginning of the pandemic, farmworkers throughout the Central Valley have been \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">hard hit by COVID infections\u003c/a>.\u003c/p>\n\u003cp>“The farmworkers had to be out there,” said Hugo Morales, executive director and co-founder of Radio Bilingüe. “Because they had to eat, they had to feed their families. They had to earn an income. \u003cspan style=\"font-weight: 400\">Many of them are undocumented, so there was essentially no assistance for them.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the vaccination rate among farmworkers still lags far behind the rest of the state.\u003c/p>\n\u003cp>Nearly\u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\"> 60% of \u003c/a>Californians are fully vaccinated, but health experts warn that some regions, like the San Joaquin Valley, still have dramatically low vaccination rates. In Kings County, for example, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\">nearly three-quarters of Latino residents have yet to get a shot.\u003c/a>\u003c/p>\n\u003cp>One of the key challenges for boosting vaccinations rates has been the spread of misinformation on social media platforms.\u003c/p>\n\u003cp>Morales explains that the historic mistreatment of migrant workers has led to a mistrust of Western medicine — like when migrants who arrived as part of the Bracero program in the 1950s and 1960s were \u003ca href=\"https://thebraceroprogram.weebly.com/dehumanization.html\">sprayed with DDT.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Unfortunately, [misinformation] plays on the fears,” he said. “There’s a history there that is very concrete.”\u003c/p>\n\u003cp>But Morales and the other organizers of the campaign hope that art can help address these concerns.\u003c/p>\n\u003cp>Along with Herrera, ACTA has commissioned other celebrated artists, like Carmencristina Moreno, known as the \u003ca href=\"https://www.kqed.org/news/10341616/the-chicana-first-lady-of-song\">Chicana First Lady of Song\u003c/a>, who has written original works encouraging vulnerable communities like farmworkers to stay safe by utilizing face masks, washing their hands and getting vaccinated.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9GFBkDwh9rY'\n title='//www.youtube.com/embed/9GFBkDwh9rY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The campaign is also relying on musicians with deep ties to the immigrant community, like Leonel Mendoza Acevedo. His acoustic string ensemble, \u003ca href=\"https://www.facebook.com/pages/category/Musician-Band/Originarios-del-Plan-149320349234548/\">Los Originarios del Plan,\u003c/a> has roots in the Mexican state of Michoacán.\u003c/p>\n\u003cp>“When we talked about what kind of song would they compose for this, Leonel immediately said, ‘We should we should use the form of a Valona,’ ” said Amy Kitchener, ACTA’s executive director. “It’s like lyric poetry, for expressing social concerns.”\u003c/p>\n\u003cfigure id=\"attachment_11879939\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879939 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg\" alt=\"A band, including a pair of violinists, a harpist and a guitarist, perform on a stage.\" width=\"2560\" height=\"1693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-2048x1354.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera029-1920x1270.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Los Originarios del Plan perform at the Madera Flea Market on June 13, 2021. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendoza thought it was really important to use the very traditional form from his area because it was a way to call his community into action. “When people hear the Valona, they know I’m talking to them,” he said.\u003c/p>\n\u003cp>“We were all hit by the pandemic, with the death of two good friends,” added Mendoza. “We know how important it is to get vaccinated and we don’t want any more deaths. The longer it takes for us to all get vaccinated, death may be waiting for us around the corner.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dUR9R09a6wM'\n title='//www.youtube.com/embed/dUR9R09a6wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, artists like \u003ca href=\"https://www.facebook.com/Gruporecreacion\">Grupo Recreación Musical\u003c/a> are increasing messaging to Spanish and Mixteco-speaking communities by writing and composing songs in both languages.\u003c/p>\n\u003cp>“One of the communities that is most vulnerable to this pandemic has been the Indigenous community,” said Morales, a Mixteco immigrant himself who pioneered radio programming in Indigenous languages spoken in Mexico.\u003c/p>\n\u003cp>“Those that are dying under the age of 50 are often Mexican-Americans and Indigenous people,” he said. “So it’s not over for the essential workers.”\u003c/p>\n\u003cfigure id=\"attachment_11879937\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11879937 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg\" alt=\"A small child gets tested for COVID-19 by a nurse.\" width=\"2000\" height=\"1363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/06/ACTA_ContraCovid_Madera014-1920x1308.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A child being tested for COVID-19 during an ACTAvando Contra COVID event at the Madera Flea Market on June 13, 2021. Visitors could get tested and sign up for vaccines while musicians played. \u003ccite>(Courtesy of Jenn Emerling/ACTA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Radio drama is another tool artists are using to to get the word out.\u003c/p>\n\u003cp>Former Poet Laureate Herrera wrote and directed “¡Vacúnate Prudencio!,” a radio drama inspired by a weekly radio-comedy program from the 1930s called “La Familia Feliz” in Ciudad Juárez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The style is similar to Teatro Campesino, and farmworkers’ theater,” said Herrera. “A beautiful form, because it is so familiar, funny, exaggerated and real all at the same time.”\u003c/p>\n\u003cp>“It’s for the people. With all our love. The actors are from the San Joaquin Valley, my former students. It is an embrace for our communities.”\u003c/p>\n\u003cp>The story follows Prudencio, a father and husband who refuses to get vaccinated out of pride.\u003c/p>\n\u003cp>“He’s fairly sure that he’s so strong,” Kitchener from ACTA explained. “He’s strong like iron and like a tree, like he’s not going to need the vaccine. So his son in middle school comes in and starts to urge him [to get vaccinated] based on his information.”\u003c/p>\n\u003cp>“Come on papi, la vacuna! Just a shot in the arm and a cool mask, dad,” says Prudencio’s son in the story. “Tenemos que usarla, papi.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://calmatters.org/calmatters-en-espanol/2021/06/california-mariachis-covid-2/\">\u003cem>Leer en español\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Hundreds of mariachis come to Boyle Heights in Los Angeles from across the United States and Mexico in search of work. They gather at Mariachi Plaza, a small park with a bandstand and kiosk that holds a special place in their hearts because it was donated by the Mexican state of Jalisco, the birthplace of this music. They wait for people to call or stop by to hire them.\u003c/p>\n\u003cp>But the pandemic hit mariachi bands brutally. Most work dried up as events were canceled through the spring and summer of 2020.\u003c/p>\n\u003cp>Some musicians performed at gatherings that defied California’s shelter-in-place rules and social distancing protocols. Without any other source of income, musicians felt they had no choice but to accept jobs even at the risk of coronavirus exposure.\u003c/p>\n\u003cp>More than 50 mariachi musicians have died of COVID-19 over the past year, said Israel Moreno, president of the Organization of Independent Mariachis of California (OMICAL) in Boyle Heights.\u003c/p>\n\u003cp>[aside postID=\"news_11850782\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2020/12/RS46378_009_KQED_Oakland_OurLadyofGuadalupeDay_12122020-qut-800x533.jpg\"]About 80% of the group’s roughly 270 members have gotten infected, he said. OMICAL members have rallied to collect donations of food and money, and the group has helped grieving families.\u003c/p>\n\u003cp>“We would give a box of food to the mariachis every week,” Moreno said. “For those who passed away we would look for their families to let them know or helped with donations to repatriate the body to their country.”\u003c/p>\n\u003cp>Business has picked up for mariachis since the worst days of the pandemic. But it will take a long time for the community to fully recover from the physical, emotional and financial damage.\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003ch3>“I Thought We Were Going to Be OK”\u003c/h3>\n\u003cp>Alex Cisneros has worked as a mariachi for over 25 years. He is proud to say he has supported his family with this job.\u003c/p>\n\u003cp>Cisneros, the leader of Mariachi Nuevo Guadalajara, said the band was hired to perform at a house event in celebration of Father’s Day last June. There was a crowd of a few dozen people. At the time, the state prohibited gatherings but police didn’t enforce the rule at residences.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Alex Cisneros, leader of Mariachi Nuevo Guadalajara\"]‘There were so many people when I arrived that doctors told me I was still breathing and that they couldn’t take me in.’[/pullquote]Three days before the event, the six musicians who planned to attend got tested for the coronavirus to make sure they were not infected. All of them tested negative.\u003c/p>\n\u003cp>“I thought we were going to be OK,” said Cisneros, who plays the violin and sings.\u003c/p>\n\u003cp>When they arrived at the party, they tried to keep some distance from the crowd. But as they continued to play, guests pushed in closer.\u003c/p>\n\u003cp>“We kept moving back but there was a point where we couldn’t move anymore,” Cisneros said.\u003c/p>\n\u003cp>Singing and playing brass instruments such as trumpets, a mariachi staple, are considered especially risky for coronavirus transmission because they \u003ca href=\"https://www.health.state.mn.us/diseases/coronavirus/musicguide.pdf\">release respiratory particles\u003c/a> through the air.\u003c/p>\n\u003cp>As he was driving home, Cisneros felt a dry cough and his throat hurt. Initially he ignored the symptoms, thinking his throat was sore from singing.\u003c/p>\n\u003cp>He went to bed, but by the next day he had fever, diarrhea and extreme pain in his bones. He was shivering and vomited. He called his bandmates and cautioned them.\u003c/p>\n\u003cp>As days passed, his health deteriorated. His headaches worsened and he started having harsh pain in his lungs. When he could no longer handle the pain, he went to a hospital near his home in Boyle Heights.\u003c/p>\n\u003cp>[aside label ='Related Coverage' tag='coronavirus']“But there were so many people when I arrived that doctors told me I was still breathing and that they couldn’t take me in,” he said. “While I was at the hospital I had a strong headache and pain on my left arm. I thought at that moment I was going to die.”\u003c/p>\n\u003cp>He tested positive for the coronavirus, but, unable to get proper medical care at the hospital, Cisneros went home. His whole family became infected. They were sick for about two months, but their symptoms were lighter than his.\u003c/p>\n\u003cp>Cisneros said that when the pandemic started, a friend who was part of another group but had no job started working with his band. A few months later, the man died of COVID. Cisneros said the news was devastating for him, but he’s thankful that Mariachi Nuevo Guadalajara did not suffer major losses.\u003c/p>\n\u003ch3>Back to Work — Performing at Funerals\u003c/h3>\n\u003cp>The hiring of mariachis began increasing last fall. But instead of happy celebrations, most jobs were to play at funerals. For a while at the beginning of this year, some bands played at one funeral, or more, almost every day.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Francisco Hernandez, violinist\"]‘I really try to hold my own tears when I see them because their tears are real when they cry for their loved ones.’[/pullquote]“Recently we played in a funeral at Rose Hills cemetery and we counted in a perimeter of about 100 meters eight funerals,” Israel Moreno said.\u003c/p>\n\u003cp>Francisco Hernandez, violinist of Mariachi Los Potrillos and vice president of OMICAL, said the worst part of playing at funerals is seeing a child mourn a parent or a grandparent.\u003c/p>\n\u003cp>“I really try to hold my own tears when I see them because their tears are real when they cry for their loved ones,” said Hernandez.\u003c/p>\n\u003cp>Hernandez said there has been so much demand to play at funerals that mariachis wish there were more hours during the day.\u003c/p>\n\u003cp>California dropped \u003ca href=\"https://calmatters.org/politics/2021/06/california-reopening-june/\">mask mandates on June 15\u003c/a>. Cisneros said his band is booked mainly on weekends, and he is grateful that he has been able to go back to work.\u003c/p>\n\u003cp>But nearly a year after he contracted COVID-19, he still suffers from its effects. Although medical experts \u003ca href=\"https://health.clevelandclinic.org/when-should-you-get-vaccinated-if-youve-had-covid-19/\">encourage\u003c/a> people who’ve had COVID to get vaccinated, even if they have persistent symptoms, Cisneros has put it off because he fears he’ll have a bad reaction.\u003c/p>\n\u003cp>“I still have throat pain, my lungs hurt and I think even my kidneys got damaged … I have a lot of headaches, too,” he said. “I forget things a lot, my body aches and my bones hurt a lot when it’s cold.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This article is part of \u003ca href=\"https://calmatters.org/projects/the-california-divide/\">The California Divide\u003c/a>, a collaboration among newsrooms examining income inequity and economic survival in California. It was published by the USC Center for Health Journalism in collaboration with La Opinión.\u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>About 80% of the group’s roughly 270 members have gotten infected, he said. OMICAL members have rallied to collect donations of food and money, and the group has helped grieving families.\u003c/p>\n\u003cp>“We would give a box of food to the mariachis every week,” Moreno said. “For those who passed away we would look for their families to let them know or helped with donations to repatriate the body to their country.”\u003c/p>\n\u003cp>Business has picked up for mariachis since the worst days of the pandemic. But it will take a long time for the community to fully recover from the physical, emotional and financial damage.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Three days before the event, the six musicians who planned to attend got tested for the coronavirus to make sure they were not infected. All of them tested negative.\u003c/p>\n\u003cp>“I thought we were going to be OK,” said Cisneros, who plays the violin and sings.\u003c/p>\n\u003cp>When they arrived at the party, they tried to keep some distance from the crowd. But as they continued to play, guests pushed in closer.\u003c/p>\n\u003cp>“We kept moving back but there was a point where we couldn’t move anymore,” Cisneros said.\u003c/p>\n\u003cp>Singing and playing brass instruments such as trumpets, a mariachi staple, are considered especially risky for coronavirus transmission because they \u003ca href=\"https://www.health.state.mn.us/diseases/coronavirus/musicguide.pdf\">release respiratory particles\u003c/a> through the air.\u003c/p>\n\u003cp>As he was driving home, Cisneros felt a dry cough and his throat hurt. Initially he ignored the symptoms, thinking his throat was sore from singing.\u003c/p>\n\u003cp>He went to bed, but by the next day he had fever, diarrhea and extreme pain in his bones. He was shivering and vomited. He called his bandmates and cautioned them.\u003c/p>\n\u003cp>As days passed, his health deteriorated. His headaches worsened and he started having harsh pain in his lungs. When he could no longer handle the pain, he went to a hospital near his home in Boyle Heights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“But there were so many people when I arrived that doctors told me I was still breathing and that they couldn’t take me in,” he said. “While I was at the hospital I had a strong headache and pain on my left arm. I thought at that moment I was going to die.”\u003c/p>\n\u003cp>He tested positive for the coronavirus, but, unable to get proper medical care at the hospital, Cisneros went home. His whole family became infected. They were sick for about two months, but their symptoms were lighter than his.\u003c/p>\n\u003cp>Cisneros said that when the pandemic started, a friend who was part of another group but had no job started working with his band. A few months later, the man died of COVID. Cisneros said the news was devastating for him, but he’s thankful that Mariachi Nuevo Guadalajara did not suffer major losses.\u003c/p>\n\u003ch3>Back to Work — Performing at Funerals\u003c/h3>\n\u003cp>The hiring of mariachis began increasing last fall. But instead of happy celebrations, most jobs were to play at funerals. For a while at the beginning of this year, some bands played at one funeral, or more, almost every day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Recently we played in a funeral at Rose Hills cemetery and we counted in a perimeter of about 100 meters eight funerals,” Israel Moreno said.\u003c/p>\n\u003cp>Francisco Hernandez, violinist of Mariachi Los Potrillos and vice president of OMICAL, said the worst part of playing at funerals is seeing a child mourn a parent or a grandparent.\u003c/p>\n\u003cp>“I really try to hold my own tears when I see them because their tears are real when they cry for their loved ones,” said Hernandez.\u003c/p>\n\u003cp>Hernandez said there has been so much demand to play at funerals that mariachis wish there were more hours during the day.\u003c/p>\n\u003cp>California dropped \u003ca href=\"https://calmatters.org/politics/2021/06/california-reopening-june/\">mask mandates on June 15\u003c/a>. Cisneros said his band is booked mainly on weekends, and he is grateful that he has been able to go back to work.\u003c/p>\n\u003cp>But nearly a year after he contracted COVID-19, he still suffers from its effects. Although medical experts \u003ca href=\"https://health.clevelandclinic.org/when-should-you-get-vaccinated-if-youve-had-covid-19/\">encourage\u003c/a> people who’ve had COVID to get vaccinated, even if they have persistent symptoms, Cisneros has put it off because he fears he’ll have a bad reaction.\u003c/p>\n\u003cp>“I still have throat pain, my lungs hurt and I think even my kidneys got damaged … I have a lot of headaches, too,” he said. “I forget things a lot, my body aches and my bones hurt a lot when it’s cold.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This article is part of \u003ca href=\"https://calmatters.org/projects/the-california-divide/\">The California Divide\u003c/a>, a collaboration among newsrooms examining income inequity and economic survival in California. It was published by the USC Center for Health Journalism in collaboration with La Opinión.\u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>‘She’s a Star Without a Star:’ One Man’s Mission to Get his Aunt on the Hollywood Walk of Fame\u003c/h2>\n\u003cp>Arnett Moore is launching a one-man campaign: to get his aunt a posthumous star on the Hollywood Walk of Fame. In her seven-decade career, Juanita Moore performed in more than 80 films and TV shows. But she was largely uncredited for many of her roles. Moore got her big break in 1959, when she was cast in the film “Imitation of Life.” Her performance earned her an Academy Award nomination for Best Supporting Actress, and Moore became the fifth Black actor to be nominated for an Oscar. Moore was a trailblazer for other Black actors over the course of her career. The Hollywood chamber only picks one posthumous candidate each year to get a star. Applications are due next week.\u003c/p>\n\u003ch2>MusiKaravan: Bringing Tunes and Human Bonding to California’s Countryside\u003c/h2>\n\u003cp>Imagine a little red 1971 Volkswagen bus pulling up to your driveway. Two violinists pop out. They’ve been on the road for hours. They’re exhausted, and they need a shower and place to park overnight. They ask if they can play for you. Reporter Polina Cherezova brings us the story of MusiKaravan, two LA violinists – Etienne Gara and YuEun Kim – who hit the road during the pandemic, driving through politically divided states, and bringing music to farmers, winemakers, and anyone else they meet along the way.\u003c/p>\n\u003ch2>California’s Only ‘Top Chef’ contestant Taps His Afro-Latino Roots\u003c/h2>\n\u003cp>Host Sasha Khokha heads into the kitchen to watch Nelson German at work. German owns two restaurants in Oakland where he showcases his culinary roots, making the kinds of dishes he grew up eating as the child of Dominican immigrants. German is the only California contestant on this season of the reality cooking competition series \"Top Chef.\" His newest venture, an Afro-Caribbean cocktail bar, opened just nine days before it was shuttered due to shelter-in-place orders last March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A little red 1971 Volkswagen bus pulls up to the driveway of a farm in the countryside of California. Two violinists pop out. They’re exhausted from being on the road for hours, they need a shower, as well as a place to park overnight, but their eyes are sparkling with excitement.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Etienne Gara, MusiKaravan violinist\"]'It’s about breaking that wall that we have, bond together, and create stories.'[/pullquote]Concert violinists Etienne Gara and YuEun Kim hit the road during the height of the pandemic, driving through our divided states, bringing music to farmers, winemakers and anyone they would meet along the way, including turkeys and even ostriches.\u003c/p>\n\u003cp>\u003ca href=\"http://deliriummusicum.com/projects-without-borders/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">MusiKaravan\u003c/a> emerged as a side project of \u003ca href=\"https://deliriummusicum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delirium Musicum\u003c/a>, a Los Angeles-based string chamber orchestra. Gara is a French Hungarian violinist, artistic director and founder of Delirium Musicum. He recorded his \"French Recital\" CD on a 1714 Leonora Jackson Stradivarius, appeared on Leonard Cohen’s last album and was recently named artist in residence at \u003ca href=\"https://www.thesoraya.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Soraya\u003c/a>, a 1,700 seat state-of-the-art venue in Los Angeles. Kim is a Korean violinist, part of Delirium Musicum and an international competition winner with over 6 million views on YouTube.\u003c/p>\n\u003cp>Their mission is simple: to bring joy and human bonding through music. And in a time when our states are more divided than ever, they believe music can bring us a little closer.\u003c/p>\n\u003cp>“Music is going to save the world,” Gara said. “We all have the same dreams, we all have the same worries, we all have the same everything in life, no matter what political, social, religious background you have. And it’s about breaking that wall that we have, bond together and create stories.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q-XGS6_4clo\u003c/p>\n\u003cp>Becoming traveling musicians on the road was far from what the two violinists had envisioned back in March 2020. Delirium Musicum was in full swing. They were getting ready for tours, preparing for a recording session with a major record label and they were just about to play a concert at the Wallis Annenberg Center for the Performing Arts in Beverly Hills.\u003c/p>\n\u003cp>“We were really looking forward to it,” Gara said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bmFgGOfOEs\u003c/p>\n\u003cp>Then the pandemic hit, and everything stopped. Concert halls suddenly went silent. Like other performers and musicians this past year, Gara and Kim found themselves without any opportunities for live performances. But they couldn’t just stop making music.\u003c/p>\n\u003cp>“You cannot stop life,” Gara said. “It’s like, I still need to create, otherwise I cannot live.”\u003c/p>\n\u003cp>From this isolation, and necessity to create, an idea was born: What if they could continue performing, but outdoors and socially distanced?\u003c/p>\n\u003cp>As part of Delirium Musicum, they created a courtyard concert series in April, where they would play in the center of their apartment building in East Hollywood every Sunday. The music brought people out of their homes. From the elderly to parents with children, all kinds of listeners stepped out onto their balconies to experience live music.\u003c/p>\n\u003cp>“We realized it was so important for the people,” Gara said. “It was like a medical cure for them emotionally and physically.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fDpebnb4Bpg\u003c/p>\n\u003cp>Gara and Kim said they felt a sense of purpose in bringing music as a way to connect to people who were now spending their days isolated in their apartments. They started to think about how they could bring music to people all over America, not just Los Angeles.\u003c/p>\n\u003cp>That’s when Gara came up with the crazy idea to hit the road. Ever since he was a child, he said he always dreamed of traveling, and not being tied to a single place. Though Kim was hesitant at first, it didn’t take long before she was on board, too.\u003c/p>\n\u003cp>“I never imagined that I’m going to be living in a bus,” Kim said. “When he talked about this idea, of course, I thought, ‘It’s crazy!’ ”\u003c/p>\n\u003cp>Without a schedule full of concerts and tours, Kim agreed that they should take the opportunity to experience something different.\u003c/p>\n\u003cp>In June 2020, Gara and Kim started hunting for a vehicle. They scrolled through hundreds of buses and vans on Craigslist, stumbling upon some rustier than others, until they found the one: a little 1971 VW bus — a vehicle with personality, the third character to their story.\u003c/p>\n\u003cfigure id=\"attachment_11874563\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874563\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim after they bought their 1971 VW bus in Los Angeles. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They spent about a month and a half working on the bus to bring it into shape. The metal plates of the chassis were rusted, there were bumps and scratches and the paint was faded, but after some mechanical repairs, a new set of curtains and a coat of bright red paint, the bus was ready.\u003c/p>\n\u003cp>“It’s extremely cute,” Gara said. “It triggers imagination, it triggers stories because most people have a story about a VW bus about 50 years ago, and nobody can throw you out when they see this cute candy on wheels.”\u003c/p>\n\u003cp>They named him Boris. And finally, in August, they hit the road.\u003c/p>\n\u003cfigure id=\"attachment_11874565\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874565\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3.jpeg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Paso Robles. \u003ccite>(Lathan J.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the start of their own great American road trip — two violinists from foreign countries, traveling across the states from one place to the next, trying to bring people together.\u003c/p>\n\u003cp>“I like being on the road, I feel good,” Gara said. “I never thought about it as me being French or not from here. I always felt that I’m coming to people — they don’t know my background, I don’t know their background, but I see them just as people.”\u003c/p>\n\u003cp>Meeting people along the way gave them a sense of place in America, as they carried on this American tradition that is rooted in history. Their journey is reminiscent of the 1960s, the hippie era, when young people hit Route 66 searching for independence and their sense of identity.\u003c/p>\n\u003cp>“Where do I belong? Am I French? Am I Hungarian? American? European?” Gara pondered. “Where do I really come from? Where do I go? It became normal to be a foreigner, to be on the road.”\u003c/p>\n\u003cp>For Kim, being on the road helped her cope with grief. Her father passed away last year just as they had left Los Angeles and to start touring.\u003c/p>\n\u003cp>“Because of what happened to my father, the beginning was really hard,” Kim said.\u003c/p>\n\u003cp>After receiving the call about Kim’s father, Kim and Gara immediately returned to Los Angeles. Kim boarded a flight to South Korea to visit her family and attend her father’s funeral, which ended up delaying their MusiKaravan plans for a month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she returned, still mourning, she said, “But it was more helpful for me to travel and meet new people and [to experience] this crazy time on the road.”\u003c/p>\n\u003cp>There’s a kind of freedom in not knowing where the road would take them next. As Gara and Kim drove through cinematic landscapes, across deserts and forests, they experienced tall redwood trees in Northern California, the glistening of the sun rising in the mornings and snow-capped mountain tops. The scenery helped them see life from a different perspective.\u003c/p>\n\u003cp>“This is so beautiful and stunning, and at the same time, I’m so small,” Kim said. “Compared to this Earth, I’m nothing. I really like that feeling.”\u003c/p>\n\u003cp>Living in a tiny and cramped bus is not easy. Gara and Kim said they can only afford to keep only the essentials inside of their bus, like their violins, filming equipment, a small sink, a water tank, propane and a small ice box where they store their food. Their driveway hosts also generously gifted them meat from their farms, as well as fresh organic fruits and vegetables, and bottles of wine, they said. They even butchered an old rooster one time, which they turned into coq au vin.\u003c/p>\n\u003cp>“It’s like a Michelin star restaurant just in the bus!” Gara exclaimed.\u003c/p>\n\u003cfigure id=\"attachment_11874566\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Oceanside, California. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bus has taken Gara and Kim to farms, groves, vineyards and even an Orthodox Christian monastery. Along the road, they’ve met all kinds of people. From Trump supporters to liberals to war veterans and hippies who traveled in VW buses years ago, people from all political, religious and social backgrounds have welcomed Gara and Kim into their homes.\u003c/p>\n\u003cp>“They open their door no matter what,” Kim said. “They hear our story, what we’re doing at this time, and they immediately feel that, ‘Oh, I need to do something good, too.’”\u003c/p>\n\u003cp>[aside postID=news_11873038 hero='https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48979_IMG_1077-qut-1020x588.jpg']In Napa, Gara and Kim said they experienced a special moment of bonding between neighboring households. Their driveway hosts were pro-Trump, and they invited neighbors from a block away who were old hippies to listen to their garden concert.\u003c/p>\n\u003cp>“They were both surprised to find themselves in the same place, but it was courteous, it was nice,” Gara said. “They all enjoyed each other, and I think they saw that, you know, we’re human beings before everything.”\u003c/p>\n\u003cp>Another memorable moment was during the first month of their trip in Southern California. From Oceanside they drove north, through Ventura County heading toward the farms outside of Ojai, 80 miles north of Los Angeles. They parked Boris between vast groves of citrus, walnut and olive trees, near the farm of the Ojai Olive Oil Company.\u003c/p>\n\u003cp>They met with Alice Asquith, owner of the company. After 14 years working for the Los Angeles Philharmonic and LA Opera, Asquith moved to Ojai where she eventually got involved with the family business.\u003c/p>\n\u003cp>When Gara and Kim arrived at the grove, Asquith gave them a tour, shared her knowledge of olive trees and offered them a variety of olive oils to try. In exchange, they gave her live music. Behind the foothills, in a little canyon by a pond, Gara and Kim set up their music stands. They performed a concert for a little audience of five. Their program included their arrangement of Chopin’s \"Nocturne Op.9 No.2\" for two violins.\u003c/p>\n\u003cfigure id=\"attachment_11874567\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim performing in a canyon for Alice Asquith and friends at the Ojai Olive Oil Company. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like somebody took them from some magical place and plonked them down there, there they were,” Asquith said. “And they could have been anywhere, you know? It was about the music, that’s all it was, it was about music.”\u003c/p>\n\u003cp>And down at the grove, the workers could hear the music, too.\u003c/p>\n\u003cp>“Everybody stopped and listened,” Asquith said. “And they all said the same thing — it was like time stopped.”\u003c/p>\n\u003cp>Whether Gara and Kim’s audience is a full concert hall or just several people, they say their goal is the same: to have a direct, intimate connection with the audience.\u003c/p>\n\u003cp>“If we play with our heart, then they will love it, whatever we play,” Kim said.\u003c/p>\n\u003cp>“So, it gives [us] faith in humanity,” Gara said. “People are compassionate, people are respectful, people have dreams and when you put all this together it’s pretty amazing to be alive.”\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"YuEun Kim, MusiKaravan violinist\"]'If we play with our heart, then they will love it, whatever we play.'[/pullquote]Although MusiKaravan began as a response to a deadly pandemic, Gara and Kim said they’re just getting started. Without the barriers of the pandemic, Gara believes MusiKaravan can go further, with more buses, bringing other musicians from Delirium Musicum, and possibly inviting dozens of listeners into their driveway host’s backyard concerts instead of three people.\u003c/p>\n\u003cp>“It feels like it’s in the continuity of what was meant to do,” Gara said. “I think it will be part of the Delirium experience”\u003c/p>\n\u003cp>The little red bus has taken Gara and Kim from Southern California all the way to the Canadian border this past year. But there’s one thing that remains constant — the music and the power it has in bringing people together.\u003c/p>\n\u003cp>Gara and Kim will post updates on their journey to Instagram \u003ca href=\"https://www.instagram.com/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">@MusiKaravan\u003c/a> and their \u003ca href=\"https://www.youtube.com/channel/UCbD3bfbQdhaO6UbZeOmJxGA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> throughout the summer.\u003c/p>\n\u003cp>\u003cem>This story is part of a collaboration between The California Report and students of the \u003ca href=\"https://annenberg.usc.edu/\">Annenberg School at USC.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Concert violinists Etienne Gara and YuEun Kim hit the road during the height of the pandemic, driving through our divided states, bringing music to farmers, winemakers and anyone they would meet along the way, including turkeys and even ostriches.\u003c/p>\n\u003cp>\u003ca href=\"http://deliriummusicum.com/projects-without-borders/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">MusiKaravan\u003c/a> emerged as a side project of \u003ca href=\"https://deliriummusicum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delirium Musicum\u003c/a>, a Los Angeles-based string chamber orchestra. Gara is a French Hungarian violinist, artistic director and founder of Delirium Musicum. He recorded his \"French Recital\" CD on a 1714 Leonora Jackson Stradivarius, appeared on Leonard Cohen’s last album and was recently named artist in residence at \u003ca href=\"https://www.thesoraya.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Soraya\u003c/a>, a 1,700 seat state-of-the-art venue in Los Angeles. Kim is a Korean violinist, part of Delirium Musicum and an international competition winner with over 6 million views on YouTube.\u003c/p>\n\u003cp>Their mission is simple: to bring joy and human bonding through music. And in a time when our states are more divided than ever, they believe music can bring us a little closer.\u003c/p>\n\u003cp>“Music is going to save the world,” Gara said. “We all have the same dreams, we all have the same worries, we all have the same everything in life, no matter what political, social, religious background you have. And it’s about breaking that wall that we have, bond together and create stories.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Q-XGS6_4clo'\n title='//www.youtube.com/embed/Q-XGS6_4clo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Becoming traveling musicians on the road was far from what the two violinists had envisioned back in March 2020. Delirium Musicum was in full swing. They were getting ready for tours, preparing for a recording session with a major record label and they were just about to play a concert at the Wallis Annenberg Center for the Performing Arts in Beverly Hills.\u003c/p>\n\u003cp>“We were really looking forward to it,” Gara said.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2bmFgGOfOEs'\n title='//www.youtube.com/embed/2bmFgGOfOEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then the pandemic hit, and everything stopped. Concert halls suddenly went silent. Like other performers and musicians this past year, Gara and Kim found themselves without any opportunities for live performances. But they couldn’t just stop making music.\u003c/p>\n\u003cp>“You cannot stop life,” Gara said. “It’s like, I still need to create, otherwise I cannot live.”\u003c/p>\n\u003cp>From this isolation, and necessity to create, an idea was born: What if they could continue performing, but outdoors and socially distanced?\u003c/p>\n\u003cp>As part of Delirium Musicum, they created a courtyard concert series in April, where they would play in the center of their apartment building in East Hollywood every Sunday. The music brought people out of their homes. From the elderly to parents with children, all kinds of listeners stepped out onto their balconies to experience live music.\u003c/p>\n\u003cp>“We realized it was so important for the people,” Gara said. “It was like a medical cure for them emotionally and physically.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fDpebnb4Bpg'\n title='//www.youtube.com/embed/fDpebnb4Bpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gara and Kim said they felt a sense of purpose in bringing music as a way to connect to people who were now spending their days isolated in their apartments. They started to think about how they could bring music to people all over America, not just Los Angeles.\u003c/p>\n\u003cp>That’s when Gara came up with the crazy idea to hit the road. Ever since he was a child, he said he always dreamed of traveling, and not being tied to a single place. Though Kim was hesitant at first, it didn’t take long before she was on board, too.\u003c/p>\n\u003cp>“I never imagined that I’m going to be living in a bus,” Kim said. “When he talked about this idea, of course, I thought, ‘It’s crazy!’ ”\u003c/p>\n\u003cp>Without a schedule full of concerts and tours, Kim agreed that they should take the opportunity to experience something different.\u003c/p>\n\u003cp>In June 2020, Gara and Kim started hunting for a vehicle. They scrolled through hundreds of buses and vans on Craigslist, stumbling upon some rustier than others, until they found the one: a little 1971 VW bus — a vehicle with personality, the third character to their story.\u003c/p>\n\u003cfigure id=\"attachment_11874563\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874563\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2-1536x1152.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim after they bought their 1971 VW bus in Los Angeles. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They spent about a month and a half working on the bus to bring it into shape. The metal plates of the chassis were rusted, there were bumps and scratches and the paint was faded, but after some mechanical repairs, a new set of curtains and a coat of bright red paint, the bus was ready.\u003c/p>\n\u003cp>“It’s extremely cute,” Gara said. “It triggers imagination, it triggers stories because most people have a story about a VW bus about 50 years ago, and nobody can throw you out when they see this cute candy on wheels.”\u003c/p>\n\u003cp>They named him Boris. And finally, in August, they hit the road.\u003c/p>\n\u003cfigure id=\"attachment_11874565\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874565\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-800x1067.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1020x1360.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-160x213.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3-1152x1536.jpeg 1152w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-3.jpeg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Paso Robles. \u003ccite>(Lathan J.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was the start of their own great American road trip — two violinists from foreign countries, traveling across the states from one place to the next, trying to bring people together.\u003c/p>\n\u003cp>“I like being on the road, I feel good,” Gara said. “I never thought about it as me being French or not from here. I always felt that I’m coming to people — they don’t know my background, I don’t know their background, but I see them just as people.”\u003c/p>\n\u003cp>Meeting people along the way gave them a sense of place in America, as they carried on this American tradition that is rooted in history. Their journey is reminiscent of the 1960s, the hippie era, when young people hit Route 66 searching for independence and their sense of identity.\u003c/p>\n\u003cp>“Where do I belong? Am I French? Am I Hungarian? American? European?” Gara pondered. “Where do I really come from? Where do I go? It became normal to be a foreigner, to be on the road.”\u003c/p>\n\u003cp>For Kim, being on the road helped her cope with grief. Her father passed away last year just as they had left Los Angeles and to start touring.\u003c/p>\n\u003cp>“Because of what happened to my father, the beginning was really hard,” Kim said.\u003c/p>\n\u003cp>After receiving the call about Kim’s father, Kim and Gara immediately returned to Los Angeles. Kim boarded a flight to South Korea to visit her family and attend her father’s funeral, which ended up delaying their MusiKaravan plans for a month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she returned, still mourning, she said, “But it was more helpful for me to travel and meet new people and [to experience] this crazy time on the road.”\u003c/p>\n\u003cp>There’s a kind of freedom in not knowing where the road would take them next. As Gara and Kim drove through cinematic landscapes, across deserts and forests, they experienced tall redwood trees in Northern California, the glistening of the sun rising in the mornings and snow-capped mountain tops. The scenery helped them see life from a different perspective.\u003c/p>\n\u003cp>“This is so beautiful and stunning, and at the same time, I’m so small,” Kim said. “Compared to this Earth, I’m nothing. I really like that feeling.”\u003c/p>\n\u003cp>Living in a tiny and cramped bus is not easy. Gara and Kim said they can only afford to keep only the essentials inside of their bus, like their violins, filming equipment, a small sink, a water tank, propane and a small ice box where they store their food. Their driveway hosts also generously gifted them meat from their farms, as well as fresh organic fruits and vegetables, and bottles of wine, they said. They even butchered an old rooster one time, which they turned into coq au vin.\u003c/p>\n\u003cp>“It’s like a Michelin star restaurant just in the bus!” Gara exclaimed.\u003c/p>\n\u003cfigure id=\"attachment_11874566\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874566\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim in Oceanside, California. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The bus has taken Gara and Kim to farms, groves, vineyards and even an Orthodox Christian monastery. Along the road, they’ve met all kinds of people. From Trump supporters to liberals to war veterans and hippies who traveled in VW buses years ago, people from all political, religious and social backgrounds have welcomed Gara and Kim into their homes.\u003c/p>\n\u003cp>“They open their door no matter what,” Kim said. “They hear our story, what we’re doing at this time, and they immediately feel that, ‘Oh, I need to do something good, too.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Napa, Gara and Kim said they experienced a special moment of bonding between neighboring households. Their driveway hosts were pro-Trump, and they invited neighbors from a block away who were old hippies to listen to their garden concert.\u003c/p>\n\u003cp>“They were both surprised to find themselves in the same place, but it was courteous, it was nice,” Gara said. “They all enjoyed each other, and I think they saw that, you know, we’re human beings before everything.”\u003c/p>\n\u003cp>Another memorable moment was during the first month of their trip in Southern California. From Oceanside they drove north, through Ventura County heading toward the farms outside of Ojai, 80 miles north of Los Angeles. They parked Boris between vast groves of citrus, walnut and olive trees, near the farm of the Ojai Olive Oil Company.\u003c/p>\n\u003cp>They met with Alice Asquith, owner of the company. After 14 years working for the Los Angeles Philharmonic and LA Opera, Asquith moved to Ojai where she eventually got involved with the family business.\u003c/p>\n\u003cp>When Gara and Kim arrived at the grove, Asquith gave them a tour, shared her knowledge of olive trees and offered them a variety of olive oils to try. In exchange, they gave her live music. Behind the foothills, in a little canyon by a pond, Gara and Kim set up their music stands. They performed a concert for a little audience of five. Their program included their arrangement of Chopin’s \"Nocturne Op.9 No.2\" for two violins.\u003c/p>\n\u003cfigure id=\"attachment_11874567\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11874567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5-1536x864.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/05/MusiKaravan-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MusiKaravan violinists Etienne Gara and YuEun Kim performing in a canyon for Alice Asquith and friends at the Ojai Olive Oil Company. \u003ccite>(Courtesy of MusiKaravan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like somebody took them from some magical place and plonked them down there, there they were,” Asquith said. “And they could have been anywhere, you know? It was about the music, that’s all it was, it was about music.”\u003c/p>\n\u003cp>And down at the grove, the workers could hear the music, too.\u003c/p>\n\u003cp>“Everybody stopped and listened,” Asquith said. “And they all said the same thing — it was like time stopped.”\u003c/p>\n\u003cp>Whether Gara and Kim’s audience is a full concert hall or just several people, they say their goal is the same: to have a direct, intimate connection with the audience.\u003c/p>\n\u003cp>“If we play with our heart, then they will love it, whatever we play,” Kim said.\u003c/p>\n\u003cp>“So, it gives [us] faith in humanity,” Gara said. “People are compassionate, people are respectful, people have dreams and when you put all this together it’s pretty amazing to be alive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although MusiKaravan began as a response to a deadly pandemic, Gara and Kim said they’re just getting started. Without the barriers of the pandemic, Gara believes MusiKaravan can go further, with more buses, bringing other musicians from Delirium Musicum, and possibly inviting dozens of listeners into their driveway host’s backyard concerts instead of three people.\u003c/p>\n\u003cp>“It feels like it’s in the continuity of what was meant to do,” Gara said. “I think it will be part of the Delirium experience”\u003c/p>\n\u003cp>The little red bus has taken Gara and Kim from Southern California all the way to the Canadian border this past year. But there’s one thing that remains constant — the music and the power it has in bringing people together.\u003c/p>\n\u003cp>Gara and Kim will post updates on their journey to Instagram \u003ca href=\"https://www.instagram.com/musikaravan/\" target=\"_blank\" rel=\"noopener noreferrer\">@MusiKaravan\u003c/a> and their \u003ca href=\"https://www.youtube.com/channel/UCbD3bfbQdhaO6UbZeOmJxGA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a> throughout the summer.\u003c/p>\n\u003cp>\u003cem>This story is part of a collaboration between The California Report and students of the \u003ca href=\"https://annenberg.usc.edu/\">Annenberg School at USC.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "The Year When Singing Became Dangerous | KQED",
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"content": "\u003cp>There’s nothing Alyse Whitney likes to do more than hit a karaoke bar with her friends, have a few drinks and sing her heart out.\u003c/p>\n\u003cp>“Feeling the presence of being kind of a rock star for the night is really fun and makes me realize that, hey, I’m good at something. This is my thing,” the Los Angeles resident told KQED in a recent video interview.\u003c/p>\n\u003cp>The last time Whitney went out karaokeing was right before the pandemic shut down all the bars. She and her friend were the only customers in the place.\u003c/p>\n\u003cp>“We sang almost all of Celine’s [Dion] catalog. We changed the words to Enrique Iglesias’ ‘Escape’ to say, ‘You can run, you can hide, but you can’t escape COVID!’ ” recalled Whitney. “And we didn’t realize it was going to be such a big deal and how impactful that night would have been as a last hurrah.”\u003c/p>\n\u003cfigure id=\"attachment_11873303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873303 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alyse Whitney enjoying a night out at a karaoke bar. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whitney and her friend staggered out of there at four in the morning. They closed the place down — literally, as it turned out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This was March 6, 2020,” Whitney said. “And my karaoke drought started March 7.”\u003c/p>\n\u003cp>The drought Whitney is talking about didn’t just affect people who like sing in karaoke bars. COVID-19 impacted vocalists across the state — both amateur and professional — in community centers, schools, churches, recording studios, theaters, clubs and concert halls.\u003c/p>\n\u003cp>“Last year was going to be a pretty big year in terms of my singing engagements,” said vocalist, singing teacher and actress \u003ca href=\"https://cjsings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candace Johnson\u003c/a>. “So I was really looking forward to the [concert] calendar. And then — BOOM — it was all gone.”\u003c/p>\n\u003cfigure id=\"attachment_11873304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and teacher Candace Johnson leading a class on Zoom during the pandemic. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blow to singers across the state wasn’t just financial as their gigs dried up. They also mourned the loss of connection and community. And on top of that, they were forced to confront a devastating truth: This beloved, healthy, everyday activity had become a killer.\u003c/p>\n\u003cp>“We know that COVID-19 is caused by a transmission of the virus primarily through aerosol particles, and about three times as many aerosols are emitted during singing compared to talking,” said \u003cspan style=\"font-weight: 400\">UC Davis \u003c/span>\u003cspan style=\"font-weight: 400\">civil and environmental engineering professor \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://faculty.engineering.ucdavis.edu/cappa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Cappa\u003c/a>, who’s been studying how COVID-19 is spread. “\u003c/span>This means that singing is inherently a riskier activity.”\u003c/p>\n\u003cp>Most singing in public stopped. But it didn’t go away entirely.\u003c/p>\n\u003cp>Throughout this pandemic, KQED has been chronicling the journeys of individuals and singing groups across California. Read on to find out how singing transformed over the past year, and went from almost disappearing entirely, to helping many across the state maintain solidarity, social purpose and a sense of humor through these dark, dark times.\u003c/p>\n\u003ch3>\u003cstrong>March 2020\u003c/strong>\u003c/h3>\n\u003cp>On the morning of March 11, 2020, Americans awoke to the latest in a deluge of coffee-spilling headlines: Despite practicing social distancing, \u003ca href=\"https://www.cnn.com/2020/05/13/us/coronavirus-washington-choir-outbreak-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">53 members of a community choir in Washington state\u003c/a> tested positive for COVID-19 and started showing symptoms of the coronavirus after attending a rehearsal the previous evening. Two members died.\u003c/p>\n\u003cp>At the time this superspreader event occurred, COVID-19 tests were hard to come by, and health officials didn’t truly know how the virus was spread. In the early days, public messaging focused on things like telling people to avoid shaking hands with others, disinfecting surfaces and keeping their fingers off their faces.\u003c/p>\n\u003cp>Regardless, the wildfire-like spread of the coronavirus over a couple of hours of choral singing inside a Washington church was enough to send shockwaves throughout the singing community in California.\u003c/p>\n\u003cfigure id=\"attachment_11873305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873305\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles Master Chorale performed its last live concert on Jan. 26, 2020. \u003ccite>(Jamie Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a real warning shot for us,” said \u003ca href=\"https://lamasterchorale.org/jean-davidson\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Davidson\u003c/a>, president and CEO of the \u003ca href=\"https://lamasterchorale.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Master Chorale\u003c/a>, one of the most high-profile classical vocal ensembles in the state. “And we erred on the side of caution and canceled all of our rehearsals and performances.”\u003c/p>\n\u003cp>The chorale’s last live, in-person concert took place on Jan. 26, 2020. Its last rehearsal was March 4, 2020.\u003c/p>\n\u003ch3>\u003cstrong>May 2020\u003c/strong>\u003c/h3>\n\u003cp>In those first desolate and bewildering months of lockdown, singing retreated almost entirely indoors and became mostly a solitary act.\u003c/p>\n\u003cp>But despite the extraordinary circumstances and significant health risks, singers weren’t completely willing to give up on the idea of rehearsing together or even singing in public. [pullquote size=\"medium\" align=\"right\" citation=\"J. T. Williams\"]‘The audience has helped me get through very dark and difficult days.’[/pullquote]\u003c/p>\n\u003cp>Last May, in San Francisco, bass-baritone J. T. Williams started appearing on their balcony most late afternoons to sing opera arias. They soon started streaming the concerts on \u003ca href=\"https://www.facebook.com/OperaFromTheBalcony/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cp>J. T. said they’d been struggling with suicidal thoughts near the start of the pandemic. They found healing in the smiles, waves and applause of the people who listened from neighboring homes or stopped by while out walking their dogs.\u003c/p>\n\u003cfigure id=\"attachment_11873306\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873306 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg\" alt=\"\" width=\"552\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411-160x174.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">J. T. Williams started singing opera arias on their balcony soon after the pandemic hit. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience has helped me get through very dark and difficult days,” Williams said.\u003c/p>\n\u003cp>Meanwhile, singers were starting to figure out how to make music together online.\u003c/p>\n\u003cp>Many turned to platforms like \u003ca href=\"https://zoom.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom\u003c/a> and \u003ca href=\"https://hangouts.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Hangouts\u003c/a>. But they were not built for making music. The delays caused by varying data transfer speeds made it almost impossible for people in different locations to sing together in sync.\u003c/p>\n\u003cp>Groups like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a> forged ahead with online rehearsals, even though it was slow going.\u003c/p>\n\u003cp>In a practice held via Zoom KQED sat in on in May 2020, the group’s artistic director, \u003ca href=\"https://www.piedmontchoirs.org/staff/eric-tuan\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Tuan\u003c/a>, tried to get the young singers to build a chord from the bottom up. “Actually mute yourselves,” he was forced to admit. “It’s not going to work.”\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children’s Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for others, virtual collaboration wasn’t even an option.\u003c/p>\n\u003cp>Singing teacher \u003ca href=\"http://www.bethwilmurt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Wilmurt\u003c/a> spent the early months of the COVID-19 stay-at-home orders making short instructional videos for the young members of the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center Children’s Chorus\u003c/a> she leads.\u003c/p>\n\u003cp>“Hi everybody. It’s just me and my ukulele,” Wilmurt said at the top of one of her very first videos. “I thought you could sing with me.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?start=223&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Many of the 8-12 year-olds in Wilmurt’s group come from low-income households. They don’t all have access to internet connections fast enough for online meetups. In the absence of in-person get-togethers for singing, Wilmurt’s videos provided the students with a way to learn songs in their own time from home. [pullquote size=\"medium\" align=\"right\" citation=\"Beth Wilmurt\"]‘It’s palpable, the energy that choirs bring singing together, there’s just nothing like it. And, we can’t do it with the technology yet.’[/pullquote]\u003c/p>\n\u003cp>“Days can really blend one into the other here,” said Yaron Milgrom, the father of three young singers in Wilmurt’s chorus. “Music and singing songs, it’s just part of keeping a sense of normalcy.”\u003c/p>\n\u003cp>Wilmurt has been teaching this children’s choir for over 20 years. She said what keeps her sticking with it is the sense of connection the kids feel when they get to meet up in person to sing.\u003c/p>\n\u003cp>“It’s palpable, the energy that choirs bring singing together, there’s just nothing like it,” Wilmurt said. “And, we can’t do it with the technology yet.”\u003c/p>\n\u003ch3>\u003cstrong>June 2020\u003c/strong>\u003c/h3>\n\u003cp>As the pitiless Spring dragged on, it became increasingly clear that breaking into song around others was one of the most unsafe things a person could do.\u003c/p>\n\u003cp>Even though California was beginning to emerge from the shelter-in-place orders, infections were on the rise. The state’s \u003ca href=\"https://www.cdph.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Public Health\u003c/a> started \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Guidance-for-the-Prevention-of-COVID-19-Transmission-for-Gatherings--en.pdf#search=singing\" target=\"_blank\" rel=\"noopener noreferrer\">issuing warnings\u003c/a> against singing in public, and it continued to do this throughout the year.\u003c/p>\n\u003cp>But when Californians took to the streets in protest after George Floyd was murdered by a policeman in Minneapolis, they sang anyway.\u003c/p>\n\u003cp>In the San Francisco Bay Area, people marched to the late Oakland-born rapper Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>In L.A., they sang “Alright” by Kendrick Lamar. The song has been embraced at Black Lives Matter rallies around the country in recent years because it speaks to hope in difficult times.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LA riots 2020 GOERGE Floyd Los Angeles protest Kendrick Lamar we’re gonna be all right turn up\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/M9sDwLV_eQc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Also in June, in the wake of Floyd’s death, Vallejo-born R&B artist \u003ca href=\"https://www.instagram.com/hermusicofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">H.E.R.\u003c/a> released the song “I Can’t Breathe.” The singer’s gut-wrenching performance won the \u003ca href=\"https://www.grammy.com/grammys/news/her-wins-song-of-the-year-2021-winner\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Year Award at this year’s Grammys\u003c/a>.\u003c/p>\n\u003cp>Around the same time as many Californians took to the streets, many others stayed indoors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.novajimenez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nova Jimenez\u003c/a> was among them. The singer and vocal music teacher said she felt so sad at the start of the pandemic that she just locked herself in her room and sang. “It felt like the end of the world,” she said.\u003c/p>\n\u003cp>One day, Jimenez had an idea.\u003c/p>\n\u003cp>“Here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me, I don’t know,” she said.\u003c/p>\n\u003cp>As a professional singer, Jimenez realized in that moment maybe she could use her talent to help others overcome their feelings of exhaustion, loneliness and despair. So she placed an online ad offering her services for free to front-line workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The vocalist has performed nearly 100 “\u003ca href=\"https://www.novajimenez.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Serenades\u003c/a>” through the pandemic for front-line workers and people who are isolated in the Bay Area.\u003c/p>\n\u003cp>One Sunday, KQED caught up with Jimenez as she was serenading elders outside a retirement home called \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a> in Palo Alto.\u003c/p>\n\u003cfigure id=\"attachment_11873310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873310\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nova Jimenez performs a sidewalk serenade outside Channing House in Palo Alto. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello, Channing House!” she said after setting up her microphone, music stand and portable amp on the sidewalk across from the drab concrete building. “Oh, dear friends, I’m so happy to see you!”\u003c/p>\n\u003cp>Dozens of residents appeared on their balconies and in the parking lot to listen. “It’s so exciting to have Nova come and sing for us,” said resident Nancy Fiene.\u003c/p>\n\u003cp>Wearing a dress emblazoned with red peonies and white daisies, Jimenez exuded the spirit of warmth and romance as she sang old-time favorites like “Solamente Una Vez” and “La Vie en Rose.”\u003c/p>\n\u003cp>Life has been far from rosy for the residents of Channing House this past year. They’ve been rocked by two COVID-19 outbreaks and five people have died. It’s been a time of loss and confinement. Fiene said Jimenez’s performances at Channing House have provided a break from all of that.\u003c/p>\n\u003cp>“She’s got a lot of pizzazz,” said Fiene. “It’s a little bit of a breath of fresh air from the outside world,” said Fiene’s husband, Tom. “We’ve been pretty well isolated here for months.”\u003c/p>\n\u003cfigure id=\"attachment_11873311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents Nancy Fiene, Tom Fiene and George Young. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To add to the sense of community, Jimenez’s concerts often end with singalongs.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” she said.\u003c/p>\n\u003cp>The singer launched into her rendition of “Brand New Day” from the musical “The Wiz.”\u003c/p>\n\u003cp>Nearly everyone joined in for the choruses. They waved their arms and clapped. Some even danced around in the parking lot.\u003c/p>\n\u003cp>Afterward, the Channing House parking lot erupted in claps, cheers and cries of “Encore! Encore!”\u003c/p>\n\u003cp>“Thank you Channing House. Te amo! Te amo! I love you!” said Jimenez. Then the performer packed up her gear and the residents went back inside, maybe feeling just a bit more hopeful about the future.\u003c/p>\n\u003ch3>\u003cstrong>July 2020\u003c/strong>\u003c/h3>\n\u003cp>In July, state officials put \u003ca href=\"https://files.covid19.ca.gov/pdf/guidance-places-of-worship.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">limitations on places of worship\u003c/a> after they were the site of several superspreader events. Indoor services had to be restricted to a maximum of 25% capacity or 100 people, whichever is lower, and there was a total ban on singing.\u003c/p>\n\u003cp>The new rules incensed \u003ca href=\"https://www.actsfullgospel.org/bishop\" target=\"_blank\" rel=\"noopener noreferrer\">Robert L. Jackson\u003c/a>, senior pastor of \u003ca href=\"https://www.actsfullgospel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Acts Full Gospel Church\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11873727\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church senior pastor Robert L. Jackson. \u003ccite>(Courtesy Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like trying to play basketball without a basketball. It’s like playing football without a football,” Jackson said. “You just can’t have a service, a worship service to God, without singing.”\u003c/p>\n\u003cp>Like many other faith leaders, Jackson moved his services online and outdoors. He said singing was a regular part of his Sunday “drive-in” services out in the church parking lot.\u003c/p>\n\u003cp>“People were singing in their cars,” said Jackson. “Most of them had the windows down.”\u003c/p>\n\u003ch3>\u003cstrong>August 2020\u003c/strong>\u003c/h3>\n\u003cp>Live vocal performances continued to be a rarity for the rest of last year.\u003c/p>\n\u003cp>But Californians started to come up with creative ways, often involving technology, to keep singing going as the pandemic restrictions dragged on.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=j63FFPh-loo\">https://www.youtube.com/watch?v=j63FFPh-loo\u003c/a>\u003c/p>\n\u003cp>Starting last August, \u003ca href=\"https://www.fox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fox\u003c/a> managed to tape two seasons of “\u003ca href=\"https://www.fox.com/the-masked-singer/\" target=\"_blank\" rel=\"noopener noreferrer\">The Masked Singer\u003c/a>” in Los Angeles using cleverly edited virtual audiences. The hit reality TV show turned out to be the ultimate entertainment for these pandemic times with its mask-wearing celebrity contestants, like an appearance by Long Beach native and Olympic snowboarder \u003ca href=\"https://www.teamusa.org/us-ski-and-snowboard/athletes/Chloe-Kim\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Kim\u003c/a>, disguised as a cute, green jellyfish.\u003c/p>\n\u003ch3>\u003cstrong>September 2020\u003c/strong>\u003c/h3>\n\u003cp>In September, the Silicon Valley-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a> went from struggling to sing together during remote rehearsals to being able to sing perfectly in sync online.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"JackTrip Virtual Studio demo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/N-tQy_hdJHk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The transformation happened because a of choir member’s parent. Watching his kid struggle with online rehearsals on Zoom inspired entrepreneur Mike Dickey to develop a new technology called \u003ca href=\"https://www.jacktrip.org/\" target=\"_blank\" rel=\"noopener noreferrer\">JackTrip\u003c/a>. The free, open-source software, created in partnership with \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford University\u003c/a>, allows singers to sync their voices online from their homes in real time.\u003c/p>\n\u003cp>Solutions to the latency problem for musicians have existed for years, but they’re complicated and expensive to set up. “The idea with JackTrip is to help make online music performance and education as easy and accessible as possible,” Dickey said.\u003c/p>\n\u003ch3>\u003cstrong>December 2020\u003c/strong>\u003c/h3>\n\u003cp>As the statewide COVID-19 daily case count was hitting an all-time high at the end of the year, a San Francisco theater company decided it would do whatever it took to put on a show. [pullquote size=\"medium\" align=\"right\" citation=\"J. P. Gonzalez, cast member\"]‘I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful. That’s like the ultimate goal for me is to make people feel good.’[/pullquote]\u003c/p>\n\u003cp>In December, \u003ca href=\"https://www.sfplayhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse\u003c/a> became the first professional performing arts company on the west coast (one of only a couple in the entire country) to produce a musical with a full cast in an indoor venue.\u003c/p>\n\u003cp>The company’s production of “\u003ca href=\"https://www.sfplayhouse.org/sfph/2020-2021-season/songs-for-a-new-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Songs for a New World\u003c/a>” was quite an undertaking.\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/491741601\">https://vimeo.com/491741601\u003c/a>\u003c/p>\n\u003cp>“We had to test three times before we even showed up,” said cast member \u003ca href=\"https://www.sfplayhouse.org/sfph/actor/john-paul-gonzalez/\" target=\"_blank\" rel=\"noopener noreferrer\">J. P. Gonzalez\u003c/a>, a native of Lompoc, north of Santa Barbara.\u003c/p>\n\u003cp>They all podded up — actors and stage management in one pod, director and designers in another. “So basically we never mixed,” said Gonzalez.\u003c/p>\n\u003cp>They prerecorded all of the songs. “We couldn’t sing live on stage,” Gonzalez said. “So we had two days to record all the music.”\u003c/p>\n\u003cp>Once on stage, they lip-synched their way through the performance. And the stage was partitioned to further protect cast members from the potential for flying aerosols even while lip-synching.\u003c/p>\n\u003cfigure id=\"attachment_11873316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873316\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Songs for a New World’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had plexiglass dividers on stage,” said Gonzalez.\u003c/p>\n\u003cp>Also, they didn’t share dressing rooms and wore masks when not singing or filming. “We were masked completely the entire time,” Gonzalez said.\u003c/p>\n\u003cp>COVID spikes in December meant that there was no live audience in the theater. The entire production was filmed and distributed online.\u003c/p>\n\u003cp>Gonzalez said he was very glad to be part of the production, despite the unorthodox process.\u003c/p>\n\u003cp>“I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful,” said Gonzalez. “That’s like the ultimate goal for me is to make people feel good.”\u003c/p>\n\u003ch3>\u003cstrong>January 2021\u003c/strong>\u003c/h3>\n\u003cp>Before the pandemic, the \u003ca href=\"https://hospiceslo.org/services/threshold-singers\" target=\"_blank\" rel=\"noopener noreferrer\">Threshold Singers\u003c/a> in San Luis Obispo on the central coast (one of many “\u003ca href=\"https://thresholdchoir.org\" target=\"_blank\" rel=\"noopener noreferrer\">threshold choirs\u003c/a>” around the country) sang at the bedsides of terminally ill patients in hospices and homes.\u003c/p>\n\u003cp>In January of this year, even as COVID-19 cases continued to spike in California, and bedside singing had by then been out of the question for many months, the choir members figured out how to meet to sing together in person — from the safety of their own cars.\u003c/p>\n\u003cfigure id=\"attachment_11873317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873317\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of the Threshold Singers of San Luis Obispo meet in the parking lot of the local hospice. \u003ccite>(Ruth Baillie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This time when we sing it, I really want us to think about who we’re singing for,” said Ruth Baillie, the group’s director, speaking into the microphone from her vehicle parked outside the local hospice during a rehearsal. Half a dozen other cars were parked in a semi-circle opposite hers. “So let’s think about being at the bedside. Can you picture somebody you want us to sing this to?”\u003c/p>\n\u003cp>Then Baillie sounded the starting note of “Rest Easy,” a slow and soothing song by \u003ca href=\"https://gesundheitpublishing.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Power Scott\u003c/a>, and the singers started to sing in harmony, a cappella, from their cars.\u003c/p>\n\u003cp>\u003ca href=\"https://www.drivewaychoir.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Driveway choirs\u003c/a> like this one have been springing up around the country during the pandemic.\u003c/p>\n\u003cp>Singers connect from their vehicles with the help of a cheap FM transmitter that hooks into a mixer. The participants use microphones and can hear each other when tuned to the same frequency on their car radios. Baillie said the person receiving the song in the hospice can join in, too.\u003c/p>\n\u003cp>“We can hand them a radio and they can listen to the radio,” Baillie said. “And if we give them a microphone, we can talk to them.”\u003c/p>\n\u003ch3>\u003cstrong>February 2021\u003c/strong>\u003c/h3>\n\u003cp>In February, the state health department restrictions on places of worship involving singing came to a head when \u003ca href=\"https://www.supremecourt.gov/opinions/20pdf/20a136_bq7c.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a case\u003c/a> brought by a \u003ca href=\"https://southbaypentecostal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Diego church\u003c/a> reached the Supreme Court.\u003c/p>\n\u003cp>Churches in California had been hitting back against the rules imposed in July 2020 with a string of lawsuits, saying they infringed on their constitutional rights.\u003c/p>\n\u003cfigure id=\"attachment_11873790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church praise choir singing in pre-pandemic times. \u003ccite>(Courtesy of Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Supreme Court ruled in a 6-to-3 decision that California could no longer restrict indoor church services. But the justices upheld the state’s ban on singing and chanting, which angered faith leaders around the state.\u003c/p>\n\u003cp>“Even though we have all the safety precautions, they still say, ‘OK, you can assemble, according to the Supreme Court. But no singing and no chanting.’ And I’m saying, ‘Hey, we have to be able to sing,’ said Bishop Jackson of Ask Full Gospel Church in Oakland. “So now we’re trying to figure it out — how we can sing and still be in accordance with what the law is asking us to do.”\u003c/p>\n\u003ch3>\u003cstrong>April 2021\u003c/strong>\u003c/h3>\n\u003cp>On April 2, Acts Full Gospel went ahead with its Good Friday service. \u003ca href=\"https://www.facebook.com/watch/live/?v=197116925509640&ref=watch_permalink\" target=\"_blank\" rel=\"noopener noreferrer\">Viewers watching on Facebook\u003c/a> could see it was held indoors, in a masked, socially distanced setting complete with plexiglass barriers — and plenty of singing.\u003c/p>\n\u003cp>California has since reversed its ban on singing and chanting in places of worship. The state is still recommending religious groups don’t do these things though — especially indoors.\u003c/p>\n\u003ch3>\u003cstrong>May 2021\u003c/strong>\u003c/h3>\n\u003cp>At this point, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">well over half\u003c/a> of California’s residents are now fully or partially vaccinated.\u003c/p>\n\u003cp>But even though California is reopening on many fronts, singing has been slower than most other activities to make a return to the public sphere, though groups like the \u003ca href=\"https://sfopera.com/on-stage/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> have already started experimenting with live performances in socially distanced settings, like the recent drive-in production of “Barber of Seville” and concert series featuring members of the the company’s young artists program, the Adler Fellows.\u003c/p>\n\u003cfigure id=\"attachment_11873319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873319\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Opera’s Adler Fellows rehearse for outdoor performances at the Marin Civic Center. \u003ccite>(Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person who’s been waiting for a long time for singing to make a comeback is Alyse Whitney — the karaoke queen in L.A.\u003c/p>\n\u003cp>In an interview via Zoom from her apartment, Whitney recalled the day she tried karaoke for the very first time. It was on the east coast where she grew up, on a field trip to New York City for kids like her, who had been adopted from Korea. She was around 11 or 12 at the time.\u003c/p>\n\u003cp>“We went to a buffet of Korean food in Flushing. There was a karaoke private room. And I remember singing ‘N Sync. I believe it was ‘Bye Bye Bye,’ ” Whitney said. “We just had a really fun time and that memory stuck with me.”\u003c/p>\n\u003cp>After that, her adoptive parents bought Whitney a home karaoke machine.\u003c/p>\n\u003cp>“It had a tape deck and it was the hit of every party, every sleepover that I hosted as a kid,” she said.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Alyse Whitney\"]‘Even though this year was really hard, there’s that light at the end of the tunnel … And I think it’s a disco light.’[/pullquote]\u003c/p>\n\u003cp>Whitney said that tape deck is still in her childhood bedroom at her parents’ house. She thought about bringing it with her when she moved to Los Angeles last September to work as managing editor for celebrity and entrepreneur Chrissy Teigen’s \u003ca href=\"https://cravingsbychrissyteigen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">lifestyle and cooking website\u003c/a>. On top of the weirdness of starting a new job in a new city in the middle of the pandemic was the sadness of not being able to karaoke with her friends back east.\u003c/p>\n\u003cp>“I thought about hosting a karaoke virtually,” said Whitney. “I talked to friends about it, but we thought it was weird with the feedback on Zoom and the delays. It wouldn’t have worked.”\u003c/p>\n\u003cp>Since Whitney couldn’t get out and explore the karaoke scene in her new city during the pandemic, her mom treated her to some shiny new gear for her birthday last October.\u003c/p>\n\u003cp>“It’s a big gold karaoke machine that sits under my TV,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11873318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873318\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Snapshots from Alyse Whitney’s collection depicting many good times doing karaoke with friends. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in recent months, she’s been putting that big gold karaoke machine to good use, hosting karaoke parties in her apartment for her neighbors. They live in the same fourplex and included Whitney in their pod after she moved in.\u003c/p>\n\u003cp>“When I moved in my neighbors came over and they said, ‘Welcome to the neighborhood.’ They brought croissants and wine. They were so sweet,” Whitney said.\u003c/p>\n\u003cp>They even formed a band.\u003c/p>\n\u003cp>“We call ourselves D5. And we all have a pose and our position in the band,” said Whitney. “It’s a fun time.” [aside tag=\"singing, choir\" label=\"More Related Stories\"]\u003c/p>\n\u003cp>But she said singing at home isn’t the same.\u003c/p>\n\u003cp>“That’s what I’m looking forward to when I can emerge into the world and go back and do a karaoke room, and celebrate, and remember that even though this year was really hard, there’s that light at the end of the tunnel,” Whitney said. “And I think it’s a disco light.”\u003c/p>\n\u003cp>Earlier this month, Whitney was finally able to visit an L.A. karaoke bar for the first time: \u003ca href=\"https://maxkaraokestudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Karaoke\u003c/a> in Little Tokyo.\u003c/p>\n\u003cp>The smiley, bespectacled 30-year-old wore her sparkly jumpsuit, did high kicks on the dance floor (which she said she regretted the following day) and sang her signature song — “Mr. Brightside” by The Killers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It was exhilarating,” Whitney said. “I can’t wait to go back.”\u003c/p>\n\n",
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"excerpt": "Throughout the pandemic, KQED has been following what happened to singing across California — from karaoke to choir — and how it went from almost disappearing to helping people maintain solidarity, social purpose and a sense of humor through these dark times.",
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"title": "The Year When Singing Became Dangerous | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing Alyse Whitney likes to do more than hit a karaoke bar with her friends, have a few drinks and sing her heart out.\u003c/p>\n\u003cp>“Feeling the presence of being kind of a rock star for the night is really fun and makes me realize that, hey, I’m good at something. This is my thing,” the Los Angeles resident told KQED in a recent video interview.\u003c/p>\n\u003cp>The last time Whitney went out karaokeing was right before the pandemic shut down all the bars. She and her friend were the only customers in the place.\u003c/p>\n\u003cp>“We sang almost all of Celine’s [Dion] catalog. We changed the words to Enrique Iglesias’ ‘Escape’ to say, ‘You can run, you can hide, but you can’t escape COVID!’ ” recalled Whitney. “And we didn’t realize it was going to be such a big deal and how impactful that night would have been as a last hurrah.”\u003c/p>\n\u003cfigure id=\"attachment_11873303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873303 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48981_IMG_7026-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alyse Whitney enjoying a night out at a karaoke bar. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whitney and her friend staggered out of there at four in the morning. They closed the place down — literally, as it turned out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This was March 6, 2020,” Whitney said. “And my karaoke drought started March 7.”\u003c/p>\n\u003cp>The drought Whitney is talking about didn’t just affect people who like sing in karaoke bars. COVID-19 impacted vocalists across the state — both amateur and professional — in community centers, schools, churches, recording studios, theaters, clubs and concert halls.\u003c/p>\n\u003cp>“Last year was going to be a pretty big year in terms of my singing engagements,” said vocalist, singing teacher and actress \u003ca href=\"https://cjsings.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Candace Johnson\u003c/a>. “So I was really looking forward to the [concert] calendar. And then — BOOM — it was all gone.”\u003c/p>\n\u003cfigure id=\"attachment_11873304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873304 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg\" alt=\"\" width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut-1536x847.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48985_candace-qut.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer and teacher Candace Johnson leading a class on Zoom during the pandemic. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blow to singers across the state wasn’t just financial as their gigs dried up. They also mourned the loss of connection and community. And on top of that, they were forced to confront a devastating truth: This beloved, healthy, everyday activity had become a killer.\u003c/p>\n\u003cp>“We know that COVID-19 is caused by a transmission of the virus primarily through aerosol particles, and about three times as many aerosols are emitted during singing compared to talking,” said \u003cspan style=\"font-weight: 400\">UC Davis \u003c/span>\u003cspan style=\"font-weight: 400\">civil and environmental engineering professor \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://faculty.engineering.ucdavis.edu/cappa/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Cappa\u003c/a>, who’s been studying how COVID-19 is spread. “\u003c/span>This means that singing is inherently a riskier activity.”\u003c/p>\n\u003cp>Most singing in public stopped. But it didn’t go away entirely.\u003c/p>\n\u003cp>Throughout this pandemic, KQED has been chronicling the journeys of individuals and singing groups across California. Read on to find out how singing transformed over the past year, and went from almost disappearing entirely, to helping many across the state maintain solidarity, social purpose and a sense of humor through these dark, dark times.\u003c/p>\n\u003ch3>\u003cstrong>March 2020\u003c/strong>\u003c/h3>\n\u003cp>On the morning of March 11, 2020, Americans awoke to the latest in a deluge of coffee-spilling headlines: Despite practicing social distancing, \u003ca href=\"https://www.cnn.com/2020/05/13/us/coronavirus-washington-choir-outbreak-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">53 members of a community choir in Washington state\u003c/a> tested positive for COVID-19 and started showing symptoms of the coronavirus after attending a rehearsal the previous evening. Two members died.\u003c/p>\n\u003cp>At the time this superspreader event occurred, COVID-19 tests were hard to come by, and health officials didn’t truly know how the virus was spread. In the early days, public messaging focused on things like telling people to avoid shaking hands with others, disinfecting surfaces and keeping their fingers off their faces.\u003c/p>\n\u003cp>Regardless, the wildfire-like spread of the coronavirus over a couple of hours of choral singing inside a Washington church was enough to send shockwaves throughout the singing community in California.\u003c/p>\n\u003cfigure id=\"attachment_11873305\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873305\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48980_001-Sunrise-Jamie-Pham-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Los Angeles Master Chorale performed its last live concert on Jan. 26, 2020. \u003ccite>(Jamie Pham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That was a real warning shot for us,” said \u003ca href=\"https://lamasterchorale.org/jean-davidson\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Davidson\u003c/a>, president and CEO of the \u003ca href=\"https://lamasterchorale.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles Master Chorale\u003c/a>, one of the most high-profile classical vocal ensembles in the state. “And we erred on the side of caution and canceled all of our rehearsals and performances.”\u003c/p>\n\u003cp>The chorale’s last live, in-person concert took place on Jan. 26, 2020. Its last rehearsal was March 4, 2020.\u003c/p>\n\u003ch3>\u003cstrong>May 2020\u003c/strong>\u003c/h3>\n\u003cp>In those first desolate and bewildering months of lockdown, singing retreated almost entirely indoors and became mostly a solitary act.\u003c/p>\n\u003cp>But despite the extraordinary circumstances and significant health risks, singers weren’t completely willing to give up on the idea of rehearsing together or even singing in public. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last May, in San Francisco, bass-baritone J. T. Williams started appearing on their balcony most late afternoons to sing opera arias. They soon started streaming the concerts on \u003ca href=\"https://www.facebook.com/OperaFromTheBalcony/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cp>J. T. said they’d been struggling with suicidal thoughts near the start of the pandemic. They found healing in the smiles, waves and applause of the people who listened from neighboring homes or stopped by while out walking their dogs.\u003c/p>\n\u003cfigure id=\"attachment_11873306\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11873306 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg\" alt=\"\" width=\"552\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48983_J-T-Williams-qut-e1621018557411-160x174.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">J. T. Williams started singing opera arias on their balcony soon after the pandemic hit. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The audience has helped me get through very dark and difficult days,” Williams said.\u003c/p>\n\u003cp>Meanwhile, singers were starting to figure out how to make music together online.\u003c/p>\n\u003cp>Many turned to platforms like \u003ca href=\"https://zoom.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoom\u003c/a> and \u003ca href=\"https://hangouts.google.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Google Hangouts\u003c/a>. But they were not built for making music. The delays caused by varying data transfer speeds made it almost impossible for people in different locations to sing together in sync.\u003c/p>\n\u003cp>Groups like the \u003ca href=\"https://www.piedmontchoirs.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Piedmont East Bay Children’s Choir\u003c/a> forged ahead with online rehearsals, even though it was slow going.\u003c/p>\n\u003cp>In a practice held via Zoom KQED sat in on in May 2020, the group’s artistic director, \u003ca href=\"https://www.piedmontchoirs.org/staff/eric-tuan\" target=\"_blank\" rel=\"noopener noreferrer\">Eric Tuan\u003c/a>, tried to get the young singers to build a chord from the bottom up. “Actually mute yourselves,” he was forced to admit. “It’s not going to work.”\u003c/p>\n\u003cfigure id=\"attachment_11810148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11810148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg\" alt=\"Piedmont East Bay Children's Choir artistic director Eric Tuan leads a virtual rehearsal via Zoom on March 30, 2020.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/04/RS42474_eric-leading-online-rehearsal-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Piedmont East Bay Children’s Choir Artistic Director Eric Tuan leads a virtual rehearsal via Zoom. \u003ccite>(Zoom screenshot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for others, virtual collaboration wasn’t even an option.\u003c/p>\n\u003cp>Singing teacher \u003ca href=\"http://www.bethwilmurt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beth Wilmurt\u003c/a> spent the early months of the COVID-19 stay-at-home orders making short instructional videos for the young members of the \u003ca href=\"https://sfcmc.org/youth/group-classes-and-ensembles/#childrens-chorus\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Community Music Center Children’s Chorus\u003c/a> she leads.\u003c/p>\n\u003cp>“Hi everybody. It’s just me and my ukulele,” Wilmurt said at the top of one of her very first videos. “I thought you could sing with me.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CMC Children's Chorus: Warm-up and "Ride This Train" with Beth Wilmurt\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/7B7WCRSwt8I?start=223&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Many of the 8-12 year-olds in Wilmurt’s group come from low-income households. They don’t all have access to internet connections fast enough for online meetups. In the absence of in-person get-togethers for singing, Wilmurt’s videos provided the students with a way to learn songs in their own time from home. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Days can really blend one into the other here,” said Yaron Milgrom, the father of three young singers in Wilmurt’s chorus. “Music and singing songs, it’s just part of keeping a sense of normalcy.”\u003c/p>\n\u003cp>Wilmurt has been teaching this children’s choir for over 20 years. She said what keeps her sticking with it is the sense of connection the kids feel when they get to meet up in person to sing.\u003c/p>\n\u003cp>“It’s palpable, the energy that choirs bring singing together, there’s just nothing like it,” Wilmurt said. “And, we can’t do it with the technology yet.”\u003c/p>\n\u003ch3>\u003cstrong>June 2020\u003c/strong>\u003c/h3>\n\u003cp>As the pitiless Spring dragged on, it became increasingly clear that breaking into song around others was one of the most unsafe things a person could do.\u003c/p>\n\u003cp>Even though California was beginning to emerge from the shelter-in-place orders, infections were on the rise. The state’s \u003ca href=\"https://www.cdph.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Department of Public Health\u003c/a> started \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/CDPH%20Document%20Library/COVID-19/Guidance-for-the-Prevention-of-COVID-19-Transmission-for-Gatherings--en.pdf#search=singing\" target=\"_blank\" rel=\"noopener noreferrer\">issuing warnings\u003c/a> against singing in public, and it continued to do this throughout the year.\u003c/p>\n\u003cp>But when Californians took to the streets in protest after George Floyd was murdered by a policeman in Minneapolis, they sang anyway.\u003c/p>\n\u003cp>In the San Francisco Bay Area, people marched to the late Oakland-born rapper Mac Dre’s “Feelin’ Myself.”\u003c/p>\n\u003cp>In L.A., they sang “Alright” by Kendrick Lamar. The song has been embraced at Black Lives Matter rallies around the country in recent years because it speaks to hope in difficult times.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LA riots 2020 GOERGE Floyd Los Angeles protest Kendrick Lamar we’re gonna be all right turn up\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/M9sDwLV_eQc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Also in June, in the wake of Floyd’s death, Vallejo-born R&B artist \u003ca href=\"https://www.instagram.com/hermusicofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">H.E.R.\u003c/a> released the song “I Can’t Breathe.” The singer’s gut-wrenching performance won the \u003ca href=\"https://www.grammy.com/grammys/news/her-wins-song-of-the-year-2021-winner\" target=\"_blank\" rel=\"noopener noreferrer\">Song of the Year Award at this year’s Grammys\u003c/a>.\u003c/p>\n\u003cp>Around the same time as many Californians took to the streets, many others stayed indoors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.novajimenez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nova Jimenez\u003c/a> was among them. The singer and vocal music teacher said she felt so sad at the start of the pandemic that she just locked herself in her room and sang. “It felt like the end of the world,” she said.\u003c/p>\n\u003cp>One day, Jimenez had an idea.\u003c/p>\n\u003cp>“Here I am singing by myself, and I thought, well, maybe, maybe someone wants to hear me, I don’t know,” she said.\u003c/p>\n\u003cp>As a professional singer, Jimenez realized in that moment maybe she could use her talent to help others overcome their feelings of exhaustion, loneliness and despair. So she placed an online ad offering her services for free to front-line workers, or anyone homebound or isolated due to the pandemic, and in need of a little uplift.\u003c/p>\n\u003cp>The vocalist has performed nearly 100 “\u003ca href=\"https://www.novajimenez.com/news\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Serenades\u003c/a>” through the pandemic for front-line workers and people who are isolated in the Bay Area.\u003c/p>\n\u003cp>One Sunday, KQED caught up with Jimenez as she was serenading elders outside a retirement home called \u003ca href=\"https://channinghouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Channing House\u003c/a> in Palo Alto.\u003c/p>\n\u003cfigure id=\"attachment_11873310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873310\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47195_nova-1-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nova Jimenez performs a sidewalk serenade outside Channing House in Palo Alto. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello, Channing House!” she said after setting up her microphone, music stand and portable amp on the sidewalk across from the drab concrete building. “Oh, dear friends, I’m so happy to see you!”\u003c/p>\n\u003cp>Dozens of residents appeared on their balconies and in the parking lot to listen. “It’s so exciting to have Nova come and sing for us,” said resident Nancy Fiene.\u003c/p>\n\u003cp>Wearing a dress emblazoned with red peonies and white daisies, Jimenez exuded the spirit of warmth and romance as she sang old-time favorites like “Solamente Una Vez” and “La Vie en Rose.”\u003c/p>\n\u003cp>Life has been far from rosy for the residents of Channing House this past year. They’ve been rocked by two COVID-19 outbreaks and five people have died. It’s been a time of loss and confinement. Fiene said Jimenez’s performances at Channing House have provided a break from all of that.\u003c/p>\n\u003cp>“She’s got a lot of pizzazz,” said Fiene. “It’s a little bit of a breath of fresh air from the outside world,” said Fiene’s husband, Tom. “We’ve been pretty well isolated here for months.”\u003c/p>\n\u003cfigure id=\"attachment_11873311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873311\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS47193_george-nancy-tom-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channing House residents Nancy Fiene, Tom Fiene and George Young. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To add to the sense of community, Jimenez’s concerts often end with singalongs.\u003c/p>\n\u003cp>“I want you to feel like you’re going to just let it out and sing to the heavens!” she said.\u003c/p>\n\u003cp>The singer launched into her rendition of “Brand New Day” from the musical “The Wiz.”\u003c/p>\n\u003cp>Nearly everyone joined in for the choruses. They waved their arms and clapped. Some even danced around in the parking lot.\u003c/p>\n\u003cp>Afterward, the Channing House parking lot erupted in claps, cheers and cries of “Encore! Encore!”\u003c/p>\n\u003cp>“Thank you Channing House. Te amo! Te amo! I love you!” said Jimenez. Then the performer packed up her gear and the residents went back inside, maybe feeling just a bit more hopeful about the future.\u003c/p>\n\u003ch3>\u003cstrong>July 2020\u003c/strong>\u003c/h3>\n\u003cp>In July, state officials put \u003ca href=\"https://files.covid19.ca.gov/pdf/guidance-places-of-worship.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">limitations on places of worship\u003c/a> after they were the site of several superspreader events. Indoor services had to be restricted to a maximum of 25% capacity or 100 people, whichever is lower, and there was a total ban on singing.\u003c/p>\n\u003cp>The new rules incensed \u003ca href=\"https://www.actsfullgospel.org/bishop\" target=\"_blank\" rel=\"noopener noreferrer\">Robert L. Jackson\u003c/a>, senior pastor of \u003ca href=\"https://www.actsfullgospel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Acts Full Gospel Church\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_11873727\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873727\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48990_bishop-bob-qut.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church senior pastor Robert L. Jackson. \u003ccite>(Courtesy Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like trying to play basketball without a basketball. It’s like playing football without a football,” Jackson said. “You just can’t have a service, a worship service to God, without singing.”\u003c/p>\n\u003cp>Like many other faith leaders, Jackson moved his services online and outdoors. He said singing was a regular part of his Sunday “drive-in” services out in the church parking lot.\u003c/p>\n\u003cp>“People were singing in their cars,” said Jackson. “Most of them had the windows down.”\u003c/p>\n\u003ch3>\u003cstrong>August 2020\u003c/strong>\u003c/h3>\n\u003cp>Live vocal performances continued to be a rarity for the rest of last year.\u003c/p>\n\u003cp>But Californians started to come up with creative ways, often involving technology, to keep singing going as the pandemic restrictions dragged on.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=j63FFPh-loo\">https://www.youtube.com/watch?v=j63FFPh-loo\u003c/a>\u003c/p>\n\u003cp>Starting last August, \u003ca href=\"https://www.fox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fox\u003c/a> managed to tape two seasons of “\u003ca href=\"https://www.fox.com/the-masked-singer/\" target=\"_blank\" rel=\"noopener noreferrer\">The Masked Singer\u003c/a>” in Los Angeles using cleverly edited virtual audiences. The hit reality TV show turned out to be the ultimate entertainment for these pandemic times with its mask-wearing celebrity contestants, like an appearance by Long Beach native and Olympic snowboarder \u003ca href=\"https://www.teamusa.org/us-ski-and-snowboard/athletes/Chloe-Kim\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Kim\u003c/a>, disguised as a cute, green jellyfish.\u003c/p>\n\u003ch3>\u003cstrong>September 2020\u003c/strong>\u003c/h3>\n\u003cp>In September, the Silicon Valley-based \u003ca href=\"https://ragazzi.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ragazzi Boys Chorus\u003c/a> went from struggling to sing together during remote rehearsals to being able to sing perfectly in sync online.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"JackTrip Virtual Studio demo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/N-tQy_hdJHk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The transformation happened because a of choir member’s parent. Watching his kid struggle with online rehearsals on Zoom inspired entrepreneur Mike Dickey to develop a new technology called \u003ca href=\"https://www.jacktrip.org/\" target=\"_blank\" rel=\"noopener noreferrer\">JackTrip\u003c/a>. The free, open-source software, created in partnership with \u003ca href=\"https://ccrma.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford University\u003c/a>, allows singers to sync their voices online from their homes in real time.\u003c/p>\n\u003cp>Solutions to the latency problem for musicians have existed for years, but they’re complicated and expensive to set up. “The idea with JackTrip is to help make online music performance and education as easy and accessible as possible,” Dickey said.\u003c/p>\n\u003ch3>\u003cstrong>December 2020\u003c/strong>\u003c/h3>\n\u003cp>As the statewide COVID-19 daily case count was hitting an all-time high at the end of the year, a San Francisco theater company decided it would do whatever it took to put on a show. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In December, \u003ca href=\"https://www.sfplayhouse.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Playhouse\u003c/a> became the first professional performing arts company on the west coast (one of only a couple in the entire country) to produce a musical with a full cast in an indoor venue.\u003c/p>\n\u003cp>The company’s production of “\u003ca href=\"https://www.sfplayhouse.org/sfph/2020-2021-season/songs-for-a-new-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Songs for a New World\u003c/a>” was quite an undertaking.\u003c/p>\n\u003cp>\u003ca href=\"https://vimeo.com/491741601\">https://vimeo.com/491741601\u003c/a>\u003c/p>\n\u003cp>“We had to test three times before we even showed up,” said cast member \u003ca href=\"https://www.sfplayhouse.org/sfph/actor/john-paul-gonzalez/\" target=\"_blank\" rel=\"noopener noreferrer\">J. P. Gonzalez\u003c/a>, a native of Lompoc, north of Santa Barbara.\u003c/p>\n\u003cp>They all podded up — actors and stage management in one pod, director and designers in another. “So basically we never mixed,” said Gonzalez.\u003c/p>\n\u003cp>They prerecorded all of the songs. “We couldn’t sing live on stage,” Gonzalez said. “So we had two days to record all the music.”\u003c/p>\n\u003cp>Once on stage, they lip-synched their way through the performance. And the stage was partitioned to further protect cast members from the potential for flying aerosols even while lip-synching.\u003c/p>\n\u003cfigure id=\"attachment_11873316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873316\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48984_phpto-by-Jessica-Palopoli-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Songs for a New World’ at SF Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We had plexiglass dividers on stage,” said Gonzalez.\u003c/p>\n\u003cp>Also, they didn’t share dressing rooms and wore masks when not singing or filming. “We were masked completely the entire time,” Gonzalez said.\u003c/p>\n\u003cp>COVID spikes in December meant that there was no live audience in the theater. The entire production was filmed and distributed online.\u003c/p>\n\u003cp>Gonzalez said he was very glad to be part of the production, despite the unorthodox process.\u003c/p>\n\u003cp>“I can reach people with my voice. I love singing. I love music. It’s so healing and it’s so powerful,” said Gonzalez. “That’s like the ultimate goal for me is to make people feel good.”\u003c/p>\n\u003ch3>\u003cstrong>January 2021\u003c/strong>\u003c/h3>\n\u003cp>Before the pandemic, the \u003ca href=\"https://hospiceslo.org/services/threshold-singers\" target=\"_blank\" rel=\"noopener noreferrer\">Threshold Singers\u003c/a> in San Luis Obispo on the central coast (one of many “\u003ca href=\"https://thresholdchoir.org\" target=\"_blank\" rel=\"noopener noreferrer\">threshold choirs\u003c/a>” around the country) sang at the bedsides of terminally ill patients in hospices and homes.\u003c/p>\n\u003cp>In January of this year, even as COVID-19 cases continued to spike in California, and bedside singing had by then been out of the question for many months, the choir members figured out how to meet to sing together in person — from the safety of their own cars.\u003c/p>\n\u003cfigure id=\"attachment_11873317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873317\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48987_unnamed-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The members of the Threshold Singers of San Luis Obispo meet in the parking lot of the local hospice. \u003ccite>(Ruth Baillie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This time when we sing it, I really want us to think about who we’re singing for,” said Ruth Baillie, the group’s director, speaking into the microphone from her vehicle parked outside the local hospice during a rehearsal. Half a dozen other cars were parked in a semi-circle opposite hers. “So let’s think about being at the bedside. Can you picture somebody you want us to sing this to?”\u003c/p>\n\u003cp>Then Baillie sounded the starting note of “Rest Easy,” a slow and soothing song by \u003ca href=\"https://gesundheitpublishing.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Marilyn Power Scott\u003c/a>, and the singers started to sing in harmony, a cappella, from their cars.\u003c/p>\n\u003cp>\u003ca href=\"https://www.drivewaychoir.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Driveway choirs\u003c/a> like this one have been springing up around the country during the pandemic.\u003c/p>\n\u003cp>Singers connect from their vehicles with the help of a cheap FM transmitter that hooks into a mixer. The participants use microphones and can hear each other when tuned to the same frequency on their car radios. Baillie said the person receiving the song in the hospice can join in, too.\u003c/p>\n\u003cp>“We can hand them a radio and they can listen to the radio,” Baillie said. “And if we give them a microphone, we can talk to them.”\u003c/p>\n\u003ch3>\u003cstrong>February 2021\u003c/strong>\u003c/h3>\n\u003cp>In February, the state health department restrictions on places of worship involving singing came to a head when \u003ca href=\"https://www.supremecourt.gov/opinions/20pdf/20a136_bq7c.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a case\u003c/a> brought by a \u003ca href=\"https://southbaypentecostal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Diego church\u003c/a> reached the Supreme Court.\u003c/p>\n\u003cp>Churches in California had been hitting back against the rules imposed in July 2020 with a string of lawsuits, saying they infringed on their constitutional rights.\u003c/p>\n\u003cfigure id=\"attachment_11873790\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873790\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS49032_acts-full-gospel-church-choir-qut.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Acts Full Gospel Church praise choir singing in pre-pandemic times. \u003ccite>(Courtesy of Acts Full Gospel Church)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Supreme Court ruled in a 6-to-3 decision that California could no longer restrict indoor church services. But the justices upheld the state’s ban on singing and chanting, which angered faith leaders around the state.\u003c/p>\n\u003cp>“Even though we have all the safety precautions, they still say, ‘OK, you can assemble, according to the Supreme Court. But no singing and no chanting.’ And I’m saying, ‘Hey, we have to be able to sing,’ said Bishop Jackson of Ask Full Gospel Church in Oakland. “So now we’re trying to figure it out — how we can sing and still be in accordance with what the law is asking us to do.”\u003c/p>\n\u003ch3>\u003cstrong>April 2021\u003c/strong>\u003c/h3>\n\u003cp>On April 2, Acts Full Gospel went ahead with its Good Friday service. \u003ca href=\"https://www.facebook.com/watch/live/?v=197116925509640&ref=watch_permalink\" target=\"_blank\" rel=\"noopener noreferrer\">Viewers watching on Facebook\u003c/a> could see it was held indoors, in a masked, socially distanced setting complete with plexiglass barriers — and plenty of singing.\u003c/p>\n\u003cp>California has since reversed its ban on singing and chanting in places of worship. The state is still recommending religious groups don’t do these things though — especially indoors.\u003c/p>\n\u003ch3>\u003cstrong>May 2021\u003c/strong>\u003c/h3>\n\u003cp>At this point, \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">well over half\u003c/a> of California’s residents are now fully or partially vaccinated.\u003c/p>\n\u003cp>But even though California is reopening on many fronts, singing has been slower than most other activities to make a return to the public sphere, though groups like the \u003ca href=\"https://sfopera.com/on-stage/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> have already started experimenting with live performances in socially distanced settings, like the recent drive-in production of “Barber of Seville” and concert series featuring members of the the company’s young artists program, the Adler Fellows.\u003c/p>\n\u003cfigure id=\"attachment_11873319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873319\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48986_Adler_rehearsal_2_lores-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Opera’s Adler Fellows rehearse for outdoor performances at the Marin Civic Center. \u003ccite>(Kristen Loken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One person who’s been waiting for a long time for singing to make a comeback is Alyse Whitney — the karaoke queen in L.A.\u003c/p>\n\u003cp>In an interview via Zoom from her apartment, Whitney recalled the day she tried karaoke for the very first time. It was on the east coast where she grew up, on a field trip to New York City for kids like her, who had been adopted from Korea. She was around 11 or 12 at the time.\u003c/p>\n\u003cp>“We went to a buffet of Korean food in Flushing. There was a karaoke private room. And I remember singing ‘N Sync. I believe it was ‘Bye Bye Bye,’ ” Whitney said. “We just had a really fun time and that memory stuck with me.”\u003c/p>\n\u003cp>After that, her adoptive parents bought Whitney a home karaoke machine.\u003c/p>\n\u003cp>“It had a tape deck and it was the hit of every party, every sleepover that I hosted as a kid,” she said.\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "‘Even though this year was really hard, there’s that light at the end of the tunnel … And I think it’s a disco light.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whitney said that tape deck is still in her childhood bedroom at her parents’ house. She thought about bringing it with her when she moved to Los Angeles last September to work as managing editor for celebrity and entrepreneur Chrissy Teigen’s \u003ca href=\"https://cravingsbychrissyteigen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">lifestyle and cooking website\u003c/a>. On top of the weirdness of starting a new job in a new city in the middle of the pandemic was the sadness of not being able to karaoke with her friends back east.\u003c/p>\n\u003cp>“I thought about hosting a karaoke virtually,” said Whitney. “I talked to friends about it, but we thought it was weird with the feedback on Zoom and the delays. It wouldn’t have worked.”\u003c/p>\n\u003cp>Since Whitney couldn’t get out and explore the karaoke scene in her new city during the pandemic, her mom treated her to some shiny new gear for her birthday last October.\u003c/p>\n\u003cp>“It’s a big gold karaoke machine that sits under my TV,” she said.\u003c/p>\n\u003cfigure id=\"attachment_11873318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11873318\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2021/05/RS48982_IMG_8109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Snapshots from Alyse Whitney’s collection depicting many good times doing karaoke with friends. \u003ccite>(Courtesy Alyse Whitney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in recent months, she’s been putting that big gold karaoke machine to good use, hosting karaoke parties in her apartment for her neighbors. They live in the same fourplex and included Whitney in their pod after she moved in.\u003c/p>\n\u003cp>“When I moved in my neighbors came over and they said, ‘Welcome to the neighborhood.’ They brought croissants and wine. They were so sweet,” Whitney said.\u003c/p>\n\u003cp>They even formed a band.\u003c/p>\n\u003cp>“We call ourselves D5. And we all have a pose and our position in the band,” said Whitney. “It’s a fun time.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But she said singing at home isn’t the same.\u003c/p>\n\u003cp>“That’s what I’m looking forward to when I can emerge into the world and go back and do a karaoke room, and celebrate, and remember that even though this year was really hard, there’s that light at the end of the tunnel,” Whitney said. “And I think it’s a disco light.”\u003c/p>\n\u003cp>Earlier this month, Whitney was finally able to visit an L.A. karaoke bar for the first time: \u003ca href=\"https://maxkaraokestudio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Max Karaoke\u003c/a> in Little Tokyo.\u003c/p>\n\u003cp>The smiley, bespectacled 30-year-old wore her sparkly jumpsuit, did high kicks on the dance floor (which she said she regretted the following day) and sang her signature song — “Mr. Brightside” by The Killers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was exhilarating,” Whitney said. “I can’t wait to go back.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "‘Everybody’s Hoping to See You at Their Door’: Lila Downs Honors Essential Workers Through Song",
"title": "‘Everybody’s Hoping to See You at Their Door’: Lila Downs Honors Essential Workers Through Song",
"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>It's been more than a year since the pandemic began. And while some Californians are looking back at a year of working from home and ordering groceries online, essential workers are marking a year of risking their lives to stock grocery shelves, work in restaurant kitchens or to harvest crops. And COVID-19 has taken an especially heavy toll on migrant farmworkers in the state.\u003c/p>\n\u003cp>\"This time has been more difficult,\" says Nicolasa González, an Indigenous Mixteca farmworker who lives in Fresno. \"We need to protect ourselves, but some of my co-workers have gotten sick.\"\u003c/p>\n\u003cp>Like González, musician Lila Downs has Indigenous roots in the Mexican state of Oaxaca. She's released a new song to honor essential workers called “Dark Eyes.\" The lyrics reflect on people locked inside their homes who are \"waiting for the dark eyes outside\" to deliver food and packages, saying \"everybody's hoping to see you at their door.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bdC2gE3SNWw\u003c/p>\n\u003cp>“You see the harsh way that sometimes people are treated in the U.S.,” Downs \u003ca href=\"https://www.npr.org/2021/01/20/958437186/lila-downs-new-song-is-about-indigenous-workers-invisible-labor\">told NPR in a recent interview\u003c/a>. “There still is a lot of discrimination and racism, and it's a difficult thing to face, especially when they are the people who are providing our food.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Proceeds from the song will benefit the \u003ca href=\"https://www.centrobinacional.org\">Centro Binacional para el Desarrollo Indígena Oaxaqueño\u003c/a> (CBDIO), a nonprofit based in Fresno that advocates for Indigenous migrant communities living throughout the Central Valley and Central Coast.\u003c/p>\n\u003cp>Sarait Martinez, CBDIO's executive director, says Indigenous immigrants from Oaxaca are crucial to the agriculture industry and keeping California fed.\u003c/p>\n\u003cp>“It’s not a coincidence that [Indigenous people] work in agriculture, because we know how to take care of the land and produce our food,” says Martinez, who is Zapoteca. “It’s because of [farmworkers] that we continue to have food on our tables.”\u003c/p>\n\u003cfigure id=\"attachment_11866139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866139\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manuel Ortiz’s hands show a lifetime of work. Ortiz came to the U.S. from Mexico as a bracero in the late 1950s, and spent decades working on farms in California and Washington. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, farmworkers like González worry about getting sick on the job and losing wages as a result.\u003c/p>\n\u003cp>\"If that happens to me, how will I make enough to pay rent?\" says González, who harvests bell peppers and table grapes each season.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">study last year by the California Institute for Rural Studies\u003c/a>, agricultural workers in Monterey County were infected by COVID-19 at rates three times higher than non-agricultural workers. Meanwhile, \u003ca href=\"https://cerch.berkeley.edu/sites/default/files/ucb_csvs_white_paper_12_01_20_final_compressed.pdf\">a study from UC Berkeley\u003c/a> that followed 1,091 participants in the Salinas Valley found that farmworkers with lower levels of education or who spoke an Indigenous language had a higher test positivity rate of 23% for COVID-19.\u003c/p>\n\u003cp>Martinez says that language accessibility is key to keeping people safe. Proceeds from the song have helped CBDIO provide workers with information on testing and vaccine sites, in Indigenous languages like Zapoteco and Mixteco.\u003c/p>\n\u003cfigure id=\"attachment_11866140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866140\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker named Petra tosses the pluots into a bag held on her shoulders by a harness. When the bag is full, it can weigh 40 to 50 pounds. In July, the temperature rises to over 105 degrees. It seems counterintuitive, but farmworkers dress in multiple layers of clothing because it provides insulation from the heat. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you think of farmworkers, you think of folks that speak Spanish,\" Martinez said. \"But Indigenous farmworkers have very different linguistic and cultural needs that we keep forgetting about. The song really helps us to bring visibility to our work.”\u003c/p>\n\u003cp>Martinez attributes the high COVID-19 rates for farmworkers to factors like substandard housing, a lack of reliable transportation and the exploitation of undocumented workers.\u003c/p>\n\u003cp>“I’m really hoping that as we go through the pandemic, we reflect on [working conditions],” Martinez says. “And really paint not only us as farmworkers as heroes, but [also people who deserve] respect and dignity. And that that translates into adequate policies that ensure that we have a living wage for farmworkers and full labor rights at the workplace.”\u003c/p>\n\u003cfigure id=\"attachment_11866141\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866141\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erika, a farmworker in Tulare County, California, carries her ladder from one row of pluot trees to the next. The ladder weighs about 30 pounds. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the help of proceeds from \"Dark Eyes,\" and a partnership with local counties, the CBDIO has provided some essential workers with direct financial relief checks of $500 each.\u003c/p>\n\u003cp>Martinez says that some families are using the money to cover hours lost from work if they need to quarantine or to support their kids' expenses during virtual school.\u003c/p>\n\u003cp>For González, who pays about $600 for rent each month, the fund has put food on the table during the offseason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I was able to pay rent and buy food, that what's helped me the most,\" González says. \"God bless them for supporting us and helping us.\"\u003c/p>\n\n",
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"excerpt": "The lyrics reflect on people locked inside their home 'waiting for the dark eyes outside their door' to deliver food and packages. Proceeds from the song go to Indigenous farmworkers impacted by the pandemic. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's been more than a year since the pandemic began. And while some Californians are looking back at a year of working from home and ordering groceries online, essential workers are marking a year of risking their lives to stock grocery shelves, work in restaurant kitchens or to harvest crops. And COVID-19 has taken an especially heavy toll on migrant farmworkers in the state.\u003c/p>\n\u003cp>\"This time has been more difficult,\" says Nicolasa González, an Indigenous Mixteca farmworker who lives in Fresno. \"We need to protect ourselves, but some of my co-workers have gotten sick.\"\u003c/p>\n\u003cp>Like González, musician Lila Downs has Indigenous roots in the Mexican state of Oaxaca. She's released a new song to honor essential workers called “Dark Eyes.\" The lyrics reflect on people locked inside their homes who are \"waiting for the dark eyes outside\" to deliver food and packages, saying \"everybody's hoping to see you at their door.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bdC2gE3SNWw'\n title='//www.youtube.com/embed/bdC2gE3SNWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You see the harsh way that sometimes people are treated in the U.S.,” Downs \u003ca href=\"https://www.npr.org/2021/01/20/958437186/lila-downs-new-song-is-about-indigenous-workers-invisible-labor\">told NPR in a recent interview\u003c/a>. “There still is a lot of discrimination and racism, and it's a difficult thing to face, especially when they are the people who are providing our food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Proceeds from the song will benefit the \u003ca href=\"https://www.centrobinacional.org\">Centro Binacional para el Desarrollo Indígena Oaxaqueño\u003c/a> (CBDIO), a nonprofit based in Fresno that advocates for Indigenous migrant communities living throughout the Central Valley and Central Coast.\u003c/p>\n\u003cp>Sarait Martinez, CBDIO's executive director, says Indigenous immigrants from Oaxaca are crucial to the agriculture industry and keeping California fed.\u003c/p>\n\u003cp>“It’s not a coincidence that [Indigenous people] work in agriculture, because we know how to take care of the land and produce our food,” says Martinez, who is Zapoteca. “It’s because of [farmworkers] that we continue to have food on our tables.”\u003c/p>\n\u003cfigure id=\"attachment_11866139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866139\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/03-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manuel Ortiz’s hands show a lifetime of work. Ortiz came to the U.S. from Mexico as a bracero in the late 1950s, and spent decades working on farms in California and Washington. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, farmworkers like González worry about getting sick on the job and losing wages as a result.\u003c/p>\n\u003cp>\"If that happens to me, how will I make enough to pay rent?\" says González, who harvests bell peppers and table grapes each season.\u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.cirsinc.org/phocadownload/farmworker_vulnerability_covid-19_research-report_final_villarejo_07-26-2020.pdf\">study last year by the California Institute for Rural Studies\u003c/a>, agricultural workers in Monterey County were infected by COVID-19 at rates three times higher than non-agricultural workers. Meanwhile, \u003ca href=\"https://cerch.berkeley.edu/sites/default/files/ucb_csvs_white_paper_12_01_20_final_compressed.pdf\">a study from UC Berkeley\u003c/a> that followed 1,091 participants in the Salinas Valley found that farmworkers with lower levels of education or who spoke an Indigenous language had a higher test positivity rate of 23% for COVID-19.\u003c/p>\n\u003cp>Martinez says that language accessibility is key to keeping people safe. Proceeds from the song have helped CBDIO provide workers with information on testing and vaccine sites, in Indigenous languages like Zapoteco and Mixteco.\u003c/p>\n\u003cfigure id=\"attachment_11866140\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866140\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/02-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A farmworker named Petra tosses the pluots into a bag held on her shoulders by a harness. When the bag is full, it can weigh 40 to 50 pounds. In July, the temperature rises to over 105 degrees. It seems counterintuitive, but farmworkers dress in multiple layers of clothing because it provides insulation from the heat. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you think of farmworkers, you think of folks that speak Spanish,\" Martinez said. \"But Indigenous farmworkers have very different linguistic and cultural needs that we keep forgetting about. The song really helps us to bring visibility to our work.”\u003c/p>\n\u003cp>Martinez attributes the high COVID-19 rates for farmworkers to factors like substandard housing, a lack of reliable transportation and the exploitation of undocumented workers.\u003c/p>\n\u003cp>“I’m really hoping that as we go through the pandemic, we reflect on [working conditions],” Martinez says. “And really paint not only us as farmworkers as heroes, but [also people who deserve] respect and dignity. And that that translates into adequate policies that ensure that we have a living wage for farmworkers and full labor rights at the workplace.”\u003c/p>\n\u003cfigure id=\"attachment_11866141\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11866141\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-800x537.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1020x685.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1536x1031.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-2048x1374.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2021/03/01-1920x1289.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erika, a farmworker in Tulare County, California, carries her ladder from one row of pluot trees to the next. The ladder weighs about 30 pounds. \u003ccite>(David Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the help of proceeds from \"Dark Eyes,\" and a partnership with local counties, the CBDIO has provided some essential workers with direct financial relief checks of $500 each.\u003c/p>\n\u003cp>Martinez says that some families are using the money to cover hours lost from work if they need to quarantine or to support their kids' expenses during virtual school.\u003c/p>\n\u003cp>For González, who pays about $600 for rent each month, the fund has put food on the table during the offseason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I was able to pay rent and buy food, that what's helped me the most,\" González says. \"God bless them for supporting us and helping us.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Zydeco to Psychedelic Cumbia: Our Favorite Musical Stories Through the Years",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Remember live music? We figure we could all use a little joy right now, so as we continue The California Report’s 25th birthday celebration, we’re sharing some of our favorite music stories from over the years.\u003c/i>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/12015/null\">\u003cb data-stringify-type=\"bold\">California Uber Alles: How a Punk Classic Became an ‘Electric Folk Song’\u003c/b>\u003c/a>\u003c/h2>\n\u003cp>“California Uber Alles” was released in 1979 by the pioneering Bay Area punk band Dead Kennedys. In 2006, their front man Jello Biafra came to our studios to talk about what inspired the iconic tune. He says he was upset by the watering-down of the revolutionary beliefs of the 1960s, and the song is a blistering attack on then-governor Jerry Brown. Over the years, “California Uber Alles” has evolved into an anthem that has skewered a range of political figures.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=88781704\">How a Central Coast Indigenous Healer Inspired An Opera\u003c/a>\u003c/h2>\n\u003cp>In 2008, host Sasha Khokha brought us a story about the premiere of a cantata based on the oral history of an indigenous healer from San Juan Bautista. Ascención Solorzano de Cervantes was born in 1855, and she was known across California and Mexico for her herbal remedies. She was also the last known fluent speaker of Mutsun, the language of the Amah Mutsun people who live near California's Central Coast.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/arts/128474/bay-area-zydeco-master-spreads-love-of-creole-music\">Bay Area Zydeco Master Spreads Love of Creole Music\u003c/a>\u003c/h2>\n\u003cp>Mardi Gras is coming up, but like so many celebrations these days, festivities will be scaled down and virtual in most places. Still, people will surely find a way to dance to zydeco music. The Bay Area has its own zydeco scene, dating back to World War II and the Creole migrants who came to work in the shipyards. In this story from 2014, reporter Rachel Dornhelm introduced us to a California man who is one of the few zydeco ambassadors outside Louisiana at the top of his art form.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/10710892/the-blues-alive-and-well-in-a-south-central-l-a-garage\">The Blues, Alive and Well in a South Central L.A. Garage\u003c/a>\u003c/h2>\n\u003cp>Back in 2016, reporter Peter Gilstrap brought us a story about a small blues scene with a big heart. He didn’t take us to a nightclub—but instead, to a residential street in South Central LA, and inside the garage of a man named Franklin Bell. Bell’s weekly Blues Workshop is a place where age and experience are venerated, and where anyone is welcome to sit in.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11087857/washing-machine-music-with-matmos\">Washing Machine Music With Matmos\u003c/a>\u003c/h2>\n\u003cp>What do plastic surgeons and crayfish have in common? Well, they both make sounds that have been turned into music. The experimental duo Matmos got its start in San Francisco, sampling and remixing sounds, and in 2016, they released an entire album using sounds from a familiar electrical appliance. Sam Harnett and Chris Hoff from the podcast the World According to Sound brought us their story.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.kqed.org/news/11738458/music-from-the-other-coachella-meet-psychedelic-cumbia-band-ocho-ojos\">Music From the 'Other' Coachella: Meet Psychedelic Cumbia Band ‘Ocho Ojos’\u003c/a>\u003c/h2>\n\u003cp>Most people know the Eastern Coachella Valley for its music festival with big headliners. In 2019, Marisol Medina-Cadena brought us a story about a beloved hometown band called Ocho Ojos. They take their gritty sound from chicha, a style of cumbia that originated in the Peruvian Amazon in the late ‘60s and ‘70s. And like Peru’s chicha musicians who sing about daily struggle and hometown pride, so do the members of Coachella’s Ocho Ojos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"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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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"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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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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