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"content": "\u003cp>It’s not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience — except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria “Una Furtiva Lagrima,” from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s “L’Elisir d’Amore,” Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles — a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger — and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t think it’s going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s “Nabucco.”\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s “Nabucco.”\u003c/p>\n\n",
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"title": "A Legendary Tenor Marks 50 Years as LA Opera Pioneer and Leader | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not your typical opera setting. The auditorium is small. The audience didn’t pay a dime to get in. And the performers have limited stage experience — except one.\u003c/p>\n\u003cp>It was a rare opportunity to see \u003ca href=\"http://www.placidodomingo.com/\" target=\"_blank\" rel=\"noopener\">Plácido Domingo\u003c/a>, \u003cem>teacher\u003c/em>, leading a master class at UCLA this past weekend with four young singers including Eric Levintow, a 25-year-old tenor from San Francisco.\u003c/p>\n\u003cp>After listening to Levintow performing the aria “Una Furtiva Lagrima,” from \u003ca href=\"https://en.wikipedia.org/wiki/Gaetano_Donizetti\">Gaetano Donizetti\u003c/a>’s “L’Elisir d’Amore,” Domingo tells him to sing it again. This time he gently interrupts Levintow throughout to discuss character motivation and phrasing. He corrects breathing and posture.\u003c/p>\n\u003cp>Domingo joined UCLA as an adjunct professor in 1994. The master class performance was part of a daylong event honoring his dedication to music education and the arts in Los Angeles — a celebration that included \u003ca href=\"http://newsroom.ucla.edu/stories/opera-legend-placido-domingo-receives-ucla-medal\" rel=\"noopener\" target=\"_blank\">awarding him\u003c/a> the university’s highest honor: the UCLA Medal.\u003c/p>\n\u003cfigure id=\"attachment_11631566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg\" alt=\"\" width=\"640\" height=\"427\" class=\"size-large wp-image-11631566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3210-520x347.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo with tenor Eric Levintow at a recent master class performance at UCLA. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I first came to Los Angeles 50 years ago, I never could’ve imagined that this city would someday become a second home,” he said in prepared remarks. “The world was just beginning to open up for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Domingo first set foot on a Los Angeles opera stage in 1967, playing the king \u003ca href=\"http://www.nytimes.com/1964/08/09/ginasteras-don-rodrigo.html\" target=\"_blank\" rel=\"noopener\">Don Rodrigo\u003c/a> in composer Alberto Ginastera’s jagged, modern opera of the same name.\u003c/p>\n\u003cp>“It was my first visit to Los Angeles and when you’re 26 years [old] and you’re coming to Hollywood, it’s very exciting,” he said.\u003c/p>\n\u003cp>Following the medal ceremony, master class and a private reception, Domingo settled into a backstage green room with his wife and opera stage director Marta close by, just as she has been for the past 55 years.\u003c/p>\n\u003cp>“And then I was involved in really forming \u003ca href=\"https://www.laopera.org/\">LA Opera\u003c/a>,” said Domingo. “I [got] the idea that I should move the people to have an opera company. And we did, and here we are.”\u003c/p>\n\u003cp>Before Domingo, opera in Los Angeles battled for a place in the spotlight. Performances tended to be upstaged by the more established Los Angeles Philharmonic. There was an over-reliance on visiting opera companies. But LA Opera CEO Christopher Koelsch says Domingo tapped into a hunger — and rallied a group of local and loyal benefactors who’ve helped grow and sustain LA Opera for over 30 years.\u003c/p>\n\u003cfigure id=\"attachment_11631568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631568\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_7468-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido and Marta Domingo at a private reception after he received the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t think it’s going too far to say that opera in Los Angeles would not exist without his leadership,” Koelsch said. “I think in the end he’s an evangelist for the art form. I think he saw an incredible opportunity here, a growing density of culture.”\u003c/p>\n\u003cp>While LA Opera took flight in the mid-1980s, Domingo was at his zenith, in demand as both a performer and a conductor across the globe.\u003c/p>\n\u003cp>But as he cut back on performing, his LA Opera duties expanded, from artistic consultant to general director following \u003ca href=\"http://articles.latimes.com/2002/jan/04/local/me-20173\" rel=\"noopener\" target=\"_blank\">the passing\u003c/a> of founding director Peter Hemmings 15 years ago. \u003c/p>\n\u003cp>“I would love very much that the company can grow at the turn of the decade,” said Domingo. “Where we are now about six or seven productions [per season], my dream would be that we can have like eight productions.”\u003c/p>\n\u003cp>LA Opera dialed back on main stage productions during the global economic crisis. But under Domingo’s leadership, the company also launched a program to showcase new, \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-la-opera-persona-review-20171111-story.html\" target=\"_blank\" rel=\"noopener\">more experimental works\u003c/a> at smaller venues through its Off Grand initiative.\u003c/p>\n\u003cp>“There are still things he wants to accomplish and I have so much respect for that idea of a quest,” Koelsch said. “That’s an incredible energy to organize an opera house around. It pushes the entire entity to try and reach that goal.”\u003c/p>\n\u003cp>This weekend, Domingo wraps up a monthlong engagement at LA Opera playing, as he did 50 years ago, a king. This time however it’s the aging king who descends into madness at the heart of \u003ca href=\"https://www.laopera.org/season/1718-Season/Nabucco/\" target=\"_blank\" rel=\"noopener\">Giuseppe Verdi’s “Nabucco.”\u003c/a>\u003c/p>\n\u003cp>It’s an intensely physical role that has the 76-year-old tenor falling to his knees, getting yanked around by henchmen and delivering one aria while sprawled on his belly.\u003c/p>\n\u003cp>“One is tempted to say that this guy has a bargain with some really important supernatural beings,” laughs \u003ca href=\"https://www.music.ucla.edu/kazaras-peter\" target=\"_blank\" rel=\"noopener\">Peter Kazaras, \u003c/a>the director of Opera UCLA who first saw Domingo on stage in the late 1960s.\u003c/p>\n\u003cfigure id=\"attachment_11631581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631581\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/nab_2497p-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo in L.A. Opera’s 2017 production of Giuseppe Verdi’s ‘Nabucco’ \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Most people at his age, they physically cannot do it. The apparatus has given out,” Kazaras said. “He’s like a pitcher who is still pitching at the age of 50. So it seems clear that he’ll go for as long as he wants to go.”\u003c/p>\n\u003cp>“Music is my life, opera is my life,” Domingo said softly, his voice quavering a bit during his comments at UCLA. “And I feel blessed to have been given a gift that I can share with other people, and that I can use to bring joy into their lives.”\u003c/p>\n\u003cfigure id=\"attachment_11631584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11631584\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/11/IMG_3196-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plácido Domingo delivers remarks after receiving the UCLA Medal on Nov 12. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite some recent health setbacks, Domingo continues to perform and conduct around the world, though his main-stage opera performances are getting further and further apart.\u003c/p>\n\u003cp>But Domingo confirms that he intends to perform in the yet to be announced 2018-2019 LA Opera season.\u003c/p>\n\u003cp>“Surely if I am in a good voice and if I am in good health. And if the planet is still here, then yes,” he laughed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plácido Domingo closes out the LA Opera season this weekend with a 50th anniversary tribute concert and one final performance of Verdi’s “Nabucco.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Monterey Jazz Festival Celebrates 60 Years",
"title": "Monterey Jazz Festival Celebrates 60 Years",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LsFD5Mfl1i0\u003c/p>\n\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fAVEuYk5qiw\u003c/p>\n\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vm61HiaBFac\u003c/p>\n\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n",
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"excerpt": "More than 500 artists will be playing this weekend at the historic fairgrounds. Here's a mini-history of the festival's sounds, scope and significance -- from 1958 through today. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than two weeks after the attacks of 9/11, a deeply unsettled audience gathered for the Monterey Jazz Festival, then in its 44th year. There were last-minute program changes, because some New York musicians couldn’t make it on time to rehearse a new commission.\u003c/p>\n\u003cp>With planes taking off from the nearby regional airport repeatedly buzzing the Monterey County Fairgrounds, a current of fear and uncertainty was palpable in the main arena. \u003c/p>\n\u003cp>Artistic director Tim Jackson knew he couldn’t do much to assuage the anxiety, but he recalled that the first festival in 1958 had opened with Dizzy Gillespie playing an unaccompanied rendition of “The Star-Spangled Banner.” Somehow his staff located the recording. As the clarion trumpet rang out over the arena, Gillespie’s horn seemed to envelop the crowd in a comforting embrace, connecting the listeners with each other and with an earlier era, one marked by very different troubles.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LsFD5Mfl1i0'\n title='//www.youtube.com/embed/LsFD5Mfl1i0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though rarely in such a dramatic fashion, the \u003ca href=\"http://www.montereyjazzfestival.org\">Monterey Jazz Festival\u003c/a> has always had a knack for drawing on its own history, whether making a point of presenting artists who had first played the fairgrounds as high school students, or celebrating milestone anniversaries of momentous performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the nation’s longest consecutively-running jazz festival returns to the fairgrounds for the 60\u003csup>th\u003c/sup> season this weekend, Sept. 15-17, its storied past will be very much part of the present.\u003c/p>\n\u003cp>One of the more anticipated sets will feature pianist and \u003ca href=\"https://www.arts.gov/honors/jazz\">NEA Jazz Master\u003c/a> \u003ca href=\"http://kennybarron.com\" target=\"_blank\" rel=\"noopener noreferrer\">Kenny Barron\u003c/a> leading a centennial tribute to Gillespie on Friday in the main area. Barron made his Monterey debut with the trumpet legend at the age of 20 in 1963, and has returned frequently since then. His trio is joined by several special guests, including trumpeters Sean Jones and Roy Hargrove and Cuban \u003cem>conguero\u003c/em> Pedrito Martinez (highlighting Gillespie’s pioneering role in the creation of Latin jazz, via his seminal recordings with Chano Pozo).\u003c/p>\n\u003cfigure id=\"attachment_11616731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11616731\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg\" alt=\"\" width=\"800\" height=\"1106\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-800x1106.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-240x332.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-375x518.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff-520x719.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/09/Sonny-Rollins_MJF_1994_cKen-Rabiroff.jpg 926w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonists Jimmy Heath, Joe Lovano, Branford Marsalis, and Joshua Redman come together to celebrate Sonny Rollins at the Monterey Jazz Festival. Photo by Ken Rabiroff.\u003c/figcaption>\u003c/figure>\n\u003cp>Saturday night’s main arena program kicks off with a tribute to retired tenor sax titan \u003ca href=\"http://sonnyrollins.com\">Sonny Rollins\u003c/a>, one of the few surviving artists who played the inaugural festival. (None of the other 1958 veterans, including saxophonist George Coleman, arranger Bill Holman and vocalist Betty Bennett are performing either.) \u003c/p>\n\u003cp>Featuring an all-star trio led by \u003ca href=\"http://geraldclayton.com\" target=\"_blank\" rel=\"noopener noreferrer\">pianist Gerald Clayton\u003c/a>, the ensemble brings together a formidable array of saxophone masters, including \u003ca href=\"https://en.wikipedia.org/wiki/Jimmy_Heath\" target=\"_blank\" rel=\"noopener noreferrer\">90-year-old Jimmy Heath\u003c/a>, Joe Lovano, Branford Marsalis and Joshua Redman, who made his MJF debut with the award-winning Berkeley High Jazz Band in the mid-1980s.\u003c/p>\n\u003cp>Violinist and MacArthur “Genius” Fellow \u003ca href=\"http://reginacarter.com\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Carter\u003c/a> performs a different program every night as the festival’s Showcase Artist, opening in the Main Arena Friday with a centennial tribute to Ella Fitzgerald based on her latest album “Ella: Accentuate the Positive” (OKeh). On Saturday, she plays a set with her quartet in the Night Club, and Sunday hits Dizzy’s Den with her project Southern Comfort, a musical investigation into her family’s roots in the South.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fAVEuYk5qiw'\n title='//www.youtube.com/embed/fAVEuYk5qiw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The festival continues its long history of showcasing Southern California-based big bands with the \u003ca href=\"https://en.wikipedia.org/wiki/Clayton-Hamilton_Jazz_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Clayton-Hamilton Jazz Orchestra\u003c/a>, which premieres bassist John Clayton’s festival commission, “Stories of a Groove: Conception, Evolution, Celebration,” with the Gerald Clayton Trio as special guests. And pianist John Beasley’s MONK’estra celebrates the centennial of pianist/composer Thelonious Monk, whose 1963 and ‘64 performances at Monterey were documented on excellent albums.\u003c/p>\n\u003cp>Monterey wasn’t the first jazz festival. That distinction belongs to the Newport Jazz Festival, launched by George Wein in 1954 with support from the Newport society couple Elaine and Louis Lorillard.\u003c/p>\n\u003cp>Monterey DJ Jimmy Lyons and San Francisco Chronicle music critic Ralph J. Gleason started laying the groundwork for a similar festival a few years later, convincing Monterey city leaders to support the plan after producing a successful series of concerts by popular artists like Erroll Garner and Dave Brubeck.\u003c/p>\n\u003cp>With Modern Jazz Quartet pianist/composer John Lewis serving as advisor, the festival's first decade offered an extraordinary array of jazz talent, ranging from foundational figures like Louis Armstrong, Billie Holiday, Earl “Fatha” Hine, Benny Carter and Coleman Hawkins; to modern jazz patriarchs Dizzy Gillespie, Milt Jackson, and Max Roach; and avant garde pioneers like Ornette Coleman, John Coltrane and Eric Dolphy.\u003c/p>\n\u003cp>In the mid-1960s, as jazz and folk music were swamped by the rock tsunami unleashed by the Beatles, Monterey bucked the market trend by turning several veteran players into bona fide stars. Oakland-reared \u003ca href=\"http://www.johnhandy.com\" target=\"_blank\" rel=\"noopener noreferrer\">saxophonist John Handy\u003c/a> brought a singular quintet (it included violinist Michael White and electric guitarist Jerry Hahn) to the Main Arena in 1965, which you can now hear in the classic album “Recorded Live at the Monterey Jazz Festival,” the first of a series of albums for Columbia.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vm61HiaBFac'\n title='//www.youtube.com/embed/Vm61HiaBFac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, in 1966, saxophonist Charles Lloyd recorded the hit album “Forest Flower” (Atlantic) with his quartet, featuring Keith Jarrett, Cecil McBee and Jack DeJohnette, and they became part of Bill Graham’s regular rotation of acts at the Fillmore throughout 1967. Through Gleason’s guidance, the festival anticipated the San Francisco rock explosion, booking Jefferson Airplane and the Paul Butterfield Blues Band in 1966, which paved the way for the \u003ca href=\"https://en.wikipedia.org/wiki/Monterey_Pop_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Pop Festival\u003c/a> the following June.\u003c/p>\n\u003cp>The festival doesn’t pack the same kind of punch these days. Nothing does. But it often plays a significant role by introducing artists to the California scene, like Italian-born jazz vocalist Roberta Gambarini, who made a powerful first impression at the festival in 2001, as a special guest with trumpeter Roy Hargrove.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are too many highlights on this weekend’s program to mention them all, but here are my top five choices among the most-anticipated artists: drummer/composer \u003ca href=\"http://www.montereyjazzfestival.org/artists/matt-wilsons-honey-and-salt\" target=\"_blank\" rel=\"noopener noreferrer\">Matt Wilson’s Honey and Salt \u003c/a>(playing music inspired by the poetry of Carl Sandburg), pianist and NEA Jazz Master \u003ca href=\"https://en.wikipedia.org/wiki/Joanne_Brackeen\" target=\"_blank\" rel=\"noopener noreferrer\">Joanne Brackeen's trio\u003c/a>, the Colombian combo \u003ca href=\"http://www.mperine.com\">Monsieur Periné\u003c/a>, pianist/composer \u003ca href=\"http://vijay-iyer.com/projects/vijay-iyer-sextet/\" target=\"_blank\" rel=\"noopener noreferrer\">Vijay Iyer’s sextet\u003c/a>, and bassist/composer \u003ca href=\"http://lindamayhanoh.com\" target=\"_blank\" rel=\"noopener noreferrer\">Linda May Han Oh’s quintet\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers",
"title": "Family Ties Shape New Albums by Douyé, and The Sons of the Soul Revivers",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rrovR1hn838\u003c/p>\n\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YG9uSWdEmNM\u003c/p>\n\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>[contextly_sidebar id=\"duq25hc30AgO3uuNTsHLJVHphXjARe3P\"]\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musical traditions are often passed down from one generation to another, but that transmission can take very different forms. New albums by vocalist Douyé and gospel combo The Sons of the Soul Revivers represent exemplary work by artists honoring their families, while walking very different paths.\u003c/p>\n\u003ch3>Douyé\u003c/h3>\n\u003cp>Born in Nigeria,\u003ca href=\"http://douyemusic.com\"> Douyé\u003c/a> (pronounced doe-yay) was well on her way to establishing herself as a Sade-inspired R&B vocalist when she felt the pull of a deathbed request made by her father. While she was growing up in Lagos he filled their house with the sounds of legendary jazz singers Ella Fitzgerald, Billie Holiday, Sarah Vaughan and Dinah Washington. He died when she was only 11, and at the end he beseeched her to follow her love of music into jazz.\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614412 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg\" alt=\"\" width=\"300\" height=\"273\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-800x728.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-160x146.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1020x928.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-1180x1074.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-960x874.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-240x218.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-375x341.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy-520x473.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Douye_DSS_HRes-copy.jpg 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>Her pursuit of a musical education took her to London and then Los Angeles, where she studied at the Musicians Institute and released two sultry albums of slow-burning R&B: 2008’s “Journey” and 2014’s “So Much Love.” But in between those projects she felt the call of her father’s wish and started getting acquainted with the L.A. jazz scene, sitting in at jam sessions at \u003ca href=\"http://www.theworldstage.org\">the World Stage\u003c/a> in Leimert Park.\u003c/p>\n\u003cp>With “Daddy Said So” (Groove Note Records), she more than fulfills her commitment to her father. Teaming up with some of jazz’s greatest musicians, Douyé effectively applies her compressed range and smoky tone to a program of lush ballads. Her cool delivery often brings to mind the understated approach of Chet Baker and Julie London on their definitive 1950s recordings, and she’s well served by her strong cast of arrangers, who create a shifting array of settings for her appealing sound.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rrovR1hn838'\n title='//www.youtube.com/embed/rrovR1hn838'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douyé mines the L.A. scene on “Round Midnight” and “In A Sentimental Mood,” which feature pianist John Beasley’s savvy arrangements and first-call players like saxophonist Bob Sheppard, bassist John Clayton and drummer Roy McCurdy. But she also taps New York talent on “Mood Indigo” and “I Loves You Porgy,” featuring piano great Kenny Barron’s trio. “But Beautiful,” taken at a Shirley Horn time-stopping tempo, and re-harmonized “All the Things You Are,” feature impressive work by Nigerian tenor-saxophonist Zem Audu (and Nigerian-American bassist Essiet Essiet).\u003c/p>\n\u003cp>The album’s only real drawback is the lack of surprises when it comes to repertoire. Douyé brings her less-is-more sensibility to dramatic standards like “Lush Life,” “Autumn Leaves” “I Loves You Porgy,” but doesn’t change the way we hear these familiar tunes (a tall order, given how often they’ve been interpreted by jazz’s greatest artists). She’s definitely fulfilled her promise to her father. It will be interesting to see what she does next, for herself.\u003c/p>\n\u003ch3>The Sons of the Soul Revivers\u003c/h3>\n\u003cp>\u003ca href=\"http://littlevillagefoundation.com/the-sons-of-the-soul-revivers/\">The Sons of the Soul Revivers\u003c/a> are also following in their parents’ footsteps, but their journey started as kids back in the early 1970s (building on the foundation of their family’s well-regarded gospel group the Soul Revivers).\u003c/p>\n\u003cp>\u003cimg class=\"wp-image-11614414 alignleft\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg\" alt=\"\" width=\"301\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-800x799.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1020x1019.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-1180x1179.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-960x959.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/SOTSR-HR-Cover2.jpg 1483w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003c/p>\n\u003cp>A rousing gospel ensemble from Vallejo, the Sons are built around three brothers, James, Dwayne and Walter Morgan Jr., who are steeped in the classic gospel quartet sound that was one of the mightiest currents running through African-American culture in the middle decades of the 20th century.\u003c/p>\n\u003cp>Captured in the heat of the action on “Live! Rancho Nicasio” (Little Village Foundation), the Sons draw directly from the glorious golden-age gospel groups like the Dixie Hummingbirds, the Mighty Clouds of Joy, the Silver Leaf Quartet and the Soul Stirrers, which had huge popular followings and launched the careers of soul pioneers like Sam Cooke (and more recently Raphael Saadiq).\u003c/p>\n\u003cp>On “Rancho Nicasio” the Sons seamlessly mix rollicking arrangements of traditional songs like “Pilgrim and a Stranger” and “Come Over Here” with Dwayne Morgan’s beautifully wrought originals, like the ecstatic “Joy” and roof-raising “Shook.” Imbued with warmth and grit, the brothers’ voices deliver the good news with the authority of masters (augmented by bassist/vocalist DeQuantae Johnson, who lays irresistible grooves with commanding drummer Oliver Calloway).\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/YG9uSWdEmNM'\n title='//www.youtube.com/embed/YG9uSWdEmNM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They’ve released several acclaimed albums over the years, and made a big impression on the East Bay music scene in the 1980s while providing an early jolt of inspiration for Raphael Saadiq and Tony! Toni! Toné!\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But “Rancho Nicasio” seems ideally suited to introduce the Sons to a new audience. Veteran blues organist Jim Pugh, who contributes to the album, launched the \u003ca href=\"http://littlevillagefoundation.com\">Little Village Foundation\u003c/a> label to document roots music in California, and this album is part of a second batch of releases that include excellent albums by blues guitar great Chris Cain, Americana songsmith Maurice Tani and \u003ca href=\"https://ww2.kqed.org/news/2017/07/18/at-17-this-mariachi-veteran-is-releasing-her-first-poetry-album/\" target=\"_blank\" rel=\"noopener noreferrer\">Xochitl Morales\u003c/a>, a 17-year-old mariachi trumpeter, vocalist and slam poet from Delano.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than maintaining a family tradition, the Morgan brothers ensure that a joyous sound woven into the DNA of American music doesn’t get swamped by subsequent styles. Whatever one’s faith, the Sons of Soul Revivers offer a potent cure for the travails of everyday life.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "At ‘Sound Maze’ Exhibit in Napa, Everyone Is a Musician",
"title": "At ‘Sound Maze’ Exhibit in Napa, Everyone Is a Musician",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>When stuffy classical music doesn't work for you, make your own instrument. Artist Paul Dresher did exactly that.\u003c/p>\n\u003cp>Dresher is a composer and musician who has been inventing his own musical instruments since high school. His love of all things musical is loud and clear at his latest exhibit at the Napa Valley Museum, called \"\u003ca href=\"http://napavalleymuseum.org/exhibition/sound-maze-by-paul-dresher/\">Sound Maze\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_11612441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11612441 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and musician Paul Dresher plays \"A-Frame\", a 17-foot pendulum with instruments attached. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Sound Maze\" doesn't look or sound like anything you're used to seeing at a museum. In the center of the exhibit, a massive 17-foot metal pendulum swings, hitting vintage school bells on one side and snare drums on the other. Nearby, a metal hula hoop spins and clatters to the floor. In the back of the room, a silver pipe organ, its pipes tied together with string, blares.\u003c/p>\n\u003cp>Everything in the Sound Maze is meant to be pressed, spun, strummed, knocked and played by everybody, no matter their musical talent, said Dresher.\u003c/p>\n\u003cp>\"When you put some energy into them, the instruments play themselves,\" he said. \"That's part of the idea of this installation. You don’t have to a skilled musician or practice for years to get interesting sonic results.\"\u003c/p>\n\u003cfigure id=\"attachment_11612469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gutierrez plays the Sound Maze's pipe organ. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's 7-year-old Lily Gutierrez's first time at \"Sound Maze\" -- and her first time at any museum, ever -- and she's ready for her turn at the \"Big Wheel.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \"Big Wheel\" is a 4-foot-tall wooden wheel filled with golf balls, pingpong balls and wooden balls. When you spin it, the balls bounce around noisily until they get spit out a hole in the back, where they roll down a xylophone that chimes delightfully.\u003c/p>\n\u003cp>She pushes the wheel with both hands and squeals with delight as the balls go flying.\u003c/p>\n\u003cp>\"Oh look it! It's cool, they fall down! They're really jumping!\" she said.\u003c/p>\n\u003cp>After her turn at the \"Big Wheel,\" she moves on to a row of skinny steel rods swaying back and forth with wood blocks on the end. This instrument is called \"Field of Flowers.\" It does look like flowers, too, but out of a \u003ca href=\"https://www.pinterest.com/pin/452119250066052299/\">Dr. Seuss Book\u003c/a> rather than a garden.\u003c/p>\n\u003cfigure id=\"attachment_11612457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg\" alt=\"\" width=\"800\" height=\"553\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1020x705.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1180x815.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-960x663.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-375x259.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-520x359.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611.jpg 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily plays \"Field of Flowers\", a row of wooden blocks atop steel rods. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lily pulls the wooden blocks back and lets them go, listening as they knock together in a rhythmic wave.\u003c/p>\n\u003cp>\"Whoa ... cool...,\" she said.\u003c/p>\n\u003cp>The sound of wooden blocks mixes with the sound of the nearly dozen other instruments being played by people at the exhibit, and the sound swells to a loud din.\u003c/p>\n\u003cp>Dresher uses the word \"cacophony\" to describe all the noise. To him it sounds like kids and adults finding their inner musician. And that, he said, is music to his ears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see \"Sound Maze\" for yourself at the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Napa Valley Museum\u003c/a> through Sunday, August 20.\u003c/em>\u003c/p>\n\n",
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"title": "At ‘Sound Maze’ Exhibit in Napa, Everyone Is a Musician | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When stuffy classical music doesn't work for you, make your own instrument. Artist Paul Dresher did exactly that.\u003c/p>\n\u003cp>Dresher is a composer and musician who has been inventing his own musical instruments since high school. His love of all things musical is loud and clear at his latest exhibit at the Napa Valley Museum, called \"\u003ca href=\"http://napavalleymuseum.org/exhibition/sound-maze-by-paul-dresher/\">Sound Maze\u003c/a>.\"\u003c/p>\n\u003cfigure id=\"attachment_11612441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11612441 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26235_IMG_2630-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist and musician Paul Dresher plays \"A-Frame\", a 17-foot pendulum with instruments attached. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Sound Maze\" doesn't look or sound like anything you're used to seeing at a museum. In the center of the exhibit, a massive 17-foot metal pendulum swings, hitting vintage school bells on one side and snare drums on the other. Nearby, a metal hula hoop spins and clatters to the floor. In the back of the room, a silver pipe organ, its pipes tied together with string, blares.\u003c/p>\n\u003cp>Everything in the Sound Maze is meant to be pressed, spun, strummed, knocked and played by everybody, no matter their musical talent, said Dresher.\u003c/p>\n\u003cp>\"When you put some energy into them, the instruments play themselves,\" he said. \"That's part of the idea of this installation. You don’t have to a skilled musician or practice for years to get interesting sonic results.\"\u003c/p>\n\u003cfigure id=\"attachment_11612469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612469\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut-520x347.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26238_IMG_2750-qut.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gutierrez plays the Sound Maze's pipe organ. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It's 7-year-old Lily Gutierrez's first time at \"Sound Maze\" -- and her first time at any museum, ever -- and she's ready for her turn at the \"Big Wheel.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \"Big Wheel\" is a 4-foot-tall wooden wheel filled with golf balls, pingpong balls and wooden balls. When you spin it, the balls bounce around noisily until they get spit out a hole in the back, where they roll down a xylophone that chimes delightfully.\u003c/p>\n\u003cp>She pushes the wheel with both hands and squeals with delight as the balls go flying.\u003c/p>\n\u003cp>\"Oh look it! It's cool, they fall down! They're really jumping!\" she said.\u003c/p>\n\u003cp>After her turn at the \"Big Wheel,\" she moves on to a row of skinny steel rods swaying back and forth with wood blocks on the end. This instrument is called \"Field of Flowers.\" It does look like flowers, too, but out of a \u003ca href=\"https://www.pinterest.com/pin/452119250066052299/\">Dr. Seuss Book\u003c/a> rather than a garden.\u003c/p>\n\u003cfigure id=\"attachment_11612457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11612457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg\" alt=\"\" width=\"800\" height=\"553\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-800x553.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-160x111.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1020x705.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-1180x815.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-960x663.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-240x166.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-375x259.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611-520x359.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/RS26236_alt_611.jpg 1290w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily plays \"Field of Flowers\", a row of wooden blocks atop steel rods. \u003ccite>(Tom McFadden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lily pulls the wooden blocks back and lets them go, listening as they knock together in a rhythmic wave.\u003c/p>\n\u003cp>\"Whoa ... cool...,\" she said.\u003c/p>\n\u003cp>The sound of wooden blocks mixes with the sound of the nearly dozen other instruments being played by people at the exhibit, and the sound swells to a loud din.\u003c/p>\n\u003cp>Dresher uses the word \"cacophony\" to describe all the noise. To him it sounds like kids and adults finding their inner musician. And that, he said, is music to his ears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can see \"Sound Maze\" for yourself at the \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Napa Valley Museum\u003c/a> through Sunday, August 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Lyrics to Legislation: Common Comes Rapping on California's Capitol",
"title": "From Lyrics to Legislation: Common Comes Rapping on California's Capitol",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Inmates at the state prison in Lancaster got an unusual perk this spring: a private meeting with Gov. Jerry Brown’s top aide and a Grammy-award winning rapper.\u003c/p>\n\u003cp>It was one stop in a larger effort that has recently brought Common -- a musician who blends hip-hop with an activist message -- close to key California decision-makers. \u003c/p>\n\u003cp>After an artistic career that propelled him from the south side of Chicago to poetry nights in the Obama White House, the 45-year-old rapper is now working to influence state policy. A resident of Los Angeles, Common is trying to change the criminal justice system in California.\u003c/p>\n\u003cp>In addition to the meeting with Brown \u003ca href=\"https://twitter.com/NancyEMcFadden/status/853332511136464896\">aide Nancy McFadden\u003c/a> at the Southern California prison in March, Common \u003ca href=\"https://twitter.com/LorenaSGonzalez/status/866166798621605888\">met with Democratic lawmakers\u003c/a> at the Capitol in May to talk about bills that would change California’s \u003ca href=\"https://calmatters.org/articles/fix-unfair-bail-system-will-california-copy-kentucky/\">bail system\u003c/a> and juvenile justice procedures. He’ll be back in Sacramento on Monday, when legislators return from summer recess, holding a \u003ca href=\"https://www.eventbrite.com/e/imagine-justice-concert-tickets-36230203514\">free concert\u003c/a> outside the Capitol and lobbying politicians inside.\u003c/p>\n\u003cp>“I have a lot of respect for him because he goes a level deeper than some might think,” said McFadden, who described their meeting in the prison as a round-table with well-behaved inmates serving life sentences for serious violent crimes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He really is trying to understand the issue. He was just such a good listener, listening to people's stories and then understanding and connecting dots. I was just really impressed with him.”\u003c/p>\n\u003cfigure id=\"attachment_11612707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg\" alt=\"Common meets with inmates at a California prison.\" width=\"800\" height=\"464\" class=\"size-medium wp-image-11612707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1020x592.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1180x685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-960x557.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-240x139.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-375x218.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-520x302.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Common meets with inmates at a California prison. \u003ccite>(Sade C. Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Common’s music has long carried political messages, his spokesman Michael Latt said policy advocacy is new. Common’s visits to state prisons this year -- where he performed for inmates and held conversations to learn more about their experiences -- are one piece of his effort to try to curb cycles of violence and incarceration, especially in the black community.\u003c/p>\n\u003cp>The advocacy grew out of Common’s work on the soundtrack to the 2014 film “Selma,” which tells the story of civil rights icon Martin Luther King Jr. and the march he led to secure African-Americans the right to vote.\u003c/p>\n\u003cp>“It really pushed me to a new level in wanting to do more,” Common said last year in a televised \u003ca href=\"http://www.cc.com/video-clips/kz9yjm/the-daily-show-with-trevor-noah-exclusive---common-extended-interview\">interview\u003c/a> with Trevor Noah of Comedy Central’s The Daily Show, in which he described King as one of his heroes.\u003c/p>\n\u003cp>“I want to do that work.”\u003c/p>\n\u003cp>Common has long been known for songs that largely eschew the violence and misogyny of gangster rap in favor of messages with positive social messages. But his lyrics have not been controversy-free: Two years ago, a New Jersey college \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/04/01/common-gets-disinvited-from-new-jersey-universitys-commencement/?utm_term=.645862ede81e\">rescinded an invitation\u003c/a> for Common to speak at graduation after the state troopers’ association complained about an early song in which he praised a member of the revolutionary Black Panthers group who was convicted of killing a New Jersey state trooper. In 2011, President Barack Obama faced criticism for the same reason when he invited Common to perform at the White House.\u003c/p>\n\u003cp>In Sacramento, Common will be lobbying for two juvenile justice bills. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB394\">Senate Bill 394\u003c/a> would give juvenile offenders a shot at parole after 25 years in prison, even if they were sentenced to life without the possibility of parole. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB395\">Senate Bill 395\u003c/a> would require that juveniles consult with an attorney before waiving their Miranda rights and answering questions from authorities.\u003c/p>\n\u003cp>Assemblyman Jim Cooper, who spent 30 years in law enforcement before politics, said he’s not convinced the bill makes sense. Investigators want to interview suspects as soon as possible, he said, while the details of a crime are still fresh.\u003c/p>\n\u003cp>“To actually have an attorney there takes time,” said Cooper, a Democrat from Elk Grove.\u003c/p>\n\u003cp>He emphasized that he doesn’t yet have a formal position on the bill, and said he’s planning to meet with Common next week to hear him out.\u003c/p>\n\u003cp>https://twitter.com/LorenaSGonzalez/status/866166798621605888\u003c/p>\n\u003cp>Common joins a long list of celebrities that pop into the Capitol to pose for photos and try to sway decisions. Earlier this year, actress \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article126540799.html\">Lena Dunham advocated\u003c/a> for Planned Parenthood and reality TV star Dog the Bounty Hunter \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article145294029.html\">testified against\u003c/a> a bill to change the bail system. In 2013, Jennifer Garner and Halle Berry \u003ca href=\"http://articles.latimes.com/2013/aug/14/local/la-me-ln-halle-berry-jennifer-garner-paparazzi-bill-20130814\">lobbied for a bill\u003c/a> intended to protect children from paparazzi.\u003c/p>\n\u003cp>“Obviously he’s not the first celebrity that’s been to Sacramento lobbying on an issue,” said Assemblywoman Lorena Gonzalez Fletcher, who was among the group of progressive Democrats who met with Common in May. “They can play an important role highlighting an issue.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://calmatters.org\">\u003cem>CALmatters.org\u003c/em>\u003c/a>\u003cem> is a nonprofit, nonpartisan media venture explaining California policies and politics.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The 45-year-old hip-hop artist and L.A. resident is working to change the state's criminal justice system.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inmates at the state prison in Lancaster got an unusual perk this spring: a private meeting with Gov. Jerry Brown’s top aide and a Grammy-award winning rapper.\u003c/p>\n\u003cp>It was one stop in a larger effort that has recently brought Common -- a musician who blends hip-hop with an activist message -- close to key California decision-makers. \u003c/p>\n\u003cp>After an artistic career that propelled him from the south side of Chicago to poetry nights in the Obama White House, the 45-year-old rapper is now working to influence state policy. A resident of Los Angeles, Common is trying to change the criminal justice system in California.\u003c/p>\n\u003cp>In addition to the meeting with Brown \u003ca href=\"https://twitter.com/NancyEMcFadden/status/853332511136464896\">aide Nancy McFadden\u003c/a> at the Southern California prison in March, Common \u003ca href=\"https://twitter.com/LorenaSGonzalez/status/866166798621605888\">met with Democratic lawmakers\u003c/a> at the Capitol in May to talk about bills that would change California’s \u003ca href=\"https://calmatters.org/articles/fix-unfair-bail-system-will-california-copy-kentucky/\">bail system\u003c/a> and juvenile justice procedures. He’ll be back in Sacramento on Monday, when legislators return from summer recess, holding a \u003ca href=\"https://www.eventbrite.com/e/imagine-justice-concert-tickets-36230203514\">free concert\u003c/a> outside the Capitol and lobbying politicians inside.\u003c/p>\n\u003cp>“I have a lot of respect for him because he goes a level deeper than some might think,” said McFadden, who described their meeting in the prison as a round-table with well-behaved inmates serving life sentences for serious violent crimes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He really is trying to understand the issue. He was just such a good listener, listening to people's stories and then understanding and connecting dots. I was just really impressed with him.”\u003c/p>\n\u003cfigure id=\"attachment_11612707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg\" alt=\"Common meets with inmates at a California prison.\" width=\"800\" height=\"464\" class=\"size-medium wp-image-11612707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-800x464.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-160x93.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1020x592.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-1180x685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-960x557.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-240x139.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-375x218.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/CommonWInmates2-520x302.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Common meets with inmates at a California prison. \u003ccite>(Sade C. Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Common’s music has long carried political messages, his spokesman Michael Latt said policy advocacy is new. Common’s visits to state prisons this year -- where he performed for inmates and held conversations to learn more about their experiences -- are one piece of his effort to try to curb cycles of violence and incarceration, especially in the black community.\u003c/p>\n\u003cp>The advocacy grew out of Common’s work on the soundtrack to the 2014 film “Selma,” which tells the story of civil rights icon Martin Luther King Jr. and the march he led to secure African-Americans the right to vote.\u003c/p>\n\u003cp>“It really pushed me to a new level in wanting to do more,” Common said last year in a televised \u003ca href=\"http://www.cc.com/video-clips/kz9yjm/the-daily-show-with-trevor-noah-exclusive---common-extended-interview\">interview\u003c/a> with Trevor Noah of Comedy Central’s The Daily Show, in which he described King as one of his heroes.\u003c/p>\n\u003cp>“I want to do that work.”\u003c/p>\n\u003cp>Common has long been known for songs that largely eschew the violence and misogyny of gangster rap in favor of messages with positive social messages. But his lyrics have not been controversy-free: Two years ago, a New Jersey college \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2015/04/01/common-gets-disinvited-from-new-jersey-universitys-commencement/?utm_term=.645862ede81e\">rescinded an invitation\u003c/a> for Common to speak at graduation after the state troopers’ association complained about an early song in which he praised a member of the revolutionary Black Panthers group who was convicted of killing a New Jersey state trooper. In 2011, President Barack Obama faced criticism for the same reason when he invited Common to perform at the White House.\u003c/p>\n\u003cp>In Sacramento, Common will be lobbying for two juvenile justice bills. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB394\">Senate Bill 394\u003c/a> would give juvenile offenders a shot at parole after 25 years in prison, even if they were sentenced to life without the possibility of parole. \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201720180SB395\">Senate Bill 395\u003c/a> would require that juveniles consult with an attorney before waiving their Miranda rights and answering questions from authorities.\u003c/p>\n\u003cp>Assemblyman Jim Cooper, who spent 30 years in law enforcement before politics, said he’s not convinced the bill makes sense. Investigators want to interview suspects as soon as possible, he said, while the details of a crime are still fresh.\u003c/p>\n\u003cp>“To actually have an attorney there takes time,” said Cooper, a Democrat from Elk Grove.\u003c/p>\n\u003cp>He emphasized that he doesn’t yet have a formal position on the bill, and said he’s planning to meet with Common next week to hear him out.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Common joins a long list of celebrities that pop into the Capitol to pose for photos and try to sway decisions. Earlier this year, actress \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article126540799.html\">Lena Dunham advocated\u003c/a> for Planned Parenthood and reality TV star Dog the Bounty Hunter \u003ca href=\"http://www.sacbee.com/news/politics-government/capitol-alert/article145294029.html\">testified against\u003c/a> a bill to change the bail system. In 2013, Jennifer Garner and Halle Berry \u003ca href=\"http://articles.latimes.com/2013/aug/14/local/la-me-ln-halle-berry-jennifer-garner-paparazzi-bill-20130814\">lobbied for a bill\u003c/a> intended to protect children from paparazzi.\u003c/p>\n\u003cp>“Obviously he’s not the first celebrity that’s been to Sacramento lobbying on an issue,” said Assemblywoman Lorena Gonzalez Fletcher, who was among the group of progressive Democrats who met with Common in May. “They can play an important role highlighting an issue.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://calmatters.org\">\u003cem>CALmatters.org\u003c/em>\u003c/a>\u003cem> is a nonprofit, nonpartisan media venture explaining California policies and politics.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music: The Dark Side of the California Dream From 2Mex and Frankie Rose",
"title": "Pop Music: The Dark Side of the California Dream From 2Mex and Frankie Rose",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P_LoUAJM5PU&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8w861PcY0Fs\u003c/p>\n\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For us here, maybe there’s some regret that she had such a troubled homecoming, and reluctant acceptance that she had to leave to make sense of it. But the album is a compelling case that there is more going on than we might know, that no matter what we have here, for many the truth is out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\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/P_LoUAJM5PU'\n title='//www.youtube.com/embed/P_LoUAJM5PU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\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/8w861PcY0Fs'\n title='//www.youtube.com/embed/8w861PcY0Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For us here, maybe there’s some regret that she had such a troubled homecoming, and reluctant acceptance that she had to leave to make sense of it. But the album is a compelling case that there is more going on than we might know, that no matter what we have here, for many the truth is out there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "can-joining-a-band-fight-cognitive-decline-just-ask-the-5th-dementia",
"title": "Can Joining a Band Fight Cognitive Decline? Just Ask 'The 5th Dementia'",
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"headTitle": "Can Joining a Band Fight Cognitive Decline? Just Ask ‘The 5th Dementia’ | KQED",
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"content": "\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"title": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YAcikv1Q1eY\u003c/p>\n\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\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/YAcikv1Q1eY'\n title='//www.youtube.com/embed/YAcikv1Q1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
"title": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CeCstLTB0EI\u003c/p>\n\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\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/CeCstLTB0EI'\n title='//www.youtube.com/embed/CeCstLTB0EI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Crenshaw to Pt. Reyes: Cool Summer Sounds From Terrace Martin's Pollyseeds and Art Feynman",
"title": "From Crenshaw to Pt. Reyes: Cool Summer Sounds From Terrace Martin's Pollyseeds and Art Feynman",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MewaVB21J38\u003c/p>\n\n",
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"excerpt": "If you haven't filled up your summer road trip playlists yet, here are a couple contenders, from soul to low-fi psych rock.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MewaVB21J38'\n title='//www.youtube.com/embed/MewaVB21J38'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After 10 years, the Treasure Island Music Festival is taking a breather.\u003c/p>\n\u003cp>The two-day festival, held annually since 2007 on man-made Treasure Island, will not return this year, organizers said Wednesday in a press release. The festival is expected to return in 2018 at a different location.\u003c/p>\n\u003cp>“Although the event will no longer be held on Treasure Island, there are no plans to change the festival’s name, if for no other reason than to pay homage to the historic little island that was home to the event for a decade,” said the release.\u003c/p>\n\u003cp>Festival organizers Another Planet Entertainment and Noise Pop have yet to announce where the festival will take place in 2018.\u003c/p>\n\u003cp>The hiatus comes after \u003ca href=\"https://ww2.kqed.org/arts/2016/10/17/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island/\">last year’s festival\u003c/a> was fraught with heavy rain and other issues. The decision to relocate was determined prior to the festival, as construction for the landmark Treasure Island Development project began in March last year on the island’s western shoreline. This resulted in a last-minute relocation for the festival from the Great Lawn to a barren area on the southeast corner of the island.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some acts, including How to Dress Well and Glass Animals, performed abridged sets due to the heavy rain. Others, such as DJs Duke Dumont and Flight Facilities, cancelled their sets outright. To make up for his cancellation, James Blake performed a show at the Fox Theater the Monday after the festival that was free to festival ticketholders.\u003c/p>\n\u003cp class=\"p1\">“Last year’s festival had no impact on the decision to not hold a festival in 2017,” said Alex Scott, executive vice president at Another Planet Entertainment. “We are simply taking the time it takes to finalize the new location, making sure the new site will be one we can settle into for the foreseeable future.”\u003c/p>\n\u003cp>Previous iterations of Treasure Island Music Festival, which officially launched in 2007, were headlined by the likes of Outkast, Beck, LCD Soundsystem and Major Lazer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some acts, including How to Dress Well and Glass Animals, performed abridged sets due to the heavy rain. Others, such as DJs Duke Dumont and Flight Facilities, cancelled their sets outright. To make up for his cancellation, James Blake performed a show at the Fox Theater the Monday after the festival that was free to festival ticketholders.\u003c/p>\n\u003cp class=\"p1\">“Last year’s festival had no impact on the decision to not hold a festival in 2017,” said Alex Scott, executive vice president at Another Planet Entertainment. “We are simply taking the time it takes to finalize the new location, making sure the new site will be one we can settle into for the foreseeable future.”\u003c/p>\n\u003cp>Previous iterations of Treasure Island Music Festival, which officially launched in 2007, were headlined by the likes of Outkast, Beck, LCD Soundsystem and Major Lazer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"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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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"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/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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