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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tim Westergren, the co-founder and CEO of the music streaming service Pandora, plans to step down from his post, according to reports.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recode.net/2017/6/25/15871686/pandora-ceo-tim-westergren-steps-down-sirius\" target=\"_blank\" rel=\"noopener\">Recode reported Sunday\u003c/a> that Westergren, who took the reins of the Oakland-based company again last year after a three-year break, does not have a replacement CEO lined up. Westergren is expected to stay in the post until a suitable candidate has been found, according to Recode’s sources. \u003c/p>\n\u003cp>Founded in 2000 as a way to \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">provide individualized “radio stations” based on musical preferences\u003c/a>, Pandora was an early streaming music provider that eventually attracted 80 million subscribers, thanks to its free web-based service. The company also made headlines for being aggressive in securing affordable streaming rights, sometimes at the expense of the artists behind the music on the site. In 2013, after a public campaign by opponents, Pandora \u003ca href=\"https://www.eastbayexpress.com/oakland/pandoras-price/Content?oid=3789202\" target=\"_blank\" rel=\"noopener\">stopped pushing for legislation\u003c/a> that would slash royalty payments to artists.\u003c/p>\n\u003cp>In the wake of streaming music options having multiplied, with Spotify, Apple, Amazon and Tidal, Pandora \u003ca href=\"http://money.cnn.com/2017/06/26/technology/pandora-ceo-tim-westergren/index.html\" target=\"_blank\" rel=\"noopener\">has struggled\u003c/a>. In March of this year, Pandora unveiled “\u003ca href=\"https://www.engadget.com/2017/03/13/pandora-premium-music-streaming-hands-on/\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>,” its conversion of the Rdio app that Pandora \u003ca href=\"https://www.engadget.com/2015/11/16/pandora-buying-rdio/\" target=\"_blank\" rel=\"noopener\">acquired in 2015\u003c/a>. Last month, it appeared possible that Pandora would be bought out by Sirius XM; instead, the satellite radio service \u003ca href=\"http://www.billboard.com/articles/business/7825618/siriusxm-buy-480m-stake-pandora\" target=\"_blank\" rel=\"noopener\">bought a stake\u003c/a> in Pandora for $480 million.\u003c/p>\n\u003cp>Westergren served as Pandora’s CEO from 2002 to 2013 before being replaced by Brian McAndrews, a former product manager at General Mills Inc. Westergren took back the role in 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Representatives from Pandora have yet to comment on the reports of Westergren’s decision.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder and CEO of the music streaming service Pandora, plans to step down from his post, according to reports.\u003c/p>\n\u003cp>\u003ca href=\"https://www.recode.net/2017/6/25/15871686/pandora-ceo-tim-westergren-steps-down-sirius\" target=\"_blank\" rel=\"noopener\">Recode reported Sunday\u003c/a> that Westergren, who took the reins of the Oakland-based company again last year after a three-year break, does not have a replacement CEO lined up. Westergren is expected to stay in the post until a suitable candidate has been found, according to Recode’s sources. \u003c/p>\n\u003cp>Founded in 2000 as a way to \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">provide individualized “radio stations” based on musical preferences\u003c/a>, Pandora was an early streaming music provider that eventually attracted 80 million subscribers, thanks to its free web-based service. The company also made headlines for being aggressive in securing affordable streaming rights, sometimes at the expense of the artists behind the music on the site. In 2013, after a public campaign by opponents, Pandora \u003ca href=\"https://www.eastbayexpress.com/oakland/pandoras-price/Content?oid=3789202\" target=\"_blank\" rel=\"noopener\">stopped pushing for legislation\u003c/a> that would slash royalty payments to artists.\u003c/p>\n\u003cp>In the wake of streaming music options having multiplied, with Spotify, Apple, Amazon and Tidal, Pandora \u003ca href=\"http://money.cnn.com/2017/06/26/technology/pandora-ceo-tim-westergren/index.html\" target=\"_blank\" rel=\"noopener\">has struggled\u003c/a>. In March of this year, Pandora unveiled “\u003ca href=\"https://www.engadget.com/2017/03/13/pandora-premium-music-streaming-hands-on/\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>,” its conversion of the Rdio app that Pandora \u003ca href=\"https://www.engadget.com/2015/11/16/pandora-buying-rdio/\" target=\"_blank\" rel=\"noopener\">acquired in 2015\u003c/a>. Last month, it appeared possible that Pandora would be bought out by Sirius XM; instead, the satellite radio service \u003ca href=\"http://www.billboard.com/articles/business/7825618/siriusxm-buy-480m-stake-pandora\" target=\"_blank\" rel=\"noopener\">bought a stake\u003c/a> in Pandora for $480 million.\u003c/p>\n\u003cp>Westergren served as Pandora’s CEO from 2002 to 2013 before being replaced by Brian McAndrews, a former product manager at General Mills Inc. Westergren took back the role in 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Why This Atheist Former Punk Rocker Backs Donald Trump",
"title": "Why This Atheist Former Punk Rocker Backs Donald Trump",
"headTitle": "USC | The California Report | KQED News",
"content": "\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/jennylower/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Lower \u003c/a>brings us the story of Adam Vondersaar. He welcomes Trump's presidency and sees it as a way to highlight his beliefs in libertarianism and what he calls \"maximum chaos.\" \u003c/em>\u003c/p>\n\u003cp>Adam Vondersaar loves guns. Their smell reminds the 34-year-old software engineer of his childhood. One crisp, wet morning at a shooting range buried in the hills near Santa Clarita, he easily discharges 100 rounds from a Glock 19 and a Kriss Vector.\u003c/p>\n\u003cp>\"Some of my fondest memories of being a young kid is reloading rounds with my grandfather and then doing some shooting with my dad, like skeet shooting,” he says. Guns are just “part of my life.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/329043671\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Vondersaar is a pretty good shot. He’s a straight shooter in conversation, too. Since Donald Trump’s election last November, some California conservatives have been trying to stay under the radar. That’s not the case with Vondersaar, who openly identifies as a Trump supporter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But he isn’t your typical conservative. He supports the \u003ca href=\"https://www.law.cornell.edu/wex/second_amendment\" target=\"_blank\" rel=\"noopener noreferrer\">Second Amendment\u003c/a>. But he also thinks necessities like health care and energy should be free. And he identifies as libertarian.\u003c/p>\n\u003cp>He says libertarianism \"basically means just leave people alone, and the government has no business deciding what people can and can’t do within their personal lives.\"\u003c/p>\n\u003cp>Unlike many conservatives, he and his wife Melanie identify as atheists. They oppose Republicans' focus on issues like abortion and gay marriage. They also dislike what they call Republicans’ portrayal of themselves as “God-fearing Christians.”\u003c/p>\n\u003cp>“I’m not popular with my Democrat friends or my Republican friends because I hate religion with a passion,” Vondersaar says. “It’s just nonsense to me.”\u003c/p>\n\u003cfigure id=\"attachment_11451046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11451046 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar3-800x600.jpg\" alt=\"Adam Vondersaar, a libertarian and former punk-rock guitarist, says he voted for Trump to cause “maximum chaos.”\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Vondersaar, a libertarian and former punk-rock guitarist, says he voted for Trump to cause “maximum chaos.” \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This election cycle, he chose Trump for an unusual reason -- a personal philosophy he calls “maximum chaos.”\u003c/p>\n\u003cp>“I want him to go in and wreck the establishment,” Vondersaar says, laughing. “The Republicans don’t like him, the Democrats definitely don’t like him. Both teams need to be gutted.”\u003c/p>\n\u003cp>\"Maximum chaos\" -- it sounds like a phrase you’d hear in a punk rock band. Which makes sense, because Vondersaar used to play guitar in a punk band.\u003c/p>\n\u003cp>[contextly_sidebar id=\"T9AfsRsZE7kwog2WbVuf7m9LWK6OYDTp\"]\u003c/p>\n\u003cp>“There were several little bands that they had,” says his mom, Angel. “‘Like-Minded’ I think was the first one, and then the ‘Purple Monkey Dishwasher’, or something like that,” she joked. She lives across the street. This afternoon, she is curled up on her son’s couch, doing that thing all moms do -- brag about their kids.\u003c/p>\n\u003cp>Vondersaar’s most successful band was called Ikarus, after the \"Kid Icarus\" video game and the Greek myth. They played the \u003ca href=\"http://vanswarpedtour.com/bands/\">Warped Tour Festival\u003c/a> and a bunch of clubs in Hollywood, including the famed Roxy Theatre.\u003c/p>\n\u003cp>\"I was in there and I’m like, ‘Adam, Led Zeppelin, Robert Plant and all of them used to play here!'\" Angel says. \"They were in this little stage, and here you are playing.\"\u003c/p>\n\u003cfigure id=\"attachment_11451045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451045\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar and his mother, Angel, share a love of music. Like Adam, she wanted to be a professional musician in her youth. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In high school, music and sports kept Vondersaar going. He was the \"punk rock jock,\" the captain of the football team with a blue mohawk. His anti-establishment tendencies started around this time, too.\u003c/p>\n\u003cp>One day in high school, “I decided to do an experiment with chemicals in a toilet,” he says. “You know, messing around with elemental sodium, reacts a little violently with water. It just causes, like, little explosions.”\u003c/p>\n\u003cp>He couldn’t have picked a worse day for this prank. It was April 20, 1999 -- the same day as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/columbine-high-school-shootings-fast-facts/\">Columbine High School shooting\u003c/a> in Littleton, Colorado. That tragedy became known as one of the worst school shootings in U.S. history. With the whole country on edge, the response to the incident at his high school near Lancaster escalated fast.\u003c/p>\n\u003cp>“It's like SWAT team, hazmat, so many fire trucks, cops roll in, evacuate the school,” he says. “It was just bad.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"WkUBKTaE4l23LXlzWZg2v6hFYqYMLhkj\"]\u003c/p>\n\u003cp>Vondersaar and his friends were afraid to come clean, so they kept quiet. A month later, a classmate turned them in. But he says that even though a diverse group of people were involved -- all his high school buddies -- school and police authorities didn’t treat them equally.\u003c/p>\n\u003cp>“They pick[ed] the two German last name kids, like super white kids, and they’re like, ‘You're a part of the trench coat mafia.’ I’m like, what dude? We were just messing around,” he says. “I got shafted so hard. They made an example of me.”\u003c/p>\n\u003cp>He got expelled, wound up in Juvenile Hall, and went to a continuation school. He tried to make the best of a bad situation, plowing through schoolwork. But the experience made him lose faith in institutions like public schools and the justice system. He learned to rely on himself.\u003c/p>\n\u003cfigure id=\"attachment_11451043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451043\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar works as a software engineer for a start-up that bills itself as a competitor to Craigslist. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adult, self-reliance to Vondersaar means planning for every contingency. These days, he is part of a survivalist group.\u003c/p>\n\u003cp>He calls it “a preparedness level for maximum chaos. It does sound funny, when you talk about it. Because it is a little, like, weird -- those crazy prepper people. But it’s just insurance.”\u003c/p>\n\u003cp>He won’t say how many people are in the group. They don’t recruit openly. But Vondersaar says their activities, which emphasize practical skills like CPR training and canning food, amount to adult Boy Scouts.\u003c/p>\n\u003cp>“We have [a] storage container with water and food and things like that,\" he says. \"And then we have rally points where we can meet when the services go out so we can pool our resources and survive, until, you know -- whatever.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"eq8ij9DhJQwVatDrJEtbtgLuv01FLByZ\"]\u003c/p>\n\u003cp>Vondersaar isn’t sure society will devolve to this point in his lifetime. But he says like all empires, the American system will eventually fail. Maximum chaos will be inevitable.\u003c/p>\n\u003cp>“It’s going to happen. There’ll be a period of bad things. Or there could just be an implosion,” he says. “That would suck, but that’s human nature -- it’s survival of the fittest. The people who are prepared will make it through. That’s how we founded the country.”\u003c/p>\n\u003cfigure id=\"attachment_11451040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451040\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar’s cousin Melissa Brand is a liberal from Orange County. The pair mostly avoid talking about politics. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Vondersaar’s ideas sound pretty wacky to his family. Most of them are liberal. But his cousin Melissa Brand has figured out how to deal with his politics.\u003c/p>\n\u003cp>“I did unfollow him, so I don’t see it on my newsfeed anymore. Every once in a while I’ll go check on his page, see what he’s doing and stuff,” she says, “but on my own time.”\u003c/p>\n\u003cp>Brand and her sister grew up with Adam, though she now lives in Orange County. They’re still close, and so the cousins mostly avoid talking about things like maximum chaos.\u003c/p>\n\u003cp>[contextly_sidebar id=\"CFq1k44eDl64DLWykZStGcr25ZZcXZw4\"]\u003c/p>\n\u003cp>“He’s still family, and I love him. We’re able to kind of make fun of ourselves. So we keep it peaceful,” she says.\u003c/p>\n\u003cp>For now, Vondersaar is focused on a different kind of chaos. He and his wife Melanie are expecting a baby boy any day now. They still need to pick a name. It’s a “contentious issue,” Melanie jokes.\u003c/p>\n\u003cp>“I prefer the name Charlie but Adam doesn’t like it,” she says. He’s rooting for Warner.\u003c/p>\n\u003cfigure id=\"attachment_11451047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451047\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/BabySupplies-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar and his wife Melanie are expecting a baby in May. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Vondersaar has plenty to keep him busy. He and Melanie just moved from their condo into a new house with a swimming pool and got a long list of home improvement projects.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>First on the list: He needs to clear the extra ammo and the gun safe out of the nursery. And then paint it baby blue.\u003c/p>\n\n",
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"excerpt": "Adam Vondersaar isn’t your typical conservative. He’s an atheist and thinks necessities like health care and energy should be free.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/jennylower/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenny Lower \u003c/a>brings us the story of Adam Vondersaar. He welcomes Trump's presidency and sees it as a way to highlight his beliefs in libertarianism and what he calls \"maximum chaos.\" \u003c/em>\u003c/p>\n\u003cp>Adam Vondersaar loves guns. Their smell reminds the 34-year-old software engineer of his childhood. One crisp, wet morning at a shooting range buried in the hills near Santa Clarita, he easily discharges 100 rounds from a Glock 19 and a Kriss Vector.\u003c/p>\n\u003cp>\"Some of my fondest memories of being a young kid is reloading rounds with my grandfather and then doing some shooting with my dad, like skeet shooting,” he says. Guns are just “part of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/329043671&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/329043671'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Vondersaar is a pretty good shot. He’s a straight shooter in conversation, too. Since Donald Trump’s election last November, some California conservatives have been trying to stay under the radar. That’s not the case with Vondersaar, who openly identifies as a Trump supporter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But he isn’t your typical conservative. He supports the \u003ca href=\"https://www.law.cornell.edu/wex/second_amendment\" target=\"_blank\" rel=\"noopener noreferrer\">Second Amendment\u003c/a>. But he also thinks necessities like health care and energy should be free. And he identifies as libertarian.\u003c/p>\n\u003cp>He says libertarianism \"basically means just leave people alone, and the government has no business deciding what people can and can’t do within their personal lives.\"\u003c/p>\n\u003cp>Unlike many conservatives, he and his wife Melanie identify as atheists. They oppose Republicans' focus on issues like abortion and gay marriage. They also dislike what they call Republicans’ portrayal of themselves as “God-fearing Christians.”\u003c/p>\n\u003cp>“I’m not popular with my Democrat friends or my Republican friends because I hate religion with a passion,” Vondersaar says. “It’s just nonsense to me.”\u003c/p>\n\u003cfigure id=\"attachment_11451046\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11451046 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar3-800x600.jpg\" alt=\"Adam Vondersaar, a libertarian and former punk-rock guitarist, says he voted for Trump to cause “maximum chaos.”\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Vondersaar, a libertarian and former punk-rock guitarist, says he voted for Trump to cause “maximum chaos.” \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This election cycle, he chose Trump for an unusual reason -- a personal philosophy he calls “maximum chaos.”\u003c/p>\n\u003cp>“I want him to go in and wreck the establishment,” Vondersaar says, laughing. “The Republicans don’t like him, the Democrats definitely don’t like him. Both teams need to be gutted.”\u003c/p>\n\u003cp>\"Maximum chaos\" -- it sounds like a phrase you’d hear in a punk rock band. Which makes sense, because Vondersaar used to play guitar in a punk band.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There were several little bands that they had,” says his mom, Angel. “‘Like-Minded’ I think was the first one, and then the ‘Purple Monkey Dishwasher’, or something like that,” she joked. She lives across the street. This afternoon, she is curled up on her son’s couch, doing that thing all moms do -- brag about their kids.\u003c/p>\n\u003cp>Vondersaar’s most successful band was called Ikarus, after the \"Kid Icarus\" video game and the Greek myth. They played the \u003ca href=\"http://vanswarpedtour.com/bands/\">Warped Tour Festival\u003c/a> and a bunch of clubs in Hollywood, including the famed Roxy Theatre.\u003c/p>\n\u003cp>\"I was in there and I’m like, ‘Adam, Led Zeppelin, Robert Plant and all of them used to play here!'\" Angel says. \"They were in this little stage, and here you are playing.\"\u003c/p>\n\u003cfigure id=\"attachment_11451045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451045\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar and his mother, Angel, share a love of music. Like Adam, she wanted to be a professional musician in her youth. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In high school, music and sports kept Vondersaar going. He was the \"punk rock jock,\" the captain of the football team with a blue mohawk. His anti-establishment tendencies started around this time, too.\u003c/p>\n\u003cp>One day in high school, “I decided to do an experiment with chemicals in a toilet,” he says. “You know, messing around with elemental sodium, reacts a little violently with water. It just causes, like, little explosions.”\u003c/p>\n\u003cp>He couldn’t have picked a worse day for this prank. It was April 20, 1999 -- the same day as the \u003ca href=\"http://www.cnn.com/2013/09/18/us/columbine-high-school-shootings-fast-facts/\">Columbine High School shooting\u003c/a> in Littleton, Colorado. That tragedy became known as one of the worst school shootings in U.S. history. With the whole country on edge, the response to the incident at his high school near Lancaster escalated fast.\u003c/p>\n\u003cp>“It's like SWAT team, hazmat, so many fire trucks, cops roll in, evacuate the school,” he says. “It was just bad.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Vondersaar and his friends were afraid to come clean, so they kept quiet. A month later, a classmate turned them in. But he says that even though a diverse group of people were involved -- all his high school buddies -- school and police authorities didn’t treat them equally.\u003c/p>\n\u003cp>“They pick[ed] the two German last name kids, like super white kids, and they’re like, ‘You're a part of the trench coat mafia.’ I’m like, what dude? We were just messing around,” he says. “I got shafted so hard. They made an example of me.”\u003c/p>\n\u003cp>He got expelled, wound up in Juvenile Hall, and went to a continuation school. He tried to make the best of a bad situation, plowing through schoolwork. But the experience made him lose faith in institutions like public schools and the justice system. He learned to rely on himself.\u003c/p>\n\u003cfigure id=\"attachment_11451043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451043\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar works as a software engineer for a start-up that bills itself as a competitor to Craigslist. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As an adult, self-reliance to Vondersaar means planning for every contingency. These days, he is part of a survivalist group.\u003c/p>\n\u003cp>He calls it “a preparedness level for maximum chaos. It does sound funny, when you talk about it. Because it is a little, like, weird -- those crazy prepper people. But it’s just insurance.”\u003c/p>\n\u003cp>He won’t say how many people are in the group. They don’t recruit openly. But Vondersaar says their activities, which emphasize practical skills like CPR training and canning food, amount to adult Boy Scouts.\u003c/p>\n\u003cp>“We have [a] storage container with water and food and things like that,\" he says. \"And then we have rally points where we can meet when the services go out so we can pool our resources and survive, until, you know -- whatever.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Vondersaar isn’t sure society will devolve to this point in his lifetime. But he says like all empires, the American system will eventually fail. Maximum chaos will be inevitable.\u003c/p>\n\u003cp>“It’s going to happen. There’ll be a period of bad things. Or there could just be an implosion,” he says. “That would suck, but that’s human nature -- it’s survival of the fittest. The people who are prepared will make it through. That’s how we founded the country.”\u003c/p>\n\u003cfigure id=\"attachment_11451040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451040\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/AdamVondersaar4-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/AdamVondersaar4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar’s cousin Melissa Brand is a liberal from Orange County. The pair mostly avoid talking about politics. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of Vondersaar’s ideas sound pretty wacky to his family. Most of them are liberal. But his cousin Melissa Brand has figured out how to deal with his politics.\u003c/p>\n\u003cp>“I did unfollow him, so I don’t see it on my newsfeed anymore. Every once in a while I’ll go check on his page, see what he’s doing and stuff,” she says, “but on my own time.”\u003c/p>\n\u003cp>Brand and her sister grew up with Adam, though she now lives in Orange County. They’re still close, and so the cousins mostly avoid talking about things like maximum chaos.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“He’s still family, and I love him. We’re able to kind of make fun of ourselves. So we keep it peaceful,” she says.\u003c/p>\n\u003cp>For now, Vondersaar is focused on a different kind of chaos. He and his wife Melanie are expecting a baby boy any day now. They still need to pick a name. It’s a “contentious issue,” Melanie jokes.\u003c/p>\n\u003cp>“I prefer the name Charlie but Adam doesn’t like it,” she says. He’s rooting for Warner.\u003c/p>\n\u003cfigure id=\"attachment_11451047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11451047\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/BabySupplies-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/BabySupplies.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vondersaar and his wife Melanie are expecting a baby in May. \u003ccite>(Jenny Lower)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, Vondersaar has plenty to keep him busy. He and Melanie just moved from their condo into a new house with a swimming pool and got a long list of home improvement projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First on the list: He needs to clear the extra ammo and the gun safe out of the nursery. And then paint it baby blue.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor",
"headTitle": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor | KQED",
"content": "\u003cp>Todd Barkan, who ran San Francisco’s legendary jazz nightclub the Keystone Korner, will receive the nation’s highest honor for jazz artists, the National Endowment for the Arts’ (NEA) Jazz Master fellowship. \u003c/p>\n\u003cp>Barkan, pianist Joanne Brackeen, guitarist Pat Metheny and vocalist Diane Reeves are the 2018 recipients of the Jazz Master fellowships, which were announced at a concert Monday night at the John F. Kennedy Center in Washington D.C., where Metheny performed. Each of the winners will receive $25,000, and will be honored at a concert at the Kennedy Center next April.\u003c/p>\n\u003cfigure id=\"attachment_13435072\" class=\"wp-caption alignright\" style=\"max-width: 454px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg\" alt=\"Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \" width=\"454\" height=\"684\" class=\"size-full wp-image-13435072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg 454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-375x565.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \u003ccite>(Photo: Brian McMillen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barkan, 70, will receive the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy for his decades as a \u003ca href=\"http://toddbarkan.com/2015/02/todd-barkan-wins-grammy-as-producer-of-best-latin-jazz-album-of-the-year/\" target=\"_blank\" rel=\"noopener\">Grammy-winning\u003c/a> producer and for his time at the Keystone, the North Beach club that pianist Mary Lou Williams once called “\u003ca href=\"http://blogs.artinfo.com/blunotes/2013/01/mary-lou-williams-speaks-the-keystone-korner-reborn/\" target=\"_blank\" rel=\"noopener\">the Birdland of the ’70s\u003c/a>.”\u003c/p>\n\u003cp>“It’s been a privilege beyond words to be able to provide some opportunity and space for these indispensable artists to swing and create together,” Barkan \u003ca href=\"https://www.facebook.com/todd.barkan.9/posts/1725039527511010?pnref=story\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “As Bobby Hutcherson told me quite a few times, and even wrote on the wall of the Keystone Korner, ‘True love asks nothing in return.'” \u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/honors/jazz/todd-barkan\" target=\"_blank\" rel=\"noopener\">Born in Nebraska and raised in Ohio\u003c/a>, Barkan says he discovered jazz at the age of 13 and swiftly became obsessed with the music, taking 1,000 jazz records with him instead of clothes when he left for college. In 1967, Barkan moved to San Francisco, and by the early ’70s he was working as a pianist in two groups, and looking for clubs to play. When he stopped into the Keystone Korner to ask then-owner Freddie Herrera for a gig, the Korner was primarily a rock club known for hosting guitar gods like Mike Bloomfield, Elvin Bishop, and Jerry Garcia. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I went to him and asked, ‘Why don’t you hire my band?'” Barkan said in \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">a recent interview with \u003cem>JazzTimes\u003c/em>\u003c/a>. “I gave him the press kit and demo, but he came back with, ‘I hate jazz. Can’t stand it. It doesn’t sell. But I’m opening a big rock club in Berkeley, the Keystone Berkeley. Why don’t you buy this joint and maybe you can turn it into something, do something with it?'”\u003c/p>\n\u003cfigure id=\"attachment_13428648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg\" alt=\"Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner\" width=\"800\" height=\"622\" class=\"size-medium wp-image-13428648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner. \u003ccite>(Photo: Tom Copi/Courtesy of Todd Barken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the owner of the Keystone, a tiny 200-seat venue on Vallejo Street, Barkan helped bring jazz back to San Francisco. The city had been \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">resplendent with jazz clubs\u003c/a> in the ’50s, but by the time Barkan bought the club for just $12,500, there \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">were little to none\u003c/a>. As soon as the club was up and running, Barkan brought big names that hadn’t been back to San Francisco for several years, like Art Blakey and Sonny Rollins.\u003c/p>\n\u003cp>Barkan also created a haven for jazz artists fighting to stay relevant when rock ruled the radio and the road. Several standout artists recorded albums at the Keystone, including Dexter Gordon, McCoy Tyner, and Rahsaan Roland Kirk, who was Barkan’s \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">mentor as a teenager\u003c/a>. The club gained such a reputation that artists who could fill much bigger venues, like Miles Davis and Stan Getz, frequently graced its stage. Its liquor license was paid for with a fundraiser in Oakland that featured Kirk, Tyner, and Elvin Jones, and another fundraiser featuring George Benson and Grover Washington Jr. paid for the club’s kitchen.\u003c/p>\n\u003cp>“Keystone Korner was — much like Bradley’s back in New York City — an absolutely indispensable part of the true jazz community,” bassist Ray Drummond, who used to play at the Keystone, said in a statement. “All kinds of musicians from all over the world looked forward to playing there.” \u003c/p>\n\u003cp>Barkan became known for his catchphrase, “Take care of the music and the music will take care of you.” But by 1983, jazz wasn’t taking care of the Keystone’s bills. After a Bill Graham-produced benefit at the Warfield raised only $1,500 — barely a dent in Barkan’s $50,000 tax bill — Barkan closed the club and left for New York. He came back to the Bay Area a few years later as a talent buyer for Yoshi’s in Oakland, but returned to New York in 1993 after an \u003ca href=\"http://www.mtv.com/news/1123381/producer-todd-barkan-on-the-past-and-future-of-jazz/\" target=\"_blank\" rel=\"noopener\">“unfriendly split”\u003c/a> with Yoshi’s owners. \u003c/p>\n\u003cp>Barkan went on to produce hundreds of records for labels such as Fantasy/Milestone, HighNote and 32 Records. He also continued to promote live jazz, becoming the director of programming for \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">Dizzy’s Club Coca-Cola at Jazz at Lincoln Center\u003c/a> for eight years. But Barkan seems at his proudest when he talks about running the Keystone, still remembered today as one of “\u003ca href=\"https://news.allaboutjazz.com/to-commemorate-keystone-korners-45th-anniversary-producer-todd-barkan-hosts-3-all-star-bay-area-shows-july-7-8.php\" target=\"_blank\" rel=\"noopener\">best jazz clubs in the world\u003c/a>.” \u003c/p>\n\u003cp>“The Keystone was really a labor of love to the very last day it was open. And I tried to have the best music in the world there every night,” Barkan said in 2011.\u003c/p>\n\u003cp>For this year’s 45th anniversary of the opening of the Keystone, Barkan will host a series of shows in the Bay Area on July 7 and 8. The concerts — held in Santa Cruz, Half Moon Bay and San Francisco — feature artists such as Charles McPherson, Gary Bartz and Denny Zeitlin. (Barkan has more information about the shows on his website, \u003ca href=\"http://toddbarkan.com/2017/05/45th-anniversary-celebration-of-keystone-korner/\" target=\"_blank\" rel=\"noopener\">toddbarkan.com\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Watch a slideshow of photos from the heyday of Keystone Korner that Barkan posted on YouTube below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SRVokXwa-e8 \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Todd Barkan, who ran San Francisco’s legendary jazz nightclub the Keystone Korner, will receive the nation’s highest honor for jazz artists, the National Endowment for the Arts’ (NEA) Jazz Master fellowship. \u003c/p>\n\u003cp>Barkan, pianist Joanne Brackeen, guitarist Pat Metheny and vocalist Diane Reeves are the 2018 recipients of the Jazz Master fellowships, which were announced at a concert Monday night at the John F. Kennedy Center in Washington D.C., where Metheny performed. Each of the winners will receive $25,000, and will be honored at a concert at the Kennedy Center next April.\u003c/p>\n\u003cfigure id=\"attachment_13435072\" class=\"wp-caption alignright\" style=\"max-width: 454px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg\" alt=\"Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \" width=\"454\" height=\"684\" class=\"size-full wp-image-13435072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner.jpg 454w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Keystone_Korner-375x565.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003cfigcaption class=\"wp-caption-text\">Exterior view circa 1982 of the Keystone Korner in North Beach. Saxophonist Odean Pope of the Max Roach Quartet poses in front. \u003ccite>(Photo: Brian McMillen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barkan, 70, will receive the A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy for his decades as a \u003ca href=\"http://toddbarkan.com/2015/02/todd-barkan-wins-grammy-as-producer-of-best-latin-jazz-album-of-the-year/\" target=\"_blank\" rel=\"noopener\">Grammy-winning\u003c/a> producer and for his time at the Keystone, the North Beach club that pianist Mary Lou Williams once called “\u003ca href=\"http://blogs.artinfo.com/blunotes/2013/01/mary-lou-williams-speaks-the-keystone-korner-reborn/\" target=\"_blank\" rel=\"noopener\">the Birdland of the ’70s\u003c/a>.”\u003c/p>\n\u003cp>“It’s been a privilege beyond words to be able to provide some opportunity and space for these indispensable artists to swing and create together,” Barkan \u003ca href=\"https://www.facebook.com/todd.barkan.9/posts/1725039527511010?pnref=story\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “As Bobby Hutcherson told me quite a few times, and even wrote on the wall of the Keystone Korner, ‘True love asks nothing in return.'” \u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/honors/jazz/todd-barkan\" target=\"_blank\" rel=\"noopener\">Born in Nebraska and raised in Ohio\u003c/a>, Barkan says he discovered jazz at the age of 13 and swiftly became obsessed with the music, taking 1,000 jazz records with him instead of clothes when he left for college. In 1967, Barkan moved to San Francisco, and by the early ’70s he was working as a pianist in two groups, and looking for clubs to play. When he stopped into the Keystone Korner to ask then-owner Freddie Herrera for a gig, the Korner was primarily a rock club known for hosting guitar gods like Mike Bloomfield, Elvin Bishop, and Jerry Garcia. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I went to him and asked, ‘Why don’t you hire my band?'” Barkan said in \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">a recent interview with \u003cem>JazzTimes\u003c/em>\u003c/a>. “I gave him the press kit and demo, but he came back with, ‘I hate jazz. Can’t stand it. It doesn’t sell. But I’m opening a big rock club in Berkeley, the Keystone Berkeley. Why don’t you buy this joint and maybe you can turn it into something, do something with it?'”\u003c/p>\n\u003cfigure id=\"attachment_13428648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg\" alt=\"Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner\" width=\"800\" height=\"622\" class=\"size-medium wp-image-13428648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Todd-Barkan-with-Joao-Gilberto-e1497421751913-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joao Gilberto, Billy Hart and Todd Barkan in 1976 at the Keystone Korner. \u003ccite>(Photo: Tom Copi/Courtesy of Todd Barken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the owner of the Keystone, a tiny 200-seat venue on Vallejo Street, Barkan helped bring jazz back to San Francisco. The city had been \u003ca href=\"https://ww2.kqed.org/arts/2017/06/14/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it/\" target=\"_blank\" rel=\"noopener\">resplendent with jazz clubs\u003c/a> in the ’50s, but by the time Barkan bought the club for just $12,500, there \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">were little to none\u003c/a>. As soon as the club was up and running, Barkan brought big names that hadn’t been back to San Francisco for several years, like Art Blakey and Sonny Rollins.\u003c/p>\n\u003cp>Barkan also created a haven for jazz artists fighting to stay relevant when rock ruled the radio and the road. Several standout artists recorded albums at the Keystone, including Dexter Gordon, McCoy Tyner, and Rahsaan Roland Kirk, who was Barkan’s \u003ca href=\"https://jazztimes.com/columns/inservice/todd-barkan-taking-care-of-the-music/\" target=\"_blank\" rel=\"noopener\">mentor as a teenager\u003c/a>. The club gained such a reputation that artists who could fill much bigger venues, like Miles Davis and Stan Getz, frequently graced its stage. Its liquor license was paid for with a fundraiser in Oakland that featured Kirk, Tyner, and Elvin Jones, and another fundraiser featuring George Benson and Grover Washington Jr. paid for the club’s kitchen.\u003c/p>\n\u003cp>“Keystone Korner was — much like Bradley’s back in New York City — an absolutely indispensable part of the true jazz community,” bassist Ray Drummond, who used to play at the Keystone, said in a statement. “All kinds of musicians from all over the world looked forward to playing there.” \u003c/p>\n\u003cp>Barkan became known for his catchphrase, “Take care of the music and the music will take care of you.” But by 1983, jazz wasn’t taking care of the Keystone’s bills. After a Bill Graham-produced benefit at the Warfield raised only $1,500 — barely a dent in Barkan’s $50,000 tax bill — Barkan closed the club and left for New York. He came back to the Bay Area a few years later as a talent buyer for Yoshi’s in Oakland, but returned to New York in 1993 after an \u003ca href=\"http://www.mtv.com/news/1123381/producer-todd-barkan-on-the-past-and-future-of-jazz/\" target=\"_blank\" rel=\"noopener\">“unfriendly split”\u003c/a> with Yoshi’s owners. \u003c/p>\n\u003cp>Barkan went on to produce hundreds of records for labels such as Fantasy/Milestone, HighNote and 32 Records. He also continued to promote live jazz, becoming the director of programming for \u003ca href=\"http://www.openskyjazz.com/2014/12/keeping-the-flame-alive-with-todd-barkan/\" target=\"_blank\" rel=\"noopener\">Dizzy’s Club Coca-Cola at Jazz at Lincoln Center\u003c/a> for eight years. But Barkan seems at his proudest when he talks about running the Keystone, still remembered today as one of “\u003ca href=\"https://news.allaboutjazz.com/to-commemorate-keystone-korners-45th-anniversary-producer-todd-barkan-hosts-3-all-star-bay-area-shows-july-7-8.php\" target=\"_blank\" rel=\"noopener\">best jazz clubs in the world\u003c/a>.” \u003c/p>\n\u003cp>“The Keystone was really a labor of love to the very last day it was open. And I tried to have the best music in the world there every night,” Barkan said in 2011.\u003c/p>\n\u003cp>For this year’s 45th anniversary of the opening of the Keystone, Barkan will host a series of shows in the Bay Area on July 7 and 8. The concerts — held in Santa Cruz, Half Moon Bay and San Francisco — feature artists such as Charles McPherson, Gary Bartz and Denny Zeitlin. (Barkan has more information about the shows on his website, \u003ca href=\"http://toddbarkan.com/2017/05/45th-anniversary-celebration-of-keystone-korner/\" target=\"_blank\" rel=\"noopener\">toddbarkan.com\u003c/a>.)\u003c/p>\n\u003cp>\u003ci>Watch a slideshow of photos from the heyday of Keystone Korner that Barkan posted on YouTube below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SRVokXwa-e8 \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Monterey International Pop Festival Returns, 50 Years Later",
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"content": "\u003cp>It’s hard to imagine a time when no one really knew \u003ca href=\"https://montereyinternationalpopfestival.com/pages/the-jimi-hendrix-experience\">Jimi Hendrix\u003c/a>. But the 1967 \u003ca href=\"https://montereyinternationalpopfestival.com/\">Monterey International Pop Festival\u003c/a> was that time. When Hendrix took the stage that summer, he hadn’t made his mark on the American music scene.\u003c/p>\n\u003cp>That all changed when he finished his set with his song \"Wild Thing.\" That’s when Hendrix became a legend for lighting his guitar on fire.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_-7toYWFEyk\u003c/p>\n\u003cp>Janis Joplin was another big name who was virtually unknown until she made her appearance at the Monterey County Fairgrounds in Monterey. She blew the audience away with her band Big Brother & The Holding Company.\u003c/p>\n\u003cp>Many of the musicians went on to become superstars, if they weren’t already. The lineup for the three-day celebration of rock ‘n' roll included \u003ca href=\"https://www.facebook.com/The-Mamas-The-Papas-1447013488863117/\">The Mamas & the Papas\u003c/a>, \u003ca href=\"http://www.dead.net/\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.thewho.com/\">The Who \u003c/a>and \u003ca href=\"https://www.otisredding.com/\">Otis Redding\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monterey Pop also became a model for future festivals like Woodstock and Coachella. It was a one-time event -- until now. \u003c/p>\n\u003cp>The 50th anniversary will be celebrated with a return of the \u003ca href=\"https://montereypopfestival50.com/\">Monterey Pop\u003c/a> this weekend, June 16-18.\u003c/p>\n\u003cp>Penny Vierrege attended all three days the original festival in 1967. \u003c/p>\n\u003cp>“It had the cream of it all. L.A., England, San Francisco, and there was just so much love. So much incredible love,\" she says.\u003c/p>\n\u003cp>[contextly_sidebar id=\"tLkfKcz48hnAG160tLPZPBRYqLlbWdcx\"]\u003c/p>\n\u003cp>She remembers booths selling crystals, strangers handing out flowers and a man and his pregnant wife who set up a teepee in the middle of the fairgrounds.\u003c/p>\n\u003cp>“Mostly I was wandering around stoned, you know, appreciating everything,” says Vierrege.\u003c/p>\n\u003cp>Her late husband, Paul, was stage manager of the event. She says she generally stayed in the audience.\u003c/p>\n\u003cp>“Well I’m sitting there watching all of these chickies hanging from the set and around and stuff like that, all the followers. And I said to my husband, on Sunday afternoon, I’m going to be on that stage. Ravi is my man, and I’m going to be as close as possible,” she says.\u003c/p>\n\u003cp>Vierrege, now 88, lives in Big Sur. She pulls a record off her shelf. It’s \"Live: Ravi Shankar at the Monterey International Pop Festival.\" The album cover has faded with time, but there she is in the corner practically on stage.\u003c/p>\n\u003cfigure id=\"attachment_11513107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/AlbumCover-800x600.jpg\" alt=\"Penny Vierrege on the back fold-out of Ravi Shankar's album: "Ravi Shankar at the Monterey Pop International Festival, Live."\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11513107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penny Vierrege on the back fold-out of Ravi Shankar's album: \"Ravi Shankar at the Monterey Pop International Festival, Live.\"\u003cbr> \u003ccite>(Krista Almanzan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the audience throughout the three-day festival were the performers themselves. \u003c/p>\n\u003cp>“There was no social media before that, so a lot of these performers had never spoken to or seen a performance by the other artists,” says Lou Adler, one of the co-producers of the original Monterey Pop.\u003c/p>\n\u003cp>The idea behind the event was to bring respect to rock 'n' roll as an art form. And it did that. Adler says after all these performers got together they were empowered.\u003c/p>\n\u003cp>“Up until that time, the record companies pretty much dictated how many albums you would do, what the cover would look like, how it would be marketed. That all changed after Monterey.\"\u003c/p>\n\u003cp>He says right away they knew it was such an iconic event that it could never be repeated.\u003c/p>\n\u003cp>That said there are connections between 1967 and this weekend’s Monterey International Pop Festival.\u003c/p>\n\u003cp>Eric Burdon and the Animals -- who also played at the original festival -- take the stage on Friday. \u003c/p>\n\u003cp>https://twitter.com/MIPFofficial/status/875775362717945856\u003c/p>\n\u003cp>Norah Jones will perform Saturday night; she’s Ravi Shankar’s daughter. And Phil Lesh from the Grateful Dead, which also played the original Monterey Pop, will close out the show Sunday night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are unfamiliar names in the \u003ca href=\"https://montereypopfestival50.com/schedule/\">lineup\u003c/a> too. Perhaps, 50 years from now we’ll be amazed that they were once virtually unknown.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine a time when no one really knew \u003ca href=\"https://montereyinternationalpopfestival.com/pages/the-jimi-hendrix-experience\">Jimi Hendrix\u003c/a>. But the 1967 \u003ca href=\"https://montereyinternationalpopfestival.com/\">Monterey International Pop Festival\u003c/a> was that time. When Hendrix took the stage that summer, he hadn’t made his mark on the American music scene.\u003c/p>\n\u003cp>That all changed when he finished his set with his song \"Wild Thing.\" That’s when Hendrix became a legend for lighting his guitar on fire.\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/_-7toYWFEyk'\n title='//www.youtube.com/embed/_-7toYWFEyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Janis Joplin was another big name who was virtually unknown until she made her appearance at the Monterey County Fairgrounds in Monterey. She blew the audience away with her band Big Brother & The Holding Company.\u003c/p>\n\u003cp>Many of the musicians went on to become superstars, if they weren’t already. The lineup for the three-day celebration of rock ‘n' roll included \u003ca href=\"https://www.facebook.com/The-Mamas-The-Papas-1447013488863117/\">The Mamas & the Papas\u003c/a>, \u003ca href=\"http://www.dead.net/\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.thewho.com/\">The Who \u003c/a>and \u003ca href=\"https://www.otisredding.com/\">Otis Redding\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monterey Pop also became a model for future festivals like Woodstock and Coachella. It was a one-time event -- until now. \u003c/p>\n\u003cp>The 50th anniversary will be celebrated with a return of the \u003ca href=\"https://montereypopfestival50.com/\">Monterey Pop\u003c/a> this weekend, June 16-18.\u003c/p>\n\u003cp>Penny Vierrege attended all three days the original festival in 1967. \u003c/p>\n\u003cp>“It had the cream of it all. L.A., England, San Francisco, and there was just so much love. So much incredible love,\" she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She remembers booths selling crystals, strangers handing out flowers and a man and his pregnant wife who set up a teepee in the middle of the fairgrounds.\u003c/p>\n\u003cp>“Mostly I was wandering around stoned, you know, appreciating everything,” says Vierrege.\u003c/p>\n\u003cp>Her late husband, Paul, was stage manager of the event. She says she generally stayed in the audience.\u003c/p>\n\u003cp>“Well I’m sitting there watching all of these chickies hanging from the set and around and stuff like that, all the followers. And I said to my husband, on Sunday afternoon, I’m going to be on that stage. Ravi is my man, and I’m going to be as close as possible,” she says.\u003c/p>\n\u003cp>Vierrege, now 88, lives in Big Sur. She pulls a record off her shelf. It’s \"Live: Ravi Shankar at the Monterey International Pop Festival.\" The album cover has faded with time, but there she is in the corner practically on stage.\u003c/p>\n\u003cfigure id=\"attachment_11513107\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/AlbumCover-800x600.jpg\" alt=\"Penny Vierrege on the back fold-out of Ravi Shankar's album: "Ravi Shankar at the Monterey Pop International Festival, Live."\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11513107\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/AlbumCover-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Penny Vierrege on the back fold-out of Ravi Shankar's album: \"Ravi Shankar at the Monterey Pop International Festival, Live.\"\u003cbr> \u003ccite>(Krista Almanzan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the audience throughout the three-day festival were the performers themselves. \u003c/p>\n\u003cp>“There was no social media before that, so a lot of these performers had never spoken to or seen a performance by the other artists,” says Lou Adler, one of the co-producers of the original Monterey Pop.\u003c/p>\n\u003cp>The idea behind the event was to bring respect to rock 'n' roll as an art form. And it did that. Adler says after all these performers got together they were empowered.\u003c/p>\n\u003cp>“Up until that time, the record companies pretty much dictated how many albums you would do, what the cover would look like, how it would be marketed. That all changed after Monterey.\"\u003c/p>\n\u003cp>He says right away they knew it was such an iconic event that it could never be repeated.\u003c/p>\n\u003cp>That said there are connections between 1967 and this weekend’s Monterey International Pop Festival.\u003c/p>\n\u003cp>Eric Burdon and the Animals -- who also played at the original festival -- take the stage on Friday. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Norah Jones will perform Saturday night; she’s Ravi Shankar’s daughter. And Phil Lesh from the Grateful Dead, which also played the original Monterey Pop, will close out the show Sunday night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are unfamiliar names in the \u003ca href=\"https://montereypopfestival50.com/schedule/\">lineup\u003c/a> too. Perhaps, 50 years from now we’ll be amazed that they were once virtually unknown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/06/2017-06-02a-tcrmag.mp3\" Image=\"https://u.s.kqed.net/2017/06/02/Abbbey800.jpg\" Title=\"Revisiting the Golden Age of Rock Billboards on the Sunset Strip\" program=\"The California Report\"]\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>McCartney’s head hangs on Quinn’s living room wall to this day. And he may have unknowingly salvaged the only remaining relic of this chapter in rock history. Because once a rock star’s billboard came down at the end of the month, it was destroyed, gone forever -- and replaced by the Next Big Thing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you drove down the Sunset Strip in the late 1960s, you were treated to what was essentially an outdoor rock 'n' roll art gallery.\u003c/p>\n\u003cp>While psychedelic music poured out of the clubs, record stores and head shops along Sunset, the latest albums were being celebrated on gigantic billboards high above the street. But it wasn’t always that way. The very first rock billboard arrived on the strip 50 years ago -- just in time for the Summer of Love.\u003c/p>\n\u003cp>“It was this really unique period where art and culture merged and the '60s generation was sort of coming of age,” says photographer Robert Landau. “I think it was a really special time in a lot of ways.”\u003c/p>\n\u003cp>Landau spent 10 years photographing the billboards on the Strip -- producing what might be the most complete record of this largely unheralded art form. His photographs are collected in his book, “\u003ca href=\"https://www.angelcitypress.com/products/rbss\">Rock ‘N’ Roll Billboards of the Sunset Strip\u003c/a>” (Angel City Press). It all started in 1969, when Landau was just a shy teenager with a camera -- and the Sunset Strip was his front yard.\u003c/p>\n\u003cp>“My dad had a bachelor pad right above the Strip here,” Landau recalls. “And I was 15. I'd walk down here with my camera, getting into photography. And I'd see John Lennon and the Beatles 15-feet-high, and some guy up there painting them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Each day on his way to school, Landau watched as his rock heroes took over the billboards on the strip, changing every month.\u003c/p>\n\u003cp>“About three weeks later, they’d paint it over with a new message,” he continues. “I knew they weren't around long. So I knew when I saw one I liked, I'd better get a picture or it'd be gone. I just started photographing them, and it became kind of an obsession for about 10 years.”\u003c/p>\n\u003cp>Of course, there have been billboards on Sunset as long as there have been cars. But up until the '60s, they were mainly ads for the usual products -- cars, whiskey, TV shows and Vegas acts.\u003c/p>\n\u003cp>Then, in 1967, an executive at Elektra Records had a radical idea. He’d noticed that all the radio DJ took Sunset on their way to work in Hollywood -- and he wanted their attention.\u003c/p>\n\u003cp>“Jac Holzman got the idea that a rock 'n' roll billboard should be up there, selling a record album,” Landau says. “And he had the perfect album.”\u003c/p>\n\u003cp>The Doors were an L.A. band, born on the strip, wildly popular and about to make it big -- Elektra was releasing the debut album. And when Holzman hung their four faces high above Sunset, he wasn’t so much trying to sell records as making a statement: The Doors are here, and Elektra’s got 'em!\u003c/p>\n\u003cfigure id=\"attachment_11491384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491384\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Doors800-800x489.jpg\" alt=\"The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles.\" width=\"800\" height=\"489\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-160x98.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-240x147.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-375x229.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Doors800-520x318.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Doors band members pose in front of their billboard for their debut album at Foster and Kleiser studios in Los Angeles. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No other company was doing that,” recalls Robbie Krieger, the band’s guitarist. “They didn't know if they were gonna make their money back on something like that. It was just more of an ego trip, I would say, for the record company and us.”\u003c/p>\n\u003cp>“We used to drive by every day and look at it — kinda hold up traffic.\"\u003c/p>\n\u003cp>As Krieger leafs through Landau’s book, he recalls the day the billboard was erected on the Strip. With the entire band on hand, Elektra made sure the event was well publicized. Krieger stops at an image of the four of them — Jim Morrison, Ray Manzarek, John Densmore and himself — perched high on top of the billboard.\u003c/p>\n\u003cp>“Oh yeah, they let us go up on top!” Krieger chuckles. “That would never happen today. But we hung out there for probably half-an-hour while they were putting it up. … I'm amazed they let us sit there like that.”\u003c/p>\n\u003cp>Other labels caught on, and soon every major act saw its latest album immortalized on the Strip -- The Who, the Rolling Stones, Crosby, Stills & Nash, Jimi Hendrix, Pink Floyd. And while promoting rock music with just an image might seem counterintuitive, for a generation used to obsessing over album covers in detail, music and art were almost the same thing. And, Landau adds, the billboards weren’t really about advertising, they were about communication — almost like sending a secret message to the fans.\u003c/p>\n\u003cfigure id=\"attachment_11491386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491386\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/Animals800-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-240x159.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/Animals800-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A billboard for Pink Floyd's 'Animals' on the Sunset Strip, 1977. \u003ccite>(Robert Landau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of cases they're not even telling you what they're selling,” Landau points out. We’re standing on the corner of Sunset and Holloway, where a selection of Landau’s images is on display throughout this year. He points to one image: a billboard showing a pig, a dog and a sheep – and not a word of text.\u003c/p>\n\u003cp>“If you didn't know that Pink Floyd had a record out called 'Animals,' you didn't know what they were advertising,” Landau remarks. “And they didn't care. It really wasn't about that.”\u003c/p>\n\u003cp>In the pre-MTV, pre-YouTube and pre-iTunes era, “the first way to get people's attention was through the album cover, the visual,” Landau adds. “And those visuals also became the billboards. So that's the connection.”\u003c/p>\n\u003cp>Landau photographed hundreds of billboards during rock’s heyday. His book is dedicated to the artists who created the billboards, many of which were hand-painted. Landau holds a special reverence for those artists, many of whom he got to know as he watched them at work on his daily walks.\u003c/p>\n\u003cfigure id=\"attachment_11491448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11491448 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-800x605.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-160x121.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1020x771.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-1180x892.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-960x726.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-240x181.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-375x283.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/LandauBeatles-520x393.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Landau poses in front of his photo of a Beatles billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The billboards were an uncredited art form,” he says. “Nobody said who painted 'em, who designed 'em. Just the art of rendering these heads, at that size, was an incredible bit of craftsmanship, artistry, whatever you want to say, but it was really spectacular.\u003c/p>\n\u003cp>\"Because when you get right up to any billboard, it looks like a series of splotches. These things are huge. And you don't really notice it driving by in your car, but you get up close and they're really large.\"\u003c/p>\n\u003cp>One billboard was famously at the center of a crime that went unsolved for over four decades -- Paul McCartney’s missing head. It all started with the release of the Beatles’ album, “Abbey Road,” in 1969. That year, you couldn’t escape the bizarre rumor that “Paul was dead.”\u003c/p>\n\u003cp>“People were playing the records backwards, looking for clues, and they even said that this image was sort of a funeral march because he's barefoot,” recalls Landau, as we look at a photograph of the album’s billboard. Like the album cover, it features the Beatles in single file, crossing Abbey Road. Their heads are cutouts that extend above the billboard, silhouetted against the sky.\u003c/p>\n\u003cp>On the morning of Dec. 23, 1969, Sunset Strip commuters saw what looked like the latest clue to McCartney’s demise – Paul’s head was missing from the billboard. Capitol Records sent the art director, Roland Young, out to investigate.\u003c/p>\n\u003cp>“He looks at it and they say, 'What do you want us to do? Should we replace the head?' ” says Landau. “And he says, 'No, leave it like that — it'll get a lot more attention!' ”\u003c/p>\n\u003cp>Young was right — the publicity certainly didn’t hurt record sales. But who was behind McCartney’s decapitation?\u003c/p>\n\u003cfigure id=\"attachment_11491451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491451\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/PaulsHead-800x600.jpg\" alt=\"Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/PaulsHead-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Quinn with Paul McCartney's head, which was cut off from the 'Abbey Road' billboard. \u003ccite>(Anny Celsi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My buddies helped me, and we did it on Dec. 22, which was my birthday,” admits Robert Quinn. He was just turning 19 when he got the idea to pull off the heist. Quinn enlisted two accomplices, and around 2 a.m., they pulled up underneath the billboard in his vintage Volvo. One of the crew had brought along a Skilsaw. Within minutes, they had their prize.\u003c/p>\n\u003cp>“So we threw Paul’s head into the trunk of my car and took off,” Quinn laughs. “It was quick! If you were driving by, one second it was up there and the next it was gone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>McCartney’s head hangs on Quinn’s living room wall to this day. And he may have unknowingly salvaged the only remaining relic of this chapter in rock history. Because once a rock star’s billboard came down at the end of the month, it was destroyed, gone forever -- and replaced by the Next Big Thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Takedown Makes Imaginative Scores for Imaginary Films",
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"content": "\u003cp>With his bushy mustache and tousled, dare we say, disregarded hair, Aaron M. Olson looks like a mad scientist. And he makes music like one, too. There’s a chemistry, even alchemy, to the sounds he’s created with his seven-piece ensemble, \u003ca href=\"http://latakedown.com\">L.A. Takedown\u003c/a>.\u003c/p>\n\u003cp>On that note, the cover photo of the new second Takedown album, “II,” is a little white pill pinched between a thumb and forefinger. And there is certainly an altered state aspect to these pieces, right from the sunlight-on-the water ripples of the opening prelude, “The First Thing.” On “Blue Skies (on Mars),” Olson and crew evoke \u003ci>that\u003c/i> scene with elastic guitar lines that call to mind Roxy Music’s Phil Manzanera.\u003c/p>\n\u003cfigure id=\"attachment_11491281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg\" alt=\"The cover of L.A. Takedown's 'II.'\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of L.A. Takedown's 'II.'\u003c/figcaption>\u003c/figure>\n\u003cp>Olson was born and raised in San Diego, studied classical music history and theory at San Francisco State, and then settled in L.A. For this music, he cites such disparate influences as King Crimson’s \u003ca href=\"http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/robert-fripp-20111122\">Robert Fripp\u003c/a>, Nigerian AfroPop star \u003ca href=\"http://www.allmusic.com/artist/king-sunny-ade-mn0000771297/biography\">King Sunny Ade\u003c/a> and Japanese composer Tori Kudo. You also might hear the electronic atmospheres of Tangerine Dream or “Wish You Were Here”-era Pink Floyd to varying degrees. On one end of the scale, there’s a track called “Dose,” all drift and float.\u003c/p>\n\u003cp>On the other side, there’s an action-scene vibe. A \u003ci>lot\u003c/i> of this has a soundtrack feel to it, even down to some of the titles. You can easily imagine “Bad Night at Black's Beach” behind a scene in an '80s\u003ca href=\"http://www.imdb.com/name/nm0000520/\"> Michael Mann\u003c/a> thriller. In fact, L.A. Takedown was born a few years back to score a series of short films, with the results released on their self-titled 2015 debut. This second one sees the project expanded to a full band and wider scope, reflecting Olson's history and tastes.\u003c/p>\n\u003cp>If some of this, such as the pulsating “Night Skiing,” catches the ears of a few Hollywood directors, Olson’s next project might not be \u003ci>imaginary\u003c/i> feature soundtracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4-fcWe8cKok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With his bushy mustache and tousled, dare we say, disregarded hair, Aaron M. Olson looks like a mad scientist. And he makes music like one, too. There’s a chemistry, even alchemy, to the sounds he’s created with his seven-piece ensemble, \u003ca href=\"http://latakedown.com\">L.A. Takedown\u003c/a>.\u003c/p>\n\u003cp>On that note, the cover photo of the new second Takedown album, “II,” is a little white pill pinched between a thumb and forefinger. And there is certainly an altered state aspect to these pieces, right from the sunlight-on-the water ripples of the opening prelude, “The First Thing.” On “Blue Skies (on Mars),” Olson and crew evoke \u003ci>that\u003c/i> scene with elastic guitar lines that call to mind Roxy Music’s Phil Manzanera.\u003c/p>\n\u003cfigure id=\"attachment_11491281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11491281\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg\" alt=\"The cover of L.A. Takedown's 'II.'\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/RS25554_L.A-Takedown-II-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of L.A. Takedown's 'II.'\u003c/figcaption>\u003c/figure>\n\u003cp>Olson was born and raised in San Diego, studied classical music history and theory at San Francisco State, and then settled in L.A. For this music, he cites such disparate influences as King Crimson’s \u003ca href=\"http://www.rollingstone.com/music/lists/100-greatest-guitarists-20111123/robert-fripp-20111122\">Robert Fripp\u003c/a>, Nigerian AfroPop star \u003ca href=\"http://www.allmusic.com/artist/king-sunny-ade-mn0000771297/biography\">King Sunny Ade\u003c/a> and Japanese composer Tori Kudo. You also might hear the electronic atmospheres of Tangerine Dream or “Wish You Were Here”-era Pink Floyd to varying degrees. On one end of the scale, there’s a track called “Dose,” all drift and float.\u003c/p>\n\u003cp>On the other side, there’s an action-scene vibe. A \u003ci>lot\u003c/i> of this has a soundtrack feel to it, even down to some of the titles. You can easily imagine “Bad Night at Black's Beach” behind a scene in an '80s\u003ca href=\"http://www.imdb.com/name/nm0000520/\"> Michael Mann\u003c/a> thriller. In fact, L.A. Takedown was born a few years back to score a series of short films, with the results released on their self-titled 2015 debut. This second one sees the project expanded to a full band and wider scope, reflecting Olson's history and tastes.\u003c/p>\n\u003cp>If some of this, such as the pulsating “Night Skiing,” catches the ears of a few Hollywood directors, Olson’s next project might not be \u003ci>imaginary\u003c/i> feature soundtracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/ashready\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Eady \u003c/a>brings us the story of \u003ca href=\"https://jacobthehorse.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob the Horse\u003c/a> — a Los Angeles band upset by Trump’s incendiary stance on Muslims, Jews and immigrants. Rick Chapman, the drummer, is Latino. Josh Fleury, the lead guitarist, is half Chinese. And lead singer Aviv Rubenstien is Jewish.\u003c/em>\u003c/p>\n\u003cp>Before the election, Jacob the Horse didn’t play music that was at all political. They wrote a lot of rock songs about women, unrequited love and relationships gone wrong. Like the sweet and slow love song, “\u003ca href=\"https://jacobthehorse.bandcamp.com/track/hitchcock-blonde-2\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock Blonde\u003c/a>.”\u003c/p>\n\u003cp>But since Nov. 8, the band’s fear, frustration and anger have come pouring out. They went from writing lyrics like:\u003c/p>\n\u003cp>\u003cem>“I promise I can make things right if you only let me stay the night,”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>to\u003c/p>\n\u003cp>\u003cem>“I’ll scream until I’ve got no air left to scream.”\u003c/em>\u003c/p>\n\u003cp>“We had a rehearsal right after the election results and said, ‘Let’s write a song about how angry we are!’ ” explains bassist Mark Desrosiers.\u003c/p>\n\u003cp>Lead singer Aviv Rubenstien says the first few months of the Trump presidency have put him in touch with his Jewish roots. Despite having Israeli immigrant parents and growing up in a predominantly Jewish town, he spent his teenage years trying to fit in with his non-Jewish peers.\u003c/p>\n\u003cp>“I desperately, desperately wanted to be American,” Aviv says, letting out an introspective sigh. “I wasn’t ever Jewish first.”\u003c/p>\n\u003cfigure id=\"attachment_11466636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead singer Aviv Rubenstien sports a yellow Star of David on his jacket as a personal form of protest against rising anti-Semitism. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since Trump took office in January, \u003ca href=\"http://www.cnn.com/2017/04/24/us/antisemitic-incidents-reports-trnd/\" target=\"_blank\" rel=\"noopener noreferrer\">attacks on synagogues have spiked\u003c/a>. On International Holocaust Day, Trump failed to acknowledge the deaths of 6 million Jews during the Holocaust. And of course, Sean Spicer made \u003ca href=\"https://www.nytimes.com/2017/04/11/us/politics/sean-spicer-hitler-gas-holocaust-center.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">his infamous comment\u003c/a> about the use of chemical weapons during World War II.\u003c/p>\n\u003cp>All four of Aviv’s grandparents survived the Holocaust. He decides to take a stand at Jacob The Horse’s album release party at a local bar.\u003c/p>\n\u003cp>[contextly_sidebar id=”IZJDJa5283c6dSQv43q5NHmocI1Tt8V9″]\u003c/p>\n\u003cp>The room buzzes with excitement as Mark, Aviv, Rick and Josh set up their equipment. Aviv steps up to the microphone and thanks the audience for coming to the show. He’s wearing a half-dollar-size pale gold Star of David — the same star European Jews were forced to wear during the Holocaust.\u003c/p>\n\u003cp>“I think it’s a more thoughtful form of protest than just wearing a shirt that says, like, ‘Go to Hell, Trump’ or whatever,” says Aviv. “It also is a reminder for me [that] I wouldn’t have had an option not to wear [the Star of David] 60 or 70 years ago.”\u003c/p>\n\u003cp>Although the tiny star blends into Aviv’s dark denim jacket, some fans notice it. Michael Epstein is one of them. He likes seeing the provocative symbol worn by a fellow Jew.\u003c/p>\n\u003cp>“I feel empowered, encouraged, and not afraid to do the same sort of thing,” he says.\u003c/p>\n\u003cp>The other members of Jacob the Horse have also gotten more political. Josh, for example, worries about his Taiwanese immigrant mother being affected by Trump’s policies.\u003c/p>\n\u003cfigure id=\"attachment_11466639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466639\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead guitarist Josh Fleury and drummer Rick Chapman jam during a late-night rehearsal. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of been tough for me to think about,” Josh admits. “If a man like Trump was president back when my mom tried to move out here, she may not have been able to come out here at all, and then I may not have had the life I had.”\u003c/p>\n\u003cp>About halfway through the album release show, Jacob the Horse erupts into its newest song, the rock ‘n’ roll battle cry, “Dead by 45.” As the musicians play, brows furrowed and strumming intensely, they radiate the heat of their new fiery style.\u003c/p>\n\u003cp>Aviv explains the song’s title. “Well, [Trump] is the 45th president, and he’s going to kill us. We’ll all be dead.”\u003c/p>\n\u003cp>Aviv then gives a lyrical breakdown of the song, because it’s hard to actually make out the words of the ballad over the guitars.\u003c/p>\n\u003cblockquote>\u003cp>I’m a fool now that it’s over\u003cbr>\nBut it all will be okay\u003cbr>\nBecause when they drop the big one\u003cbr>\nWe’ll all be orange anyway\u003cbr>\nAnd forever and forever, when you’re tired every day\u003cbr>\n‘Cause when you’re stupid, that’s the punishment you pay\u003c/p>\u003c/blockquote>\n\u003cp>Aviv explains, “The people that were positive [Trump] wouldn’t win [the election] are dumb, and the people that voted for him are dumb.”\u003c/p>\n\u003cp>But Aviv says the song has an overall positive tone. “It’s not like ‘I’m so angry.’ It’s like, ‘we’re screwed, but here we go!’”\u003c/p>\n\u003cp>The most important part of the song goes like this:\u003c/p>\n\u003cblockquote>\u003cp>I feel fine ’cause we’ll be dead by 45\u003cbr>\nAnd if some k*** from California can sing about it, then, baby, so can I\u003c/p>\u003c/blockquote>\n\u003cp>Aviv says he uses the derogatory term because he wants to defuse slurs against Jews, and celebrate his Jewish identity through his music.\u003c/p>\n\u003cfigure id=\"attachment_11466640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob the Horse performs at its album release show at Molly Malone’s Irish Pub in Los Angeles. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and the rest of the band hope that anyone listening to “Dead by 45” will feel inspired to stand up to the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band plans to donate the proceeds from the new album to the \u003ca href=\"https://www.splcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Poverty Law Center\u003c/a> and, of course, write more protest songs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by USC Annenberg advanced radio students, exploring how vulnerable communities across Southern California react to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, signing up for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/ashready\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Eady \u003c/a>brings us the story of \u003ca href=\"https://jacobthehorse.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jacob the Horse\u003c/a> — a Los Angeles band upset by Trump’s incendiary stance on Muslims, Jews and immigrants. Rick Chapman, the drummer, is Latino. Josh Fleury, the lead guitarist, is half Chinese. And lead singer Aviv Rubenstien is Jewish.\u003c/em>\u003c/p>\n\u003cp>Before the election, Jacob the Horse didn’t play music that was at all political. They wrote a lot of rock songs about women, unrequited love and relationships gone wrong. Like the sweet and slow love song, “\u003ca href=\"https://jacobthehorse.bandcamp.com/track/hitchcock-blonde-2\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock Blonde\u003c/a>.”\u003c/p>\n\u003cp>But since Nov. 8, the band’s fear, frustration and anger have come pouring out. They went from writing lyrics like:\u003c/p>\n\u003cp>\u003cem>“I promise I can make things right if you only let me stay the night,”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>to\u003c/p>\n\u003cp>\u003cem>“I’ll scream until I’ve got no air left to scream.”\u003c/em>\u003c/p>\n\u003cp>“We had a rehearsal right after the election results and said, ‘Let’s write a song about how angry we are!’ ” explains bassist Mark Desrosiers.\u003c/p>\n\u003cp>Lead singer Aviv Rubenstien says the first few months of the Trump presidency have put him in touch with his Jewish roots. Despite having Israeli immigrant parents and growing up in a predominantly Jewish town, he spent his teenage years trying to fit in with his non-Jewish peers.\u003c/p>\n\u003cp>“I desperately, desperately wanted to be American,” Aviv says, letting out an introspective sigh. “I wasn’t ever Jewish first.”\u003c/p>\n\u003cfigure id=\"attachment_11466636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466636\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic4-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead singer Aviv Rubenstien sports a yellow Star of David on his jacket as a personal form of protest against rising anti-Semitism. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since Trump took office in January, \u003ca href=\"http://www.cnn.com/2017/04/24/us/antisemitic-incidents-reports-trnd/\" target=\"_blank\" rel=\"noopener noreferrer\">attacks on synagogues have spiked\u003c/a>. On International Holocaust Day, Trump failed to acknowledge the deaths of 6 million Jews during the Holocaust. And of course, Sean Spicer made \u003ca href=\"https://www.nytimes.com/2017/04/11/us/politics/sean-spicer-hitler-gas-holocaust-center.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">his infamous comment\u003c/a> about the use of chemical weapons during World War II.\u003c/p>\n\u003cp>All four of Aviv’s grandparents survived the Holocaust. He decides to take a stand at Jacob The Horse’s album release party at a local bar.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The room buzzes with excitement as Mark, Aviv, Rick and Josh set up their equipment. Aviv steps up to the microphone and thanks the audience for coming to the show. He’s wearing a half-dollar-size pale gold Star of David — the same star European Jews were forced to wear during the Holocaust.\u003c/p>\n\u003cp>“I think it’s a more thoughtful form of protest than just wearing a shirt that says, like, ‘Go to Hell, Trump’ or whatever,” says Aviv. “It also is a reminder for me [that] I wouldn’t have had an option not to wear [the Star of David] 60 or 70 years ago.”\u003c/p>\n\u003cp>Although the tiny star blends into Aviv’s dark denim jacket, some fans notice it. Michael Epstein is one of them. He likes seeing the provocative symbol worn by a fellow Jew.\u003c/p>\n\u003cp>“I feel empowered, encouraged, and not afraid to do the same sort of thing,” he says.\u003c/p>\n\u003cp>The other members of Jacob the Horse have also gotten more political. Josh, for example, worries about his Taiwanese immigrant mother being affected by Trump’s policies.\u003c/p>\n\u003cfigure id=\"attachment_11466639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466639\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lead guitarist Josh Fleury and drummer Rick Chapman jam during a late-night rehearsal. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s kind of been tough for me to think about,” Josh admits. “If a man like Trump was president back when my mom tried to move out here, she may not have been able to come out here at all, and then I may not have had the life I had.”\u003c/p>\n\u003cp>About halfway through the album release show, Jacob the Horse erupts into its newest song, the rock ‘n’ roll battle cry, “Dead by 45.” As the musicians play, brows furrowed and strumming intensely, they radiate the heat of their new fiery style.\u003c/p>\n\u003cp>Aviv explains the song’s title. “Well, [Trump] is the 45th president, and he’s going to kill us. We’ll all be dead.”\u003c/p>\n\u003cp>Aviv then gives a lyrical breakdown of the song, because it’s hard to actually make out the words of the ballad over the guitars.\u003c/p>\n\u003cblockquote>\u003cp>I’m a fool now that it’s over\u003cbr>\nBut it all will be okay\u003cbr>\nBecause when they drop the big one\u003cbr>\nWe’ll all be orange anyway\u003cbr>\nAnd forever and forever, when you’re tired every day\u003cbr>\n‘Cause when you’re stupid, that’s the punishment you pay\u003c/p>\u003c/blockquote>\n\u003cp>Aviv explains, “The people that were positive [Trump] wouldn’t win [the election] are dumb, and the people that voted for him are dumb.”\u003c/p>\n\u003cp>But Aviv says the song has an overall positive tone. “It’s not like ‘I’m so angry.’ It’s like, ‘we’re screwed, but here we go!’”\u003c/p>\n\u003cp>The most important part of the song goes like this:\u003c/p>\n\u003cblockquote>\u003cp>I feel fine ’cause we’ll be dead by 45\u003cbr>\nAnd if some k*** from California can sing about it, then, baby, so can I\u003c/p>\u003c/blockquote>\n\u003cp>Aviv says he uses the derogatory term because he wants to defuse slurs against Jews, and celebrate his Jewish identity through his music.\u003c/p>\n\u003cfigure id=\"attachment_11466640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11466640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/EADY-pic5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jacob the Horse performs at its album release show at Molly Malone’s Irish Pub in Los Angeles. \u003ccite>(Ashley Eady)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He and the rest of the band hope that anyone listening to “Dead by 45” will feel inspired to stand up to the Trump administration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band plans to donate the proceeds from the new album to the \u003ca href=\"https://www.splcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Southern Poverty Law Center\u003c/a> and, of course, write more protest songs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "30 Years on, U2's 'The Joshua Tree' Still Draws Fans to the Edge of Death Valley",
"title": "30 Years on, U2's 'The Joshua Tree' Still Draws Fans to the Edge of Death Valley",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>On the inside cover of \"The Joshua Tree,\" the members of U2 stare grimly into the camera, a lone Joshua tree looming behind them.\u003c/p>\n\u003cp>The story goes that it was Dutch photographer and filmmaker \u003ca href=\"http://antoncorbijn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anton Corbijn\u003c/a> who spotted the tree while motoring along Highway 190 with the band out of Death Valley National Park.\u003c/p>\n\u003cp>U2 had spent several days exploring the otherworldly desert landscapes of the Coachella Valley and Death Valley (the photo that graces \"The Joshua Tree\" album cover was shot at Zabriskie Point in Death Valley).\u003c/p>\n\u003cfigure id=\"attachment_11466994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11466994 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg\" alt=\"Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They pulled over and hiked about 10 minutes south from the highway. Once at the tree, they took a series of photos and then pushed on toward Los Angeles, where they’d later film a \u003ca href=\"https://www.youtube.com/watch?v=GzZWSrr5wFI\" target=\"_blank\" rel=\"noopener noreferrer\">music video \u003c/a>for one of “The Joshua Tree’s” biggest hits (“Where the Streets Have No Name”) at the top of a liquor store (now a Mexican restaurant) on Seventh Street and Main at the edge of L.A.’s Skid Row.\u003c/p>\n\u003cp>That downtown location is as easy to find as it is to download the entire \"The Joshua Tree\" album, released in March 1987. But if you set out to find that mysterious tree, you’re unlikely to find it easily.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are no obvious landmarks or road markers to guide you there. After some considerable online sleuthing, I finally run down some GPS coordinates that I hope are correct.\u003c/p>\n\u003cfigure id=\"attachment_11467004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467004\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outtakes from Anton Corbijn's U2 photo shoot near Death Valley. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Driving toward the western edge of Death Valley (the opposite direction U2 was driving on the morning \"The Joshua Tree\" photos were taken), I spot a small cluster of Joshua trees off in the distance after driving about 23 miles east of Olancha. But these are shorter and younger than the majestic, towering tree immortalized on the U2 album.\u003c/p>\n\u003cp>I'm hoping to see a car or two pulled over, a tell-tale sign that some U2 pilgrims may be making the trek. But there’s nothing but the wide-open desert expanse and breathtaking views of the Coso Range and snow-capped Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_11467008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11467008 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you set out on a search of your own, there’s one important thing to know: The fabled tree died and toppled over years ago, its massive trunk and gnarled, desiccated branches outstretched on the desert floor.\u003c/p>\n\u003cp>After hiking about a quarter of a mile toward the trees, things start coming into view.\u003c/p>\n\u003cp>Messages in the sand spelled out with small stones beckon visitors closer. There’s a formation in the shape of a heart with \"U2\" spelled out in the middle in matching stones. Another formation reads \"Leave it behind,\" a reference to one of U2’s more recent hits, \u003ca href=\"https://www.youtube.com/watch?v=gwKEdFoUB0o\" target=\"_blank\" rel=\"noopener noreferrer\">\"Walk On.\"\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11467010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467010\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors have left behind an array of tributes for U2 and the fabled Joshua tree. These guitars lean against the tree's fallen trunk. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors have left behind an array of tributes for band and tree; weathered old acoustic guitars with rusty strings, stones with hand-painted messages, a piece of driftwood painted with the colors of the Irish flag.\u003c/p>\n\u003cp>There’s a massive silver road case jammed with notes, photos and trinkets.\u003c/p>\n\u003cfigure id=\"attachment_11467022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467022\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive silver road case jammed with notes, photos and trinkets at the U2 Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a large metal ammunition case filled to the brim; more handwritten notes, pictures, ticket stubs from past U2 concerts across the world, guitar picks and even some military dog tags.\u003c/p>\n\u003cp>There’s a photo of a guy with shaggy beard and shorts, standing on a boat along with a handwritten message.\u003c/p>\n\u003cp>“I ran from Joshua Tree National park to here on the 19\u003csup>th\u003c/sup> of January 2017 to find what I was looking for,” he writes.\u003c/p>\n\u003cfigure id=\"attachment_11467012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">38-year-old British marathoner Rob Pope left his photo and a message. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Follow me all the way to Maine and beyond.” He's left his phone number.\u003c/p>\n\u003cp>He’s 38-year-old \u003ca href=\"http://www.goingthedistancerun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Pope\u003c/a>, a British marathoner re-creating the coast-to-coast run from the film “Forrest Gump.” Along the way he’s raising money for the \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions.aspx?sc=AWY1200WCGA1&gclid=CNaSz_LD_NMCFZS6wAodS7UFiA\" target=\"_blank\" rel=\"noopener noreferrer\">World Wildlife Fund\u003c/a> and Peace Direct .\u003c/p>\n\u003cp>Pope is in Maine when I reach him, winding down after another long day of running. I tell him about finding his picture way out near Death Valley.\u003c/p>\n\u003cp>“That’s amazing, dude. I was wondering if anyone would ever see that! Isn’t that place magical, man?” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again.'\u003ccite>Ernie Navarre\u003c/cite>\u003c/aside>\n\u003cp>Pope is now running back across the country. He hopes to make it to Chicago by June 4 to see U2’s performance at Soldier Field. Then he’ll push on to California.\u003c/p>\n\u003cp>“When people ask, 'What is the best place you’ve run through so far?' I almost invariably say 'Joshua Tree and Death Valley,' ” says Pope. “I was just struck by the vastness of it all. I felt just felt lucky to be there.\u003c/p>\n\u003cp>\"By the way,\" he adds,“I had 'The Joshua Tree' on loop the whole time. And I played it 8½ times in the traversing of the [Joshua Tree National] Park when I was running.”\u003c/p>\n\u003cfigure id=\"attachment_11467017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467017\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immense bronze plaque set deep in the soil about 15 years ago at the site of U2's Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Joshua Tree” and the landscape that helped shape it can leave a lasting impression. They inspired one of the site’s most mysterious tributes: an immense bronze plaque set deep in the soil about 15 years ago.\u003c/p>\n\u003cp>Below an engraving of the actual Joshua Tree, there’s a simple question inspired by one of U2’s biggest hits; ‘Have you found what you’re looking for?’\u003c/p>\n\u003cp>“I’m asking it as much of myself as I am anybody else. It’s like, 'Are you seeking joy? And do you think that you’re going to find it outside of yourself?' \" says the bronze plaque’s creator, \u003ca href=\"http://u2tree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ernie Navarre\u003c/a>.\u003c/p>\n\u003cp>It was shortly after the 9/11 terrorist attacks when the San Diego guitar designer conceived of the idea to create a lasting monument to the album and the location.\u003c/p>\n\u003cp>Navarre had just lost a job at Dreamworks Animation. He lived out of his car for a while and couch-surfed with friends while he cast about for a new direction.\u003c/p>\n\u003cp>“I needed to do something, get out of town away from this. So I started exploring the desert a little bit,” says Navarre. “I thought, you know, I wonder if that tree is out here. Maybe I’ll bump into it.\"\u003c/p>\n\u003cfigure id=\"attachment_11467026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Navarre (R) with friends Matthew Leatherman (L) and Devon Oddone in 2003 after installing the U2 Joshua Tree bronze tribute. \u003ccite>(Matthew Leatherman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navarre made several treks to the desert and finally pinned down the location near Highway 190. But he still couldn’t find the tree, which by then had already fallen over. So he figured he’d find a suitable spot and install the plaque anyway.\u003c/p>\n\u003cp>He went on a last search and this time, just as the sun was setting, he found it. He and a couple of buddies returned the next night with flashlights, bags of cement and shovels and got to work.\u003c/p>\n\u003cp>“Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again,” says Navarre.\u003c/p>\n\u003cp>“The Joshua Tree’s” original title was “The Two Americas,” which makes sense. To many, the record evokes freedom in the open road and the untamed expanses of the American Southwest. But several songs like “Bullet the Blue Sky” also rail against Reagan–era American foreign policy.\u003c/p>\n\u003cp>But something’s always puzzled San Gabriel Valley-based musicians and U2 fans David Tokaji and Russell Wiener: Why isn’t there \u003cem>a song\u003c/em> called “The Joshua Tree?”\u003c/p>\n\u003cp>There of course isn't. So, they wrote one called \"(Chopping Down) The Joshua Tree.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UOWpXgcx3LM\u003c/p>\n\u003cp>It’s the premise of a tribute band Tokaji and Wiener formed with fellow musician Andy Hill called the \u003ca href=\"http://www.thetitletrackers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Title Trackers \u003c/a>to create title tracks for classic rock albums that don’t have one, each written and performed in the style of that artist.\u003c/p>\n\u003cp>“They're all bands we love, but we also love to poke a little bit of affectionate fun. It’s a loving parody,” says Tokaji, who’s always been told he sings like Bono anyway.\u003c/p>\n\u003cp>“People who love U2, they hear the song and laugh their asses off,” adds Wiener, who replicates The Edge’s chiming, propulsive guitar work with startling accuracy. In fact, he’s pranked some people, asking; Hey, have you heard this U2 song that never got released?\u003c/p>\n\u003cp>“People who don’t like them just go like, 'Yeah, that’s a U2 song, I hate that song,' \" laughs Wiener.\u003c/p>\n\u003cp>The Title Trackers set out on their own journey to find the elusive Joshua tree two years ago. When they did, they shot a music video to go with their fake title track. It lovingly mocks a band they adore and pays tribute to the site itself.\u003c/p>\n\u003cp>“For somebody who is even a casual fan, it's really hard not to be moved to be out there,” says Takaji. “If nothing else, to see the power and the beauty and the richness that this site, and that album by extension, has brought to people’s lives.”\u003c/p>\n\u003cfigure id=\"attachment_11467033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467033\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear if anyone in U2 knows this place near the edge of Death Valley has become a sacred pilgrimage site for fans and curious desert explorers alike.\u003c/p>\n\u003cp>But in a recent interview on \u003ca href=\"http://www.npr.org/2017/03/20/520443744/u2-on-the-joshua-tree-a-lasting-ode-to-a-divided-america\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Morning Edition\u003c/a>, vocalist Bono did say the searching spirit that helped inspire the record is as relevant today as it was 30 years ago when a different celebrity-turned-politician was leading the “two Americas.\"\u003c/p>\n\u003cp>“And at a time like this, it is a moment to re-evaluate yourself, your value system, what you believe in,” said Bono. “And I imagine Americans are going through that right now, you know, 'What is this country?' ”\u003c/p>\n\u003cfigure id=\"attachment_11467114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Among the tributes at the site of U2’s Joshua tree, a thank-you note made of marble. \u003ccite>(Steven Cuevas / KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>To find the Joshua Tree site, here’s a helpful hint: If traveling from the west, use \u003ca href=\"https://www.google.com/maps/place/Olancha,+CA+93549/@36.2707219,-118.0367465,13z/data=!3m1!4b1!4m5!3m4!1s0x80c0615957e32429:0x4abbaec4c0c38c39!8m2!3d36.2818827!4d-118.0064718\" target=\"_blank\" rel=\"noopener noreferrer\">Olancha\u003c/a> as a starting point. From Olancha drive east toward Death Valley on Highway 190. When you’ve driven about 23.2 miles, pull off to the side of the road when and where it’s safe to do so. Hike south from 190 for about seven to 10 minutes. The site should start coming into view. If not, you may be in the wrong area. A pair of binoculars or a camera zoom lens will also help locate the spot. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>If you go, plan ahead. Check out a map or two and familiarize yourself with the Death Valley area’s main hubs. Have plenty of gas, water, food and if possible a spare tire and other emergency items. It is the desert, after all, so cellphone service is very unreliable and road services like gas and food are limited. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the inside cover of \"The Joshua Tree,\" the members of U2 stare grimly into the camera, a lone Joshua tree looming behind them.\u003c/p>\n\u003cp>The story goes that it was Dutch photographer and filmmaker \u003ca href=\"http://antoncorbijn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anton Corbijn\u003c/a> who spotted the tree while motoring along Highway 190 with the band out of Death Valley National Park.\u003c/p>\n\u003cp>U2 had spent several days exploring the otherworldly desert landscapes of the Coachella Valley and Death Valley (the photo that graces \"The Joshua Tree\" album cover was shot at Zabriskie Point in Death Valley).\u003c/p>\n\u003cfigure id=\"attachment_11466994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11466994 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg\" alt=\"Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-inner-shot-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anton Corbijn's iconic shot of U2 and on the inside cover of 'The Joshua Tree.' \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They pulled over and hiked about 10 minutes south from the highway. Once at the tree, they took a series of photos and then pushed on toward Los Angeles, where they’d later film a \u003ca href=\"https://www.youtube.com/watch?v=GzZWSrr5wFI\" target=\"_blank\" rel=\"noopener noreferrer\">music video \u003c/a>for one of “The Joshua Tree’s” biggest hits (“Where the Streets Have No Name”) at the top of a liquor store (now a Mexican restaurant) on Seventh Street and Main at the edge of L.A.’s Skid Row.\u003c/p>\n\u003cp>That downtown location is as easy to find as it is to download the entire \"The Joshua Tree\" album, released in March 1987. But if you set out to find that mysterious tree, you’re unlikely to find it easily.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are no obvious landmarks or road markers to guide you there. After some considerable online sleuthing, I finally run down some GPS coordinates that I hope are correct.\u003c/p>\n\u003cfigure id=\"attachment_11467004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467004\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/j-tree-UC-sleeve-shots-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outtakes from Anton Corbijn's U2 photo shoot near Death Valley. \u003ccite>(Steven Cuevas/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Driving toward the western edge of Death Valley (the opposite direction U2 was driving on the morning \"The Joshua Tree\" photos were taken), I spot a small cluster of Joshua trees off in the distance after driving about 23 miles east of Olancha. But these are shorter and younger than the majestic, towering tree immortalized on the U2 album.\u003c/p>\n\u003cp>I'm hoping to see a car or two pulled over, a tell-tale sign that some U2 pilgrims may be making the trek. But there’s nothing but the wide-open desert expanse and breathtaking views of the Coso Range and snow-capped Sierra Nevada Mountains.\u003c/p>\n\u003cfigure id=\"attachment_11467008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11467008 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-U2-ROCKS-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you set out on a search of your own, there’s one important thing to know: The fabled tree died and toppled over years ago, its massive trunk and gnarled, desiccated branches outstretched on the desert floor.\u003c/p>\n\u003cp>After hiking about a quarter of a mile toward the trees, things start coming into view.\u003c/p>\n\u003cp>Messages in the sand spelled out with small stones beckon visitors closer. There’s a formation in the shape of a heart with \"U2\" spelled out in the middle in matching stones. Another formation reads \"Leave it behind,\" a reference to one of U2’s more recent hits, \u003ca href=\"https://www.youtube.com/watch?v=gwKEdFoUB0o\" target=\"_blank\" rel=\"noopener noreferrer\">\"Walk On.\"\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11467010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467010\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-guitsrs-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors have left behind an array of tributes for U2 and the fabled Joshua tree. These guitars lean against the tree's fallen trunk. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors have left behind an array of tributes for band and tree; weathered old acoustic guitars with rusty strings, stones with hand-painted messages, a piece of driftwood painted with the colors of the Irish flag.\u003c/p>\n\u003cp>There’s a massive silver road case jammed with notes, photos and trinkets.\u003c/p>\n\u003cfigure id=\"attachment_11467022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467022\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-ROADCASE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A massive silver road case jammed with notes, photos and trinkets at the U2 Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a large metal ammunition case filled to the brim; more handwritten notes, pictures, ticket stubs from past U2 concerts across the world, guitar picks and even some military dog tags.\u003c/p>\n\u003cp>There’s a photo of a guy with shaggy beard and shorts, standing on a boat along with a handwritten message.\u003c/p>\n\u003cp>“I ran from Joshua Tree National park to here on the 19\u003csup>th\u003c/sup> of January 2017 to find what I was looking for,” he writes.\u003c/p>\n\u003cfigure id=\"attachment_11467012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467012\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Rob-Pope.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">38-year-old British marathoner Rob Pope left his photo and a message. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Follow me all the way to Maine and beyond.” He's left his phone number.\u003c/p>\n\u003cp>He’s 38-year-old \u003ca href=\"http://www.goingthedistancerun.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Pope\u003c/a>, a British marathoner re-creating the coast-to-coast run from the film “Forrest Gump.” Along the way he’s raising money for the \u003ca href=\"https://gifts.worldwildlife.org/gift-center/gifts/Species-Adoptions.aspx?sc=AWY1200WCGA1&gclid=CNaSz_LD_NMCFZS6wAodS7UFiA\" target=\"_blank\" rel=\"noopener noreferrer\">World Wildlife Fund\u003c/a> and Peace Direct .\u003c/p>\n\u003cp>Pope is in Maine when I reach him, winding down after another long day of running. I tell him about finding his picture way out near Death Valley.\u003c/p>\n\u003cp>“That’s amazing, dude. I was wondering if anyone would ever see that! Isn’t that place magical, man?” he says.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again.'\u003ccite>Ernie Navarre\u003c/cite>\u003c/aside>\n\u003cp>Pope is now running back across the country. He hopes to make it to Chicago by June 4 to see U2’s performance at Soldier Field. Then he’ll push on to California.\u003c/p>\n\u003cp>“When people ask, 'What is the best place you’ve run through so far?' I almost invariably say 'Joshua Tree and Death Valley,' ” says Pope. “I was just struck by the vastness of it all. I felt just felt lucky to be there.\u003c/p>\n\u003cp>\"By the way,\" he adds,“I had 'The Joshua Tree' on loop the whole time. And I played it 8½ times in the traversing of the [Joshua Tree National] Park when I was running.”\u003c/p>\n\u003cfigure id=\"attachment_11467017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467017\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An immense bronze plaque set deep in the soil about 15 years ago at the site of U2's Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Joshua Tree” and the landscape that helped shape it can leave a lasting impression. They inspired one of the site’s most mysterious tributes: an immense bronze plaque set deep in the soil about 15 years ago.\u003c/p>\n\u003cp>Below an engraving of the actual Joshua Tree, there’s a simple question inspired by one of U2’s biggest hits; ‘Have you found what you’re looking for?’\u003c/p>\n\u003cp>“I’m asking it as much of myself as I am anybody else. It’s like, 'Are you seeking joy? And do you think that you’re going to find it outside of yourself?' \" says the bronze plaque’s creator, \u003ca href=\"http://u2tree.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ernie Navarre\u003c/a>.\u003c/p>\n\u003cp>It was shortly after the 9/11 terrorist attacks when the San Diego guitar designer conceived of the idea to create a lasting monument to the album and the location.\u003c/p>\n\u003cp>Navarre had just lost a job at Dreamworks Animation. He lived out of his car for a while and couch-surfed with friends while he cast about for a new direction.\u003c/p>\n\u003cp>“I needed to do something, get out of town away from this. So I started exploring the desert a little bit,” says Navarre. “I thought, you know, I wonder if that tree is out here. Maybe I’ll bump into it.\"\u003c/p>\n\u003cfigure id=\"attachment_11467026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467026\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg\" alt=\"\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-160x110.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1020x699.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-960x658.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-240x165.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-375x257.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/JOSHUA-TREE-Ernie-CREW09-520x356.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Navarre (R) with friends Matthew Leatherman (L) and Devon Oddone in 2003 after installing the U2 Joshua Tree bronze tribute. \u003ccite>(Matthew Leatherman )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Navarre made several treks to the desert and finally pinned down the location near Highway 190. But he still couldn’t find the tree, which by then had already fallen over. So he figured he’d find a suitable spot and install the plaque anyway.\u003c/p>\n\u003cp>He went on a last search and this time, just as the sun was setting, he found it. He and a couple of buddies returned the next night with flashlights, bags of cement and shovels and got to work.\u003c/p>\n\u003cp>“Going out and finding the tree and making the plaque, that all felt very powerful, like I was taking charge of my life again,” says Navarre.\u003c/p>\n\u003cp>“The Joshua Tree’s” original title was “The Two Americas,” which makes sense. To many, the record evokes freedom in the open road and the untamed expanses of the American Southwest. But several songs like “Bullet the Blue Sky” also rail against Reagan–era American foreign policy.\u003c/p>\n\u003cp>But something’s always puzzled San Gabriel Valley-based musicians and U2 fans David Tokaji and Russell Wiener: Why isn’t there \u003cem>a song\u003c/em> called “The Joshua Tree?”\u003c/p>\n\u003cp>There of course isn't. So, they wrote one called \"(Chopping Down) The Joshua Tree.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UOWpXgcx3LM'\n title='//www.youtube.com/embed/UOWpXgcx3LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s the premise of a tribute band Tokaji and Wiener formed with fellow musician Andy Hill called the \u003ca href=\"http://www.thetitletrackers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Title Trackers \u003c/a>to create title tracks for classic rock albums that don’t have one, each written and performed in the style of that artist.\u003c/p>\n\u003cp>“They're all bands we love, but we also love to poke a little bit of affectionate fun. It’s a loving parody,” says Tokaji, who’s always been told he sings like Bono anyway.\u003c/p>\n\u003cp>“People who love U2, they hear the song and laugh their asses off,” adds Wiener, who replicates The Edge’s chiming, propulsive guitar work with startling accuracy. In fact, he’s pranked some people, asking; Hey, have you heard this U2 song that never got released?\u003c/p>\n\u003cp>“People who don’t like them just go like, 'Yeah, that’s a U2 song, I hate that song,' \" laughs Wiener.\u003c/p>\n\u003cp>The Title Trackers set out on their own journey to find the elusive Joshua tree two years ago. When they did, they shot a music video to go with their fake title track. It lovingly mocks a band they adore and pays tribute to the site itself.\u003c/p>\n\u003cp>“For somebody who is even a casual fan, it's really hard not to be moved to be out there,” says Takaji. “If nothing else, to see the power and the beauty and the richness that this site, and that album by extension, has brought to people’s lives.”\u003c/p>\n\u003cfigure id=\"attachment_11467033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467033\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg\" alt=\"\" width=\"800\" height=\"470\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-800x470.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-160x94.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1020x599.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-1180x693.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-960x564.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-240x141.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-375x220.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-Leave-It-rocks-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fan-created rock formations welcome visitors to the site of U2’s Joshua tree. \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear if anyone in U2 knows this place near the edge of Death Valley has become a sacred pilgrimage site for fans and curious desert explorers alike.\u003c/p>\n\u003cp>But in a recent interview on \u003ca href=\"http://www.npr.org/2017/03/20/520443744/u2-on-the-joshua-tree-a-lasting-ode-to-a-divided-america\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Morning Edition\u003c/a>, vocalist Bono did say the searching spirit that helped inspire the record is as relevant today as it was 30 years ago when a different celebrity-turned-politician was leading the “two Americas.\"\u003c/p>\n\u003cp>“And at a time like this, it is a moment to re-evaluate yourself, your value system, what you believe in,” said Bono. “And I imagine Americans are going through that right now, you know, 'What is this country?' ”\u003c/p>\n\u003cfigure id=\"attachment_11467114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11467114\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/J-TREE-lads-sign-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Among the tributes at the site of U2’s Joshua tree, a thank-you note made of marble. \u003ccite>(Steven Cuevas / KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>To find the Joshua Tree site, here’s a helpful hint: If traveling from the west, use \u003ca href=\"https://www.google.com/maps/place/Olancha,+CA+93549/@36.2707219,-118.0367465,13z/data=!3m1!4b1!4m5!3m4!1s0x80c0615957e32429:0x4abbaec4c0c38c39!8m2!3d36.2818827!4d-118.0064718\" target=\"_blank\" rel=\"noopener noreferrer\">Olancha\u003c/a> as a starting point. From Olancha drive east toward Death Valley on Highway 190. When you’ve driven about 23.2 miles, pull off to the side of the road when and where it’s safe to do so. Hike south from 190 for about seven to 10 minutes. The site should start coming into view. If not, you may be in the wrong area. A pair of binoculars or a camera zoom lens will also help locate the spot. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>If you go, plan ahead. Check out a map or two and familiarize yourself with the Death Valley area’s main hubs. Have plenty of gas, water, food and if possible a spare tire and other emergency items. It is the desert, after all, so cellphone service is very unreliable and road services like gas and food are limited. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-southern-california-pop-from-quetzal-spiral-stairs-and-kera",
"title": "New Southern California Pop From Quetzal, Spiral Stairs and Kera",
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"headTitle": "New Southern California Pop From Quetzal, Spiral Stairs and Kera | KQED",
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"content": "\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H8EddMOUDAk&feature=youtu.be\u003c/p>\n\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=le8nQjXRkiA&feature=youtu.be\u003c/p>\n\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TFTGu2ZDTtc\u003c/p>\n\n",
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"excerpt": "A sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal top our list.",
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"title": "New Southern California Pop From Quetzal, Spiral Stairs and Kera | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/H8EddMOUDAk'\n title='//www.youtube.com/embed/H8EddMOUDAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\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/le8nQjXRkiA'\n title='//www.youtube.com/embed/le8nQjXRkiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Forgotten Fresno Recording Finds New Life in Oscar-Winning ‘Moonlight’",
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"content": "\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D82kFc9nHUU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When “Moonlight” won the Oscar for best picture this year, 60-year-old Leonard Sanders decided to go see it in the theater instead of waiting for it to be released online. He took his wife and they stayed until the very end.\u003c/p>\n\u003cp>“The people that come around to clean up after the movie’s over, they were looking at us wondering why we were still there. I was waiting for the credits, you know, to see it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It” was the name of the gospel band The Supreme Jubilees. Sanders was the lead singer and songwriter. The title track of their self-released LP \u003c/span>\u003ca href=\"http://lightintheattic.net/releases/1368-it-ll-all-be-over\">\u003cspan style=\"font-weight: 400\">“It’ll All Be Over”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> played during one scene in “Moonlight.” Sanders wrote the song almost 40 years ago. He never expected this. His reaction to the credits? \u003c/span>\u003c/p>\n\u003cp>“Wow.”\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/D82kFc9nHUU'\n title='//www.youtube.com/embed/D82kFc9nHUU'\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>For years, Sanders has led a church band on his organ keyboard. He and his six siblings pretty much grew up in the Witness of Jesus Christ Church here in Southwest Fresno. After all, their dad, Marion Sanders, was the pastor for four decades.\u003c/p>\n\u003cp>He was a singer, too, says Sanders. “He had a gospel quartet with his brothers, the Humble Singers.”\u003c/p>\n\u003cp>When Sanders was a kid, he would watch other people play the piano. Then he’d go home and try to mimic the sound on his parents’ upright. He never had a piano lesson — Sanders learned to play by ear.\u003c/p>\n\u003cfigure id=\"attachment_11374523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374523\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg\" alt=\"The Sanders brothers grew up in The Witness of Jesus Christ Church.\" width=\"800\" height=\"761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-800x761.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-160x152.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1020x971.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-1180x1123.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-960x914.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-240x228.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-375x357.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/ChurchSign-520x495.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sanders brothers grew up in the Witness of Jesus Christ Church. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you play for a Pentecostal church, you have to learn to play all types of songs in every key because there’s no structure. They just throw you in there. It’s either sink or swim.” Sanders swam. There were no rehearsals. No songbooks.\u003c/p>\n\u003cp>“It’s like anybody can get up and sing any song they want to in any key at any time and you gotta be able to catch them, you know?”\u003c/p>\n\u003cp>Any key as long as it was church music. Sanders wasn’t allowed to listen to secular tunes.\u003c/p>\n\u003cp>But curiosity got the better of him.\u003c/p>\n\u003cp>“I can remember going to bed with the radio to my ear, once my parents were asleep. I’m listening to Aretha Franklin, the O’Jays, everything that came on the radio,” Sanders recalls. “I was just intrigued with music, you know.”\u003c/p>\n\u003cp>As a teenager he wrote songs, and in 1978 he joined The Supreme Jubilees. It was an eight-member group made up of his brothers and cousins.\u003c/p>\n\u003cfigure id=\"attachment_11374537\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374537\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg\" alt=\"An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left.\" width=\"800\" height=\"952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-800x952.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1020x1214.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-1180x1404.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-960x1143.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-240x286.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-375x446.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/SupremeJubileesMain-520x619.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An archival photo of some of The Supreme Jubilees. Leonard Sanders is at top left. \u003ccite>(Courtesy of The Supreme Jubilees)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band recorded part of its LP “It’ll All Be Over” in Fresno, but the studio engineer was partial to country-western.\u003c/p>\n\u003cp>“We had an idea of what kind of sound we were looking for in the mix. We wanted a little more bass,” says Sanders. But the engineer balked.\u003c/p>\n\u003cp>“He was like, ‘I know what I’m doing. I don’t need your input,’ ” Sanders says, laughing. “And so my cousin Joe was like, ‘Yeah, but we want a little more bass.’ ”\u003c/p>\n\u003cp>More bass than the engineer could handle. He kicked them out before The Supreme Jubilees could record the rest of the album. They took it to another studio in Visalia and after the vinyl was pressed, the band piled into Sanders’ old van and struck out for Texas. People were comparing them to the gospel group the Mighty Clouds of Joy, and they played with them and other acts.\u003c/p>\n\u003cp>They sold their records at concerts but it wasn’t all glitz and glamour. The promoter lied about the money they’d get, Sanders says. The trips in the van with all of their equipment and clothes wore them down.\u003c/p>\n\u003cp>“Eleven to 12 of us in one motel room!” Sanders says.\u003c/p>\n\u003cp>“My older cousins wanted to keep going down South,” says Sanders. “But nooooo, we were going back to California.” The band members moved on to other things, day jobs, family. Sanders started another family gospel group called Sanders and Company.\u003c/p>\n\u003cfigure id=\"attachment_11374189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11374189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg\" alt=\"Leonard Sanders today with his parents Mary Alice and Marion. Marion was the pastor for four decades. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/photo-5-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leonard Sanders today with his parents, Mary Alice and Marion. Marion was the pastor for four decades. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now “It’ll All Be Over” has been resurrected. The LP was re-released by \u003ca href=\"http://lightintheattic.net/\">Light in the Attic\u003c/a> records in 2015 after a record collector in Texas pushed its revival.\u003c/p>\n\u003cp>It not only found its way to the creators of “Moonlight,” but \u003ca href=\"http://www.whosampled.com/The-Supreme-Jubilees/It'll-All-Be-Over/\">other artists are also using it\u003c/a>, including well known Fresno rapper Fashawn, who sampled the title track on \u003ca href=\"https://www.youtube.com/watch?v=rwXyAqwQma8\">\u003cspan style=\"font-weight: 400\">“Just Remember Now.”\u003c/span>\u003c/a>\u003c/p>\n\u003cp>Sanders’ brother, Melvin, who sings backup on the LP, says it’s nice to see his brother finally get some credit.\u003c/p>\n\u003cp>“He’s a committed, dedicated writer. And it’s great somebody besides the local folks here recognize it.”\u003c/p>\n\u003cp>Meanwhile, another song from the LP plays in the recent movie “Louder Than Bombs.” It’s called “Do You Believe,” and Sanders sings all the vocal tracks on it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for all the recognition he’s getting these days, well, none of it is a really big deal to him. Leonard Sanders says he’ll just keep singing in his church.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Afghan Rockers Start New Musical Life in Oakland",
"title": "Afghan Rockers Start New Musical Life in Oakland",
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"content": "\u003cp>I first met Sulyman Qardash and his band \u003ca href=\"https://www.kabuldreams.com/\">Kabul Dreams\u003c/a> in 2014, when they came to the U.S. to play at \u003ca href=\"https://www.sxsw.com/\">South by Southwest\u003c/a>, a music festival in Austin. The band decided to call Oakland their home soon after, because they'd received death threats back in Afghanistan for being in a Western rock band.\u003c/p>\n\u003cp>Three years later, in February 2017, they released their first U.S.-produced album, called \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>. Sulyman says that in the wake of President Trump’s second travel ban, and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\u003c/p>\n\u003cp>“If a kid in California finds out about Kabul Dreams being from Afghanistan and being an Oakland-based band,\" Qardash says when we met up at a rehearsal studio in Oakland, \"if they listen to our music and they say, ‘Oh, wow, I like their music,' I'm pretty sure they would change their perspective about immigrants and people from different backgrounds.\"\u003c/p>\n\u003cp>Qardash has dark eyes, black hair and a thin frame. He’s dressed in a black leather jacket and Converse shoes. He picks up a guitar and plays a song for me off their new album, called \"\u003ca href=\"https://www.youtube.com/watch?v=y_-wEm07oyE\">Saturated Hope\u003c/a>,\" about the feeling of never being able to live in the place you call home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y_-wEm07oyE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i4kAvjgqh-U\u003c/p>\n\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I first met Sulyman Qardash and his band \u003ca href=\"https://www.kabuldreams.com/\">Kabul Dreams\u003c/a> in 2014, when they came to the U.S. to play at \u003ca href=\"https://www.sxsw.com/\">South by Southwest\u003c/a>, a music festival in Austin. The band decided to call Oakland their home soon after, because they'd received death threats back in Afghanistan for being in a Western rock band.\u003c/p>\n\u003cp>Three years later, in February 2017, they released their first U.S.-produced album, called \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>. Sulyman says that in the wake of President Trump’s second travel ban, and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\u003c/p>\n\u003cp>“If a kid in California finds out about Kabul Dreams being from Afghanistan and being an Oakland-based band,\" Qardash says when we met up at a rehearsal studio in Oakland, \"if they listen to our music and they say, ‘Oh, wow, I like their music,' I'm pretty sure they would change their perspective about immigrants and people from different backgrounds.\"\u003c/p>\n\u003cp>Qardash has dark eyes, black hair and a thin frame. He’s dressed in a black leather jacket and Converse shoes. He picks up a guitar and plays a song for me off their new album, called \"\u003ca href=\"https://www.youtube.com/watch?v=y_-wEm07oyE\">Saturated Hope\u003c/a>,\" about the feeling of never being able to live in the place you call home.\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/y_-wEm07oyE'\n title='//www.youtube.com/embed/y_-wEm07oyE'\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 song is about waking up every day, and some days waking up in different places and starting all over again,\" Qardash explains. \"And coming here and not having anything you have back home. And then you have to start all over again.”\u003c/p>\n\u003cp>Qardash was born in Kabul, but grew up as a refugee in nearby Uzbekistan during Taliban rule. In Uzbekistan, he enrolled in high school and his new punk friends introduced him to bands like Nirvana and the Sex Pistols. He was hooked. He picked up his first guitar at 14 and never put it down. As a refugee, music gave Qardash a sense of home. After the fall of the Taliban, Qardash returned to Afghanistan in 2007 and started Kabul Dreams. Bassist Siddique Ahmed had just returned from being a refugee in Pakistan, and former drummer Mujtaba Habibi had just returned from Iran (he was replaced by Raby Adib in 2014).\u003c/p>\n\u003cp>Qardash wrote the song, \"Sadae Man,\" or \"My Voice,\" a couple of years later as an anthem to his country’s hopes for democracy.\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/i4kAvjgqh-U'\n title='//www.youtube.com/embed/i4kAvjgqh-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we needed a song to really encourage youth to be united, and that is what we felt, and that is really the entire idea behind having a band,\" Qardash says.\u003c/p>\n\u003cp>Kabul Dreams never planned to leave Kabul. But Qardash’s dreams of the U.S. invasion bringing democracy to his home were shattered. He saw people killed on the streets of Kabul. Bombings were frequent. The band received countless death threats. The U.N. reports more than \u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\"> \u003c/a>\u003ca href=\"https://unama.unmissions.org/sites/default/files/protection_of_civilians_in_armed_conflict_midyear_report_2016_final.pdf\">63,000 civilians were killed in Afghanistan\u003c/a> between 2009 and 2016. Sulyman didn’t see an end. So Kabul Dreams decided to leave Afghanistan for good.\u003c/p>\n\u003cp>“We tried to copy the democracy that the U.S. or the Western world provides,\" Qardash says. \"Especially in Afghanistan, we preach about that. But if you look at it for me, outside of Bay Area, when I travel to different states, I'm experiencing the things and thoughts that I had were slightly wrong. Because we are living in 2017, and we are in America, and people are still fighting against racism or fighting against gender equality.\"\u003c/p>\n\u003cfigure id=\"attachment_11353369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353369\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Sulyman-800x1200.jpg\" alt=\"Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West.\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-240x360.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-375x563.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Sulyman-520x780.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kabul Dreams lead singer Sulyman Qardash says in the wake of President Trump's second travel ban and the rise in hate crimes, he hopes to build a cultural bridge by bringing Afghan rock to the West. \u003ccite>(Photo courtesy of Kabul Dreams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Qardash says he’s grateful for the freedom he feels here in the U.S., and opportunities. In 2017, Qardash got to meet one of his childhood heroes -- Metallica -- when Kabul Dreams starred in an award-winning indie movie with Metallica drummer Lars Ulrich\u003cu>,\u003c/u> called \u003ca href=\"http://butimarproductions.org/films/radiodreams/\">Radio Dreams\u003c/a>.\u003c/p>\n\u003cp>Qardash says that blew his mind. He says he is grateful, but now he confronts a new challenge: Islamophobia.\u003c/p>\n\u003cp>“I can be a Muslim, but I can play rock 'n' roll and I can be a doctor or an engineer,\" Qardash says. \"That’s something very spiritual between me and what I believe in. You don't really get to choose what I believe in.”\u003c/p>\n\u003cp>Qardash calls the new travel ban aimed at Muslim-majority countries \"ridiculous.\" Even though Afghanistan is not on that list, he says his religion and ethnicity are being targeted. Qardash hopes his music will get people to reassess their own stereotypes.\u003c/p>\n\u003cp>Sulyman Qardash says the title of their newest album, \u003ca href=\"https://itunes.apple.com/us/album/megalomaniacs/id1198462437\">Megalomaniacs\u003c/a>, is a nod to those who rule the world today -- in Afghanistan, in the U.S., in so many places -- turning citizens into immigrants and refugees. Qardash says that is Kabul Dreams’ story -- a story they will share one song at a time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is part of \u003ca href=\"http://nnf.foundation/west-of-middle-east/\">West of Middle East,\u003c/a> a podcast by Neda Nobari Foundation about changemakers from the Middle East Diaspora in the West. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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