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"content": "\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P_LoUAJM5PU&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8w861PcY0Fs\u003c/p>\n\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For us here, maybe there’s some regret that she had such a troubled homecoming, and reluctant acceptance that she had to leave to make sense of it. But the album is a compelling case that there is more going on than we might know, that no matter what we have here, for many the truth is out there.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hardly news that the California Dream is partnered with what is, for some, a California Nightmare.\u003c/p>\n\u003cp>Both rapper \u003ca href=\"https://en.wikipedia.org/wiki/2Mex\">2Mex\u003c/a> and singer-songwriter \u003ca href=\"http://www.frankierose.info\">Frankie Rose\u003c/a> experienced more of the latter in recent years, 2Mex through a medical crisis, Rose with a more personal, existential one. But each pulled through, he finding the love and support of family and community, she by, well, getting out of here. Both, though, found ways to express their experiences in music, resulting in new dimensions to their art and two highly involving albums.\u003c/p>\n\u003ch2>2Mex\u003c/h2>\n\u003cp>In some ways, veteran Los Angeles rapper 2Mex’s “Lospital” is a concept album, the title not so much meant to describe a place but rather a condition of modern life.\u003c/p>\n\u003cp>In that light, two songs stand out as the centerpieces: “The Fresh Depression Anthem” is just that, a confession of life on a perilous edge: “Have you ever tried to turn a suicide note into a love song -- I’m kinda good at it,” he says, but soon explains what has saved him. “I guess what I’m trying to say is that I want to live and that I’m down with you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P_LoUAJM5PU'\n title='//www.youtube.com/embed/P_LoUAJM5PU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other is the closer, “No Love Leg Lost.” See, in the seven years since the last 2Mex album, Alejandro “Alex” Ocana Jr. \u003ci>did\u003c/i> lose a leg, to diabetes. And he lost more through his experience with the dark maze of medical care, experienced as one of the millions who had been unable to afford health insurance.\u003c/p>\n\u003cp>But while the system let him down, community stepped in to save him, as many of the fans, friends and associates he’s made in two decades as a socially active, community-oriented figure came forward with both emotional and financial support.\u003c/p>\n\u003cp>The album portrays that experience, his journey from despair to hope, and in the larger sense the experiences of all the lost souls in modern life, the patients at the titular “Lospital,” not all of whom get the kind of help he did.\u003c/p>\n\u003cp>That said, there’s something quaint and old-fashioned about “Lospital.” And that’s not just because 2Mex uses the silky guitar figure from Bob Seger’s 1977 hit “Mainstreet” for the musical bed of one song. The song in question is titled “Insta-Snap-Face” and is about our obsessiveness with online validation, which is neither quaint nor old-fashioned.\u003c/p>\n\u003cp>Yet. But for all the topicality, clearly 2Mex doesn't mind an impression that he’s not fully in step with the now.\u003c/p>\n\u003cp>There’s another song titled “Yacht Rockin,'\" which both pokes fun at and shows affection for the softer sophistication of soft rock and smooth jazz, though with words that speak of frustrations.\u003c/p>\n\u003cp>You can imagine him writing this while stuck in a doctor’s waiting room, stuck with the music coming over the office audio system. But the album is full of licks that once upon a time would have been called “tasty,” not always as a compliment.\u003c/p>\n\u003cp>And another song is, simply, “Unfashionable.”\u003c/p>\n\u003cp>And right there is the lure of “Lospital” in a nutshell. A tasty nutshell, shaped by a love for the form, with help from a variety of guests and producers, including L.A. veteran soul-rocker Justin Warfield of She Wants Revenge, part of his supportive musical family.\u003c/p>\n\u003cp>But in that shell is some keen, and very in-the-right-now, observation of our condition, mixes of bemusement and anger (the profanity-laced current-events diatribe of “Bollywood Squares,” the music built on the kind of bangra beat that threaded its way through hip-hop a couple of generations ago, and the urban-information-overload confusion of “Deception”). Donald Trump’s name comes up a couple of times.\u003c/p>\n\u003cp>Other emotions, though, are the key factor to making this an engaging listen. The title song balances passion and regret in the service of love, reaching out to the lost souls in need of tender care, a “write me a love letter” chorus sung with sweet yearning by Sophia Pfister in counterpoint to 2Mex’s classic freestyle rhyming. That combo itself draws on sounds of the past that today seem nicely, earnestly stunt-free compared to much that we’ve heard in rap in recent years.\u003c/p>\n\u003cp>And right there is the appeal. In a nutshell.\u003c/p>\n\u003cp>Nothing like listening to the paranormal paranoia pushed by nighttime radio legend Art Bell to turn an “X-Files” mentality into a lifestyle. If you’re already feeling somewhat untethered, uncertain, isolated and lost in the cosmos, it could really mess with you a bit.\u003c/p>\n\u003ch2>Frankie Rose\u003c/h2>\n\u003cfigure id=\"attachment_11611086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11611086 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/08/Frankie-Rose-IMG_1093_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer-songwriter Frankie Rose's \"Cage Tropical\" album explores her rough time while living in Los Angeles \u003ccite>(Erez Avissar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frankie Rose has a song titled “Art Bell” on her new album, “Cage Tropical,” which tells you a lot about her.\u003c/p>\n\u003cp>The songs on “Cage Tropical” come from a period of nearly two years, 2014-2016, during which Rose had returned to Southern California -- she grew up in Seal Beach -- after having spent eight years living in Brooklyn and a few years before that around San Francisco.\u003c/p>\n\u003cp>Whatever she’d come back to find, it eluded her, and though she’d already established herself as a creative musician, with three well-received albums, she found herself working on a catering truck to pay her rent. And at night listening to the Art Bell radio archives.\u003c/p>\n\u003cp>OK, maybe not the healthiest situation. But somehow it helped her transform her existential crisis -- she’s said she thought she might be done as a musical artist -- into a new phase of musical expression.\u003c/p>\n\u003cp>Sci-fi synths, ghostly loops, echoed voices, they’re all there in these songs, spectral manifestations and psychic projections of what she experienced, every bit as much a part of it as the words. Overall it’s a lush pop landscape she paints, layers of sounds, often with ‘80s dance-pop allusions, and multiples of her voice, a distinct mix of bubbly youthfulness and hard-won maturity.\u003c/p>\n\u003cp>And the words don’t mince, uh, words when it comes to how adrift she felt.\u003c/p>\n\u003cp>In the opener “Love in Rockets” she is living in “a wheel of wasting my time here, a wheel of wasting my life here.” In “Dyson Sphere” (space themes abound) she is “already lost… in the midst of end times.” In the title song, she leaves no doubt that what for many is a SoCal paradise is nothing of the kind for her, but rather a “special kind of hell on a sunny day.” And in “Art Bell,” the titular figure, who retired from new broadcasts a couple of years ago, citing threats against him and his family, is a lamented “King without a country.” “Help me fall, over and over,” she pleads to him, fearing that “sleep will be a stranger without you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8w861PcY0Fs'\n title='//www.youtube.com/embed/8w861PcY0Fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lest you fret for her mental state, the album is a testament to the fact that she pulled herself out of all that, and perhaps not coincidentally, pulled herself back out of California. Or was pulled out, though she made the positive step of reaching out on her own.\u003c/p>\n\u003cp>After writing the basics of these songs in L.A., she sent them to some friends in New York, including musician-producer Jorge Elbrecht, who has worked closely with Ariel Pink and Gang Gang Dance, among others. And then she moved back to Brooklyn herself, the distance and community of the new/old setting letting her process the experiences into what we hear on this album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For us here, maybe there’s some regret that she had such a troubled homecoming, and reluctant acceptance that she had to leave to make sense of it. But the album is a compelling case that there is more going on than we might know, that no matter what we have here, for many the truth is out there.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n",
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"headline": "Can Joining a Band Fight Cognitive Decline? Just Ask 'The 5th Dementia'",
"datePublished": "2017-08-14T16:20:18-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"title": "Days of Future Past with Kronos Quartet and Nicole Mitchell's Black Earth Ensemble",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YAcikv1Q1eY\u003c/p>\n\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n",
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"excerpt": "Two new jazz albums out this month: one reinvents the past, while the other conjures up a utopian future.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music can thrill and entertain us. It can also suggest new ways to think about the past and the future. Two new albums by visionary California artists look backward and forward at the same time.\u003c/p>\n\u003cp>After more than four decades expanding the creative limits of classical music, San Francisco’s \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a> is more than capable of delivering surprises. On their latest album, “Folk Songs,” they’re exploring traditional American music with four guest artists who are all Nonesuch label mates: \u003ca href=\"http://www.nataliemerchant.com\">Natalie Merchant\u003c/a>, \u003ca href=\"http://www.oliviachaney.net\">Olivia Chaney\u003c/a>, \u003ca href=\"http://www.samamidon.com\">Sam Amidon\u003c/a> and the Carolina Chocolate Drops’ \u003ca href=\"http://rhiannongiddens.com\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cp>Part of what makes “Folk Songs” such a departure for Kronos is what’s not here. We often expect instrumental pyrotechnics and exotic timbres from the ensemble. “Folk Songs” slows the action down, luxuriating in traditional American forms.\u003c/p>\n\u003cp>Working with imaginative arrangers like \u003ca href=\"https://en.wikipedia.org/wiki/Gabe_Witcher\">Gabe Witcher,\u003c/a> \u003ca href=\"http://nicomuhly.com\">Nico Muhly\u003c/a> and \u003ca href=\"http://jacobgarchik.com\">Jacob Garchik\u003c/a> (son of longtime San Francisco Chronicle columnist Leah Garchik), Kronos keeps the spotlight on the singers, who fully inhabit a series of soundscapes haunted by death, separation and judgment day.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11566440\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/KRONOS-QUARTET-Folk-Songs-sq.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In many ways the album’s touchstone is Amidon’s lugubrious take on “I See the Sign,” a harbinger of the apocalypse in which he sounds utterly resigned to the end. The song also served as the title track of his 2010 Bedroom Community album, an avant-chamber folk project featuring gorgeous arrangements by Muhly, who seems to distill that chart for Kronos. Muhly also contributes a starkly beautiful arrangement for Amidon on “Oh Where,” a traditional lament that opens the album.\u003c/p>\n\u003cp>Giddens seems to be everywhere these days, and her striking voice is heard to advantage on “Folk Songs.” Like with Amidon, Kronos features her on a song she previously recorded, with Gabe Witcher revamping his arrangement of “Factory Girl” (the title track of her 2015 Nonesuch EP). The contrast between the purity of her tone and the brutal story about an industrial disaster heightens the drama, which rises with Sunny Yang’s cello.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YAcikv1Q1eY'\n title='//www.youtube.com/embed/YAcikv1Q1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With so many bad tidings, rumors of war can’t be far behind, and Natalie Merchant continues her sojourn into Anglo-American roots music with “Johnny Has Gone for a Soldier,” a swirling, ache-filled arrangement by Garchik. After all the loss and devastation, Kronos closes the album with Giddens delivering Witcher’s brisk and beautiful arrangement of “Lullaby.” Thematically and musically, the quartet ushers string band-inspired music into the world of contemporary chamber music.\u003c/p>\n\u003ch3>Nicole Mitchell’s Black Earth Ensemble\u003c/h3>\n\u003cp>While Kronos reimagines the musical past on “Folk Songs,” flutist and composer Nicole Mitchell is exploring the future on \"Mandorla Awakening II: Emerging Worlds.\" Recorded in concert at Chicago’s Museum of Contemporary Art, the album features her Black Earth Ensemble, a singular band built on a coruscating matrix of strings, percussion and winds (particularly the intertwined lines of Mitchell’s flute and the shakuhachi of \u003ca href=\"https://www.silkroadproject.org/ensemble/artists/kojiro-umezaki\">Kojiro Umezaki\u003c/a>, best known for his work in the Silk Road Ensemble).\u003c/p>\n\u003cp>Bristling with exceptional improvisers, the Black Earth Ensemble features the brilliant \u003ca href=\"http://www.tomekareid.net\">cellist Tomeka Reid\u003c/a> (who doubles on banjo); \u003ca href=\"http://www.thegreatblackmusicproject.org/reneebaker.html\">violinist Renèe Baker\u003c/a>; \u003ca href=\"http://www.tatsuaoki.com\">Tatsu Aoki\u003c/a> on bass, shamisen and taiko; Alex Wing on electric guitar, oud and theremin; \u003ca href=\"http://www.joviamusic.com\">percussionist Jovia Armstrong\u003c/a> and vocalist \u003ca href=\"https://www.3arts.org/artist/avery-young/\">Avery R. Young\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11574943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11574943\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS26024_NM-LD-Recent-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flutist Nicole Mitchell's “Mandorla” is set on an island in post-apocalyptic 2099. \u003ccite>(Photo by Lauren Deutsch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part song cycle, part suite — and very much an attempt to imagine a brave new world — \"Mandorla\" is set on an island in post-apocalyptic 2099. Inspired by writers like Octavia Butler, Mitchell paints another chapter in her ongoing Afro-futurist project, an attempt to imagine a realm in which gender and race aren’t vectors for oppression.\u003c/p>\n\u003cp>Like much of Mitchell’s music, there’s a lot going on. She can sound rootsy and avant-garde in the same phrase. One of the greatest flutists in jazz, she’s a strikingly expressive improviser, and her instrument is the album’s primary voice, though she also relies on vocalist Avery Young, who gives an incendiary, soul-steeped performance.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11597269\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Mandorla-Awakening-cover-800x800-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\nMitchell grew up in Orange County and currently works as a professor of music in UC Irvine’s Claire Trevor School of the Arts’ integrated composition, improvisation and technology program. But she’s very much a product of the Chicago scene. Part of what makes her such a consistently enthralling artist is the way she’s forged a vividly idiosyncratic vision out of the disparate sonic strands running through Chicago's \u003ca href=\"http://www.aacmchicago.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Association for the Advancement of Creative Musicians.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Mandorla” is the latest dispatch from an artist pushing jazz forward from the inside and the outside. And while “Mandorla” and “Folk Songs” sound like worlds apart, it wouldn’t be a stretch for Kronos to commission Nicole Mitchell on some future project.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
"title": "Immortalized by Woody Guthrie, ‘Deportees’ Who Died in Plane Crash Are Nameless No Longer",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CeCstLTB0EI\u003c/p>\n\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n",
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"excerpt": "Tim Z. Hernandez spent years unearthing the names and stories of 28 people who died in one of California's worst plane crashes, until now identified only as ‘deportees.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So many artists -- from Bruce Springsteen to Bob Dylan -- have recorded Woody Guthrie's famous ballad \"Deportee,\" about one of the worst airplane disasters in California history. But a big piece of the story was missing. Until now.\u003c/p>\n\u003cp>One cold winter morning in January 1948, 32 passengers were killed when a plane crashed in Los Gatos Canyon, near the Central Valley town of Coalinga.\u003c/p>\n\u003cp>The dead included 28 Mexican workers in the process of being deported by the U.S. government. Guthrie was outraged that newspaper accounts of the crash omitted the names of the Mexican passengers, simply calling them “deportees.\" So he penned a song, giving symbolic names to the dead:\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Goodbye to my Juan, g\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">oodbye, Rosalita\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Adios mis Amigos, Jesus y Maria;\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You won’t have your names when you ride the big airplane,\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">All they will call you will be \"deportees\"\u003c/span>\u003c/i>\u003c/p>\n\u003cp>For seven decades, the real names of those deportees were unknown, their bodies buried in a mass grave in Fresno. Until \u003ca href=\"https://timzhernandez.com/\">Tim Z. Hernandez\u003c/a> -- a previous winner of the American Book Award for poetry -- spent years investigating in both Mexico and the U.S., interviewing families and unearthing records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band Lance Canales and the Flood play a version of Woody Guthrie's \"Deportee,\" with author Tim Z. Hernandez whispering the names of those who died in the 1948 plane crash.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CeCstLTB0EI'\n title='//www.youtube.com/embed/CeCstLTB0EI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hernandez's new book, “\u003ca href=\"http://www.uapress.arizona.edu/Books/bid2680.htm\">All They Will Call You\u003c/a>,” explores his journey uncovering their stories. From the book's forward:\u003c/p>\n\u003cblockquote>\u003cp>To stumble upon a plane crash is to stumble upon the fragmented and broken shards of stories, and to have faith that from these clues, our own glaring humanity offers enough light to fill in the unknown. The facts of what occurred on that day are not, nor have they ever been, the purpose of this book. The telling is not interested in the calculable details, but rather, the testimonies themselves, from the people whose lives were touched in incalculable ways. How a tragedy and a song had a profound, lasting effect on the people who lived it.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11567947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567947\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezDC3-800x589.jpg\" alt=\"Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948.\" width=\"800\" height=\"589\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-160x118.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-240x177.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-375x276.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezDC3-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez inside a Douglas DC-3 airplane, similar to the one that crashed in 1948. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I’m the son of migrant farmworkers,\" explains Hernandez. \"It was raw curiosity that sprung me forth to look for these names. I wanted to know who they were.\"\u003c/p>\n\u003cp>But he had few leads to go on. Only a single shred of newspaper from an Associated Press report after the crash, which didn’t include any names of the Mexican passengers. He found an erroneous list of names Guthrie fans had tried to compile on the internet. He then went to Fresno's Holy Cross Cemetery, where the remains of the Mexican passengers were buried in an unmarked grave. The cemetery had a list, but instead of individual names, it logged the term “Mexican National” 28 times.\u003c/p>\n\u003cp>Hernandez pushed on, digging up records and putting an ad in a bilingual newspaper looking for family members. After years of traveling across the U.S. and Mexico, he managed to locate the families of seven passengers.\u003c/p>\n\u003cfigure id=\"attachment_11512422\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-11512422 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25685_image002-qut.jpg\" alt=\"Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash.\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25685_image002-qut-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo and Jaime Ramirez, brothers who are related to two of the passengers who died in the 1948 plane crash. \u003ccite>(Photo courtesy of Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book reconstructs profiles of those passengers, fleshing out their love affairs, families and histories -- expanding the narrative of their lives beyond their identities as laborers or farmworkers.\u003c/p>\n\u003cp>Like Ramon Paredes Gonzales, who crossed back and forth to work in the U.S. for years, and whose daughter, Caratina Paredes Murillo, was just 10 years old when he died in the crash. Decades later, an elderly Murillo still remembers the lyrics of the song her father sang every time he returned to their village.\u003c/p>\n\u003cp>\"For so grim a subject, one of the jobs was to find the light in each of their stories,\" says Hernandez. \"I always asked the families to tell me one of their fondest memories of their relatives.\"\u003c/p>\n\u003cp>The book doesn’t just include the intimate stories of the Mexican farmworkers, but also the stories of witnesses to the crash, the pilot, stewardess and the immigration agent accompanying the deportees.\u003c/p>\n\u003cfigure id=\"attachment_11567953\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567953\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/HernandezStone-800x493.jpg\" alt=\"Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \" width=\"800\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-800x493.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1020x629.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-1180x728.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-960x592.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-375x231.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/HernandezStone-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Z. Hernandez with the updated headstone that lists the full names of those who died in the plane crash. \u003ccite>(Juan Esparza Loera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Omissions are wrong,\" says Hernandez. \"Erasure is wrong, no matter what your background is, or nationality you are. Let's talk about the Mexican nationals, and the pilot and the stewardess, the family who owned the ranch whose children saw people falling out of the sky. And later on, how the song affected the people who made the melody, who sang it. This one incident had such a ripple effect across borders, and across lives.\"\u003c/p>\n\u003cp>Hernandez \u003ca href=\"http://audio.californiareport.org/archive/R201303291630/c\">helped get a headstone \u003c/a>with some of the names he discovered placed on the mass grave for the deportees. People all over the San Joaquin Valley helped raise money to make these names visible.\u003c/p>\n\u003cp>Hernandez also re-recorded a new version of the song with musician Lance Canales. He whispers the actual names as Canales sings the lyrics.\u003c/p>\n\u003cp>“It’s important to honor all of us. To honor that we have had a history and a legacy, and that we once were here on earth, loving,” says Hernandez.\u003c/p>\n\u003cfigure id=\"attachment_11512426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11512426\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/06/RS25684_image001-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/06/RS25684_image001-qut-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Tim Z. Hernandez with the families of two of the passengers in Charco de Pantoja, Guanajuato, Mexico. \u003ccite>(Courtesy Tim Z. Hernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"We have much more in common side by side than we do differences, and certainly, this airplane that crashed, becomes almost a kind of analogy,\" he adds. \"We’re all in this ship together, hurling toward a common fate.\"\u003c/p>\n\u003cp>The story, he says, is deeply relevant to today’s political climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Back then, they referred to the Mexican passengers simply as 'deportees.' That kind of rhetoric perpetuates this idea of a single narrative, one way of looking at these folks who come to this country and work to feed us,\" he says. \"Today we hear other words being used, 'illegal,' or 'alien.' All those kind of abstractions are used to erase the face, or the stories, of the people we’re talking about.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MewaVB21J38\u003c/p>\n\n",
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"excerpt": "If you haven't filled up your summer road trip playlists yet, here are a couple contenders, from soul to low-fi psych rock.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Pollyseeds' \u003ca href=\"http://www.soundsofcrenshaw.com\">“The Sounds of Crenshaw Volume 1”\u003c/a> album is deeply tied to roots in urban Los Angeles. \u003ca href=\"http://westernvinyl.com/artists/art-feynman\">Art Feynman\u003c/a>’s “Blasting Through the Wicker” comes on the heels of a relocation from his longtime East Coast home to Marin County’s relatively rustic Point Reyes. “Crenshaw” is a vibrant community effort, with more than a dozen musicians (including young jazz innovators Kamasi Washington and Robert Glasper) convened by producer-saxophonist-keyboardist Terrace Martin.\u003c/p>\n\u003cp>“Wicker” is a one-man effort made in the artist’s bedroom on a four-track cassette. Martin and crew celebrate the silky sounds of '70s soul and smooth jazz mixed with some hip-hop sensibilities. Feynman (aka Luke Temple of electro-folk band \u003ca href=\"http://herewegomagicband.tumblr.com/\" target=\"_blank\">Here We Go Magic\u003c/a>) draws on the burbling rhythms of African Highlife and German “Krautrock” mixed with the arty moodiness of Radiohead. One is driving around L.A. with the windows rolled down listening to soul station KJLH. The other is a hipster-tribal jam among the redwoods.\u003c/p>\n\u003cp>And yet, a sharp DJ could make a very cool summery pairing of the sexy sidewalk come-on of the Pollyseeds’ “Intentions” (featuring singer-rapper Chachi) and the bristling joy of Feynman’s pulsating “Feeling Good About Feeling Good.” Or, at the other end of a temperate night, the more somber reflection of the former’s “Up & Away” or the very subdued piano-centric “Wake Up” paired with the latter’s “Slow Down.” \u003c/p>\n\u003cp>\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"aligncenter size-medium wp-image-11554376\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25935_wv162.2000-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>There’s a complementary compatibility to these compelling albums that together strongly evoke seasonal sensibilities and their whiffs of hazy nostalgia. Hey, it’s not all sand and surf here in California, you know. Sorry Dick Dale. Sorry Beach Boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the “Crenshaw” billing — Terrace Martin Presents the Pollyseeds — suggest some sort of anthology or collection, this is a more coherent, consistent whole than last year’s “Velvet Portraits,” nominally Martin’s own project. On paper the two are much the same — both featuring a core group, the Pollyseeds, anchored by Martin, with a host of guests including such notables as sax star Washington, keyboardist Glasper and vocalist Rose Gold. They’re all in the intersecting circles around Kendrick Lamar (Martin was a key figure on several of his projects) and Thundercat, which clearly remains incredibly fertile ground.\u003c/p>\n\u003cp>In contrast to the gallery of “Portraits” of the last album, this is, as the album’s brief Moog-and-guitar prelude puts it, a “Tapestry.” From there, “Chef E Dubble” sets the tone with Glasper’s Fender Rhodes and some breezy sax interplay from Martin (alto) and Washington (tenor), followed by that sexy “Intentions” (“Don’t mind my bad intentions, but you’ve got my attention”). \u003c/p>\n\u003cp>Rose Gold, who also had a couple of star turns on the last Martin album, shines on the sparkling “You and Me.” And the gentle air of wistful nostalgia comes to the fore on two tracks, a slowed-down seven-minute jam on Janet Jackson’s “Funny How Time Flies” (Glasper’s Fender Rhodes topping off an array of synthesizers and vocoder from Martin) and the album-closing “Don’t Trip,” featuring singer Preston Harris, the vibe much like a Stevie Wonder '70s ballad. Wonder, of course, is part of the ownership team of KJLH. So it all comes around on the Crenshaw streets.\u003c/p>\n\u003cfigure id=\"attachment_11554377\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg\" alt=\"\" width=\"800\" height=\"1142\" class=\"size-medium wp-image-11554377\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-160x228.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1020x1457.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-960x1371.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-240x343.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-375x536.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut-520x743.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/RS25934_Art-Feynman-3-qut.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Feyman is an alter-ego for Luke Temple of the band Here We Go Magic.\u003c/figcaption>\u003c/figure>\n\u003cp>Feynman’s “Wicker,” despite the alter-ego name (a tribute to two of his heroes, the late New York musician Arthur Russell and noted physicist Richard Feynman), is not really a radical departure from Here We Go Magic, which, after all, grew out of a Luke Temple solo venture in the late ‘00s. The debut HWGM album was largely a one-man home recording before he started recruiting partners for touring and more recording. \u003c/p>\n\u003cp>But time, experience, maturity — and the move west — have all brought a nice combo of breeziness and sophistication, of celebration and contemplation to this solo return. It’s easy to see why Radiohead’s Thom Yorke is a Here We Go Magic fan, and several songs, the opening “Eternity in Pictures” and “Slow Down” among them, have very “Kid A”/“OK Computer” feels to them.\u003c/p>\n\u003cp>On the other hand, \"Two Minor” puts words about finding the sweet spot in a contentious relationship to a sweet pop melody fitted over bouncy West African rhythms, and “Hot Night Jeremiah\" – running at more than seven minutes – is twitchy and clangy, a bit like the very early Kraftwerk experiments, before it heads out into the psychedelic ether. And let’s note that this was all done without loops or drum machines, just guitars and percussion. \u003c/p>\n\u003cp>And on the other other hand, “Win Win” contrasts its upbeat title with a very dark, very lo-fi tone, acoustic guitar and spooky keyboards with a nearly submerged croon to his voice, sounding like Feynman/Temple recorded it in total darkness. \u003c/p>\n\u003cp>Well, that happens in summer too.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MewaVB21J38'\n title='//www.youtube.com/embed/MewaVB21J38'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "SoundCloud Cuts 173 Jobs, Shutters San Francisco and London Offices",
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"headTitle": "SoundCloud Cuts 173 Jobs, Shutters San Francisco and London Offices | KQED",
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"content": "\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a drastic push to reduce its operating costs within a saturated music streaming market, SoundCloud shuttered its San Francisco and London offices and laid off almost half of its workforce this week, according to a statement issued by SoundCloud CEO Alexander Ljung.\u003c/p>\n\u003cp>Of its 420 staff members, 173 SoundCloud employees were laid off Thursday — a company reduction of nearly 40 percent. The streaming service, which is headquartered in Berlin, will consolidate its remaining staffers within its Berlin and New York offices.\u003c/p>\n\u003cp>Founded in 2008, SoundCloud has since effectively transitioned from an independent, creator-driven service to a site fully backed by industry stakeholders. It signed licensing and investment deals with all three major labels, the latest of which was an agreement with Sony Music in March last year.\u003c/p>\n\u003cp>“By reducing our costs and continuing our revenue growth, we’re on our path to profitability and in control of SoundCloud’s independent future,” wrote Ljung in the statement.\u003c/p>\n\u003cp>The closures come after a report issued in January that detailed SoundCloud’s financial difficulties. Despite Ljung’s statement, which asserted that the company’s revenue doubled in the past year, a report filed by the music streaming service in January showed a loss of $54 million in 2015. The report also cautioned the possibility of SoundCloud running out of funds by the end of this year, though the company secured $70 million of debt funding in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>French streaming service Deezer is the latest company in the rumor mill for SoundCloud’s potential acquisition. Google, Twitter and most notably Spotify, SoundCloud’s largest competitor, have previously expressed interest in purchasing the beleaguered company. SoundCloud has yet to finalize a deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this year, SoundCloud released a reworked version of its paid subscription service, SoundCloud Go, with tiered offerings that compete with sites like Pandora and Spotify.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After 10 years, the Treasure Island Music Festival is taking a breather.\u003c/p>\n\u003cp>The two-day festival, held annually since 2007 on man-made Treasure Island, will not return this year, organizers said Wednesday in a press release. The festival is expected to return in 2018 at a different location.\u003c/p>\n\u003cp>“Although the event will no longer be held on Treasure Island, there are no plans to change the festival’s name, if for no other reason than to pay homage to the historic little island that was home to the event for a decade,” said the release.\u003c/p>\n\u003cp>Festival organizers Another Planet Entertainment and Noise Pop have yet to announce where the festival will take place in 2018.\u003c/p>\n\u003cp>The hiatus comes after \u003ca href=\"https://ww2.kqed.org/arts/2016/10/17/photos-and-highlights-from-timf-10-a-rain-soaked-final-fest-on-the-island/\">last year’s festival\u003c/a> was fraught with heavy rain and other issues. The decision to relocate was determined prior to the festival, as construction for the landmark Treasure Island Development project began in March last year on the island’s western shoreline. This resulted in a last-minute relocation for the festival from the Great Lawn to a barren area on the southeast corner of the island.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some acts, including How to Dress Well and Glass Animals, performed abridged sets due to the heavy rain. Others, such as DJs Duke Dumont and Flight Facilities, cancelled their sets outright. To make up for his cancellation, James Blake performed a show at the Fox Theater the Monday after the festival that was free to festival ticketholders.\u003c/p>\n\u003cp class=\"p1\">“Last year’s festival had no impact on the decision to not hold a festival in 2017,” said Alex Scott, executive vice president at Another Planet Entertainment. “We are simply taking the time it takes to finalize the new location, making sure the new site will be one we can settle into for the foreseeable future.”\u003c/p>\n\u003cp>Previous iterations of Treasure Island Music Festival, which officially launched in 2007, were headlined by the likes of Outkast, Beck, LCD Soundsystem and Major Lazer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\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>[ad fullwidth]\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",
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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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"title": "Report: Pandora CEO Expected to Step Down | KQED",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"excerpt": "Barkan bought the Keystone Korner in North Beach for $12,500 and turned it into a world-renowned destination for jazz's greatest artists.",
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"description": "Barkan bought the Keystone Korner in North Beach for $12,500 and turned it into a world-renowned destination for jazz's greatest artists.",
"title": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor | KQED",
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"headline": "Todd Barkan, Who Ran the Keystone Korner, to Receive National Honor",
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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",
"title": "The Monterey International Pop Festival Returns, 50 Years Later",
"headTitle": "The California Report | KQED News",
"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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"excerpt": "Many of the musicians at the ’67 festival went on to become superstars, like Jimi Hendrix and Janis Joplin. Now, it's happening again.",
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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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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