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"title": "Marin Alsop Quits Cabrillo, Continues Fight for Women Conductors",
"headTitle": "Marin Alsop Quits Cabrillo, Continues Fight for Women Conductors | KQED",
"content": "\u003cp>Female conductors are about as rare on the podium as they are running Silicon Valley companies. Women make up less than a fifth of the country’s music directors, conductors, and assistant conductors. And cracking into the upper echelon of name-brand orchestras and festivals has proved difficult.\u003c/p>\n\u003cp>As recently as 2007, \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a> became the first woman to head a major symphony in the US, in Baltimore. In 2013, she became the first woman to conduct the lauded Last Night at the Proms in London. And according to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, a national service organization for symphonies, Alsop’s still the only woman music director in the top 24.\u003c/p>\n\u003cp>This year, at the age of 59, the conductor takes her final bow after 25 years of running the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> in Santa Cruz, one of the world’s most esteemed events for music by living composers.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/277832908″ 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>Alsop says she’s leaving the Cabrillo Festival because she has a lot on her plate and feels the organization and annual event could use a fresh aesthetic. That’s even though ticket sales are stronger than they’ve ever been. “You’d almost think, ‘Well, why don’t you stay then, if it’s so great?'” Alsop says. “But that’s the moment to pass it on.” The festival’s board of directors has yet to name a successor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why are there so few women on the podium?\u003c/strong>\u003c/p>\n\u003cp>“You have to look at the world as it is in order to change it,” Alsop says about her experience in the field. When she walks onstage and raises her baton, Alsop says she knows she’s going to be judged by everyone – in the orchestra and in the audience – through a host of unconscious biases. “When a woman is really strong and gives a big downbeat, big chord, the immediate response is ‘Whoa! Look out!’ When a man does that, he’s strong and powerful.”\u003c/p>\n\u003cp>Though she’s leaving the Cabrillo Festival, Alsop isn’t retiring. In addition to her position as the Baltimore Symphony’s music director, Alsop travels the globe to undertake a host of other high profile gigs. She’s principal conductor of the \u003ca href=\"http://www.osesp.art.br/home.aspx\" target=\"_blank\" rel=\"noopener\">São Paulo Symphony\u003c/a> in Brazil, and director of the Graduate Conducting Program at the \u003ca href=\"http://www.peabody.jhu.edu/conservatory/conducting/orchconducting/\" target=\"_blank\" rel=\"noopener\">Peabody Institute\u003c/a> in Baltimore. She is also a frequent guest conductor, including at the \u003ca href=\"http://www.bbc.co.uk/proms\" target=\"_blank\" rel=\"noopener\">BBC Proms\u003c/a>, and a regular classical music commentator on \u003ca href=\"http://www.npr.org/series/7302443/marin-alsop-on-music\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11896929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11896929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg\" alt='Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. \"She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. “She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.” \u003ccite>(Photo: Courtesy of the Cabrillo Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesse Rosen, President and CEO of the League of American Orchestras, has followed Alsop’s career from its start in New York in the 1980s. “You know, she’s got a lot of grit, and a lot of conviction,” Rosen says. “She figured out how to be a musical leader in today’s world.”\u003c/p>\n\u003cp>\u003cstrong>Expanding the audience for classical music\u003c/strong>\u003c/p>\n\u003cp>Alsop has launched a number of programs aimed at growing audiences for contemporary classical music by serving people beyond the traditional subscriber base. There’s \u003ca href=\"http://www.bsomusic.org/education-community/young-musicians/orchkids.aspx\">OrchKids\u003c/a>, which brings free lessons to low-income school children in Baltimore; and \u003ca href=\"https://www.bsomusic.org/education-community/programs-for-adults/academy-programs/rusty-musicians.aspx\" target=\"_blank\" rel=\"noopener\">Rusty Musicians\u003c/a>, offering amateur players the chance to reignite their passion by playing with professionals.\u003c/p>\n\u003cfigure id=\"attachment_11897048\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11897048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg\" alt='Marin Alsop and composer John Adams, who says \"Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.\"' width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-1180x1780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-960x1448.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop and composer John Adams, who says “Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.” \u003ccite>(Photo: Courtesy of rr jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s also worked hard to make contemporary classical music — often cerebral and atonal perceived as a challenging genre for listeners — accessible to audiences. At Cabrillo, Alsop has made a point of choosing work from composers with varied backgrounds and approaches, from the Scottish composer James MacMillan, whose ear-tingling harmonies are deeply influenced by Catholic mysticism, to Bay Area-based composer Mason Bates’ electronica DJ-inspired works. “I try to stretch myself and bring a real variety to my audiences,” Alsop says.\u003c/p>\n\u003cp>Though the festival’s offerings are broad, Alsop isn’t shy about declaring her own personal musical tastes. “I’m drawn to music that’s extraordinarily rhythmic, that’s very propulsive,” she says.\u003c/p>\n\u003cp>No wonder then that John Adams, the beloved Bay Area composer best known for works like the opera \u003cem>Nixon in China \u003c/em>and \u003cem>On The Transmigration of Souls\u003c/em>\u003ci>,\u003c/i> Adams’ choral masterpiece written in honor of the victims who died in the Sep. 11 attacks on the World Trade Center, is a friend and regular in Santa Cruz. Rooted in minimalism, Adams’ music is nothing if not driven by rhythmic brilliance. Cabrillo has presented 15 works by Adams over the years, including several premieres.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"First woman to conduct Last Night of the Proms American Marin Alsop\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/yVP8CJzVe5U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For Alsop’s final season at Cabrillo, which runs Friday, Aug. 5 – Saturday, Aug. 13, the musicians of the Cabrillo Festival Orchestra commissioned a piece from Adams specially for Alsop. The much-in-demand composer is in the middle of writing an opera about the Gold Rush. So he chose a colorful, real-life character from that period in California history — the then-famous actress and dancer Lola Montez — as the inspiration for his piece for Alsop, \u003cem>Lola Montez Does The Spider Dance\u003c/em>. “It’s funny and a little bit outrageous and provocative,” Adams says of the work. “I hope I was able to capture that sense in this piece for Marin.”\u003c/p>\n\u003cp>[contextly_sidebar id=”FGw8yaucqVCD9RqqoO2nWXqVDUetwXDA”]\u003cstrong>Opening doors for women\u003c/strong>\u003c/p>\n\u003cp>The general environment for female classical musicians has improved since Alsop was starting out. In the 1980s, very few women held down jobs in professional symphony orchestras. Today, half of the musicians are female, but women still face entrenched stereotypes about what positions are appropriate for them to occupy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.music.msu.edu/faculty/profile/ava\" target=\"_blank\" rel=\"noopener\">Ava Ordman\u003c/a> is principal trombonist at Cabrillo, when she’s not teaching at Michigan State or playing for the Lansing Symphony. “In some respects, we share a similar position,” Ordman says. “I’m in my 60s, and when I was growing up, there were no women trombonists.”\u003c/p>\n\u003cp>Ordman adds, “Marin is a role model, not just to women conductors, but to all who are doing jobs that are traditionally dominated by men.”\u003c/p>\n\u003cp>Men still dominate, especially in the realm of top-tier orchestras. According to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, women comprise only 11.2 percent of all music directors working today.\u003c/p>\n\u003cp>To help change this landscape, Alsop established the \u003ca href=\"http://takiconcordia.org/\" target=\"_blank\" rel=\"noopener\">Taki Concordia Conducting Fellowship \u003c/a>in 2002 to support the education and promotion of maestras near the beginning of their professional conducting careers, when they’re most likely to give up in frustration. Alumni of the fellowship typically go on to earn impressive credentials, like Carolyn Kuan, who is the music director at the Hartford Symphony Orchestra and has served as a guest conductor for organizations as the San Francisco Symphony and the New York City Opera.\u003c/p>\n\u003cp>But Alsop says there is a long way to go before women achieve parity with men on the podium. “I have a concern that after a few women are successful, people will say, “Well, we ticked that box, and so we’ll go back to our other plan, that we’ve been doing for a couple hundred years!'” Alsop says. “So I think we’ll just have to keep pushing.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Cabrillo Festival runs Friday, Aug. 5 through Saturday, Aug. 13. More information \u003cstrong>\u003ca href=\"http://www.cabrillomusic.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As the trailblazing female conductor leads her last season as music director of the Cabrillo Festival, a position she's held for 25 years, we look at Alsop's legacy as a powerful woman in the male-dominated world of classical music",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Female conductors are about as rare on the podium as they are running Silicon Valley companies. Women make up less than a fifth of the country’s music directors, conductors, and assistant conductors. And cracking into the upper echelon of name-brand orchestras and festivals has proved difficult.\u003c/p>\n\u003cp>As recently as 2007, \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a> became the first woman to head a major symphony in the US, in Baltimore. In 2013, she became the first woman to conduct the lauded Last Night at the Proms in London. And according to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, a national service organization for symphonies, Alsop’s still the only woman music director in the top 24.\u003c/p>\n\u003cp>This year, at the age of 59, the conductor takes her final bow after 25 years of running the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> in Santa Cruz, one of the world’s most esteemed events for music by living composers.\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/277832908″&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/277832908″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Alsop says she’s leaving the Cabrillo Festival because she has a lot on her plate and feels the organization and annual event could use a fresh aesthetic. That’s even though ticket sales are stronger than they’ve ever been. “You’d almost think, ‘Well, why don’t you stay then, if it’s so great?'” Alsop says. “But that’s the moment to pass it on.” The festival’s board of directors has yet to name a successor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why are there so few women on the podium?\u003c/strong>\u003c/p>\n\u003cp>“You have to look at the world as it is in order to change it,” Alsop says about her experience in the field. When she walks onstage and raises her baton, Alsop says she knows she’s going to be judged by everyone – in the orchestra and in the audience – through a host of unconscious biases. “When a woman is really strong and gives a big downbeat, big chord, the immediate response is ‘Whoa! Look out!’ When a man does that, he’s strong and powerful.”\u003c/p>\n\u003cp>Though she’s leaving the Cabrillo Festival, Alsop isn’t retiring. In addition to her position as the Baltimore Symphony’s music director, Alsop travels the globe to undertake a host of other high profile gigs. She’s principal conductor of the \u003ca href=\"http://www.osesp.art.br/home.aspx\" target=\"_blank\" rel=\"noopener\">São Paulo Symphony\u003c/a> in Brazil, and director of the Graduate Conducting Program at the \u003ca href=\"http://www.peabody.jhu.edu/conservatory/conducting/orchconducting/\" target=\"_blank\" rel=\"noopener\">Peabody Institute\u003c/a> in Baltimore. She is also a frequent guest conductor, including at the \u003ca href=\"http://www.bbc.co.uk/proms\" target=\"_blank\" rel=\"noopener\">BBC Proms\u003c/a>, and a regular classical music commentator on \u003ca href=\"http://www.npr.org/series/7302443/marin-alsop-on-music\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11896929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11896929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg\" alt='Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. \"She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20558_Alsop-Bernstein1982-qut-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer John Adams says there’s a lot in Marin Alsop that recalls her mentor Leonard Bernstein, a great popularizer of classical music. “She always speaks before each performance of a new piece and sets a tone of adventure, a tone of excitement, and a kind of intimate connection between the listener and the performer.” \u003ccite>(Photo: Courtesy of the Cabrillo Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jesse Rosen, President and CEO of the League of American Orchestras, has followed Alsop’s career from its start in New York in the 1980s. “You know, she’s got a lot of grit, and a lot of conviction,” Rosen says. “She figured out how to be a musical leader in today’s world.”\u003c/p>\n\u003cp>\u003cstrong>Expanding the audience for classical music\u003c/strong>\u003c/p>\n\u003cp>Alsop has launched a number of programs aimed at growing audiences for contemporary classical music by serving people beyond the traditional subscriber base. There’s \u003ca href=\"http://www.bsomusic.org/education-community/young-musicians/orchkids.aspx\">OrchKids\u003c/a>, which brings free lessons to low-income school children in Baltimore; and \u003ca href=\"https://www.bsomusic.org/education-community/programs-for-adults/academy-programs/rusty-musicians.aspx\" target=\"_blank\" rel=\"noopener\">Rusty Musicians\u003c/a>, offering amateur players the chance to reignite their passion by playing with professionals.\u003c/p>\n\u003cfigure id=\"attachment_11897048\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11897048\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg\" alt='Marin Alsop and composer John Adams, who says \"Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.\"' width=\"200\" height=\"302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-782x1180.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-1180x1780.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/RS20560_Marin-Alsop-John-Adams-by-rr-jones-2004-qut-960x1448.jpg 960w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Marin Alsop and composer John Adams, who says “Marin has been a great champion of my music, but I’m just one of hundreds of composers that she’s taken an interest in.” \u003ccite>(Photo: Courtesy of rr jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She’s also worked hard to make contemporary classical music — often cerebral and atonal perceived as a challenging genre for listeners — accessible to audiences. At Cabrillo, Alsop has made a point of choosing work from composers with varied backgrounds and approaches, from the Scottish composer James MacMillan, whose ear-tingling harmonies are deeply influenced by Catholic mysticism, to Bay Area-based composer Mason Bates’ electronica DJ-inspired works. “I try to stretch myself and bring a real variety to my audiences,” Alsop says.\u003c/p>\n\u003cp>Though the festival’s offerings are broad, Alsop isn’t shy about declaring her own personal musical tastes. “I’m drawn to music that’s extraordinarily rhythmic, that’s very propulsive,” she says.\u003c/p>\n\u003cp>No wonder then that John Adams, the beloved Bay Area composer best known for works like the opera \u003cem>Nixon in China \u003c/em>and \u003cem>On The Transmigration of Souls\u003c/em>\u003ci>,\u003c/i> Adams’ choral masterpiece written in honor of the victims who died in the Sep. 11 attacks on the World Trade Center, is a friend and regular in Santa Cruz. Rooted in minimalism, Adams’ music is nothing if not driven by rhythmic brilliance. Cabrillo has presented 15 works by Adams over the years, including several premieres.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"First woman to conduct Last Night of the Proms American Marin Alsop\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/yVP8CJzVe5U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>For Alsop’s final season at Cabrillo, which runs Friday, Aug. 5 – Saturday, Aug. 13, the musicians of the Cabrillo Festival Orchestra commissioned a piece from Adams specially for Alsop. The much-in-demand composer is in the middle of writing an opera about the Gold Rush. So he chose a colorful, real-life character from that period in California history — the then-famous actress and dancer Lola Montez — as the inspiration for his piece for Alsop, \u003cem>Lola Montez Does The Spider Dance\u003c/em>. “It’s funny and a little bit outrageous and provocative,” Adams says of the work. “I hope I was able to capture that sense in this piece for Marin.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003cstrong>Opening doors for women\u003c/strong>\u003c/p>\n\u003cp>The general environment for female classical musicians has improved since Alsop was starting out. In the 1980s, very few women held down jobs in professional symphony orchestras. Today, half of the musicians are female, but women still face entrenched stereotypes about what positions are appropriate for them to occupy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.music.msu.edu/faculty/profile/ava\" target=\"_blank\" rel=\"noopener\">Ava Ordman\u003c/a> is principal trombonist at Cabrillo, when she’s not teaching at Michigan State or playing for the Lansing Symphony. “In some respects, we share a similar position,” Ordman says. “I’m in my 60s, and when I was growing up, there were no women trombonists.”\u003c/p>\n\u003cp>Ordman adds, “Marin is a role model, not just to women conductors, but to all who are doing jobs that are traditionally dominated by men.”\u003c/p>\n\u003cp>Men still dominate, especially in the realm of top-tier orchestras. According to the \u003ca href=\"http://www.americanorchestras.org/\" target=\"_blank\" rel=\"noopener\">League of American Orchestras\u003c/a>, women comprise only 11.2 percent of all music directors working today.\u003c/p>\n\u003cp>To help change this landscape, Alsop established the \u003ca href=\"http://takiconcordia.org/\" target=\"_blank\" rel=\"noopener\">Taki Concordia Conducting Fellowship \u003c/a>in 2002 to support the education and promotion of maestras near the beginning of their professional conducting careers, when they’re most likely to give up in frustration. Alumni of the fellowship typically go on to earn impressive credentials, like Carolyn Kuan, who is the music director at the Hartford Symphony Orchestra and has served as a guest conductor for organizations as the San Francisco Symphony and the New York City Opera.\u003c/p>\n\u003cp>But Alsop says there is a long way to go before women achieve parity with men on the podium. “I have a concern that after a few women are successful, people will say, “Well, we ticked that box, and so we’ll go back to our other plan, that we’ve been doing for a couple hundred years!'” Alsop says. “So I think we’ll just have to keep pushing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cabrillo Festival runs Friday, Aug. 5 through Saturday, Aug. 13. More information \u003cstrong>\u003ca href=\"http://www.cabrillomusic.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"title": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for clarity and length.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "Creedence Clearwater Revival’s biggest fan base is in Mexico — and a new compilation is a testament to the iconic band’s enduring political resonance. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for clarity and length.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Mariachi Summer Camp Gives Kids a Taste of Tradition",
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"content": "\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/277036737\" 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>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I don’t know what I like most -- being a mariachi or seeing my community come together like this. Maybe it’s a little of both because I feel happy with what I’m doing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/277036737&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/277036737'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t know what I like most -- being a mariachi or seeing my community come together like this. Maybe it’s a little of both because I feel happy with what I’m doing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Revealing Musical Riches: Bay Area Jazz Singers Kat Parra and Melissa Morgan",
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"content": "\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The American Songbook is a treasure trove, but far too many jazz singers concentrate on the shiniest crowd-pleasing tunes. Two recent albums by very different Bay Area vocalists offer object lessons in the rewards of mining less frequented territory.\u003c/p>\n\u003cp>Though she paid early dues singing salsa and Latin jazz, \u003ca href=\"http://katparra.com/musica/\">Kat Parra\u003c/a> has spent the past decade forging a gorgeous and consistently surprising repertoire by setting ancient Sephardic songs to an array of Latin American rhythms. Her fifth album, “Songbook of the Americas” (JazzMa Records), is another big step in crafting a stylishly bespoke body of songs unlike any other singer on the scene.\u003c/p>\n\u003cp>Focusing on material by women composers, she ranges freely across the Americas, turning an obscure Betty Carter tune into sprightly cha cha (an arrangement by ace \u003ca href=\"http://www.aarongermain.com/\">bassist Aaron Germain\u003c/a>) and sashays through Chabuca Granda’s gracefully grooving “Maria Lando,” a collaboration with \u003ca href=\"http://murraylow.com/\">pianist Murray Low\u003c/a>, who has long played an essential role in Parra’s music.\u003c/p>\n\u003cp>Peruvian-born Bay Area \u003ca href=\"http://www.karumanta.com/david.html\">bassist David Pinto\u003c/a> contributes several gorgeous arrangements, including setting the poem “Dame La Mano” by Chile’s Nobel laureate poet Gabriela Mistral to an obscure and stately Peruvian rhythm. He also streamlines the tango “Como La Cigarra,” a song by Argentine poet and playwright María Elena Walsh where Parra is joined by the unmistakable Venezuelan-born Bay Area \u003ca href=\"http://www.mariamarquez.com/about.php\">vocalist Maria Marquez\u003c/a>. Her throaty cello tone adds emotional heft to a piece indelibly linked to the struggle against Argentina’s brutal junta that disappeared so many of its own citizens in the late 1970s.\u003c/p>\n\u003cp>Other guests bring out her lighter side. Parra sounds right at home stepping into the aspirational world of \u003ca href=\"http://www.tuckandpatti.com/\">Tuck and Patti\u003c/a> on her original song “Dare to Dream,” and South Bay jazz \u003ca href=\"http://primarycolorsmusic.com/about/nate-pruitt/\">singer Nate Pruitt\u003c/a> struts with her on an Afro-Cuban arrangement of the swooning “Music Man” ballad “Till There Was You.” Clearly, Parra is still finding gold as she scours the New World for fresh material.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11021069\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-800x800.jpg\" alt=\"MelissaMorgan-DaysLikeThis\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/MelissaMorgan-DaysLikeThis-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.melissamorganjazz.com/\">Melissa Morgan\u003c/a>’s new album, “Days Like This,\" is more of a reintroduction than a bold new step. She made a strong impression back in 2009 with her debut album “Until I Met You” (Telarc), a critically hailed session featuring a stellar cast of young musicians led by \u003ca href=\"http://geraldclayton.com/\">pianist Gerald Clayton\u003c/a>. Based in Los Angeles then, she relocated to the Bay Area a few years ago and has been connecting with some of the best players in the region, like pianist Larry Vuckovich and saxophonist Noel Jewkes.\u003c/p>\n\u003cp>For her second album she drew on her former L.A, comrades, players like \u003ca href=\"http://grahamdechter.com/\">guitarist Graham Dechter\u003c/a>, drummer Kevin Kanner and Clayton, now one of New York’s most esteemed pianists. A digital-only release, Morgan is planning to put out the project as a CD in the coming months.\u003c/p>\n\u003cp>It’s a blues-oriented session, which means Morgan is in her element. She delivers the title track, a Mose Allison classic, with such a tart world-weariness that she seems like his long-lost daughter. She sounds crisp and authoritative tearing through Wes Montgomery’s standard “West Coast Blues,” but her aching version of “You Don’t Know Me” and captivatingly sultry take on “Wild Is the Wind” make me long for a whole program of Morgan singing ballads and torch songs.\u003c/p>\n\u003cp>While \"Days Like This\" offers just a glimpse of what Morgan can do, it doesn’t take more than that to recognize a tremendously gifted singer with a very bright future.\u003c/p>\n\u003cp>Kat Parra performs at San Jose's \u003ca href=\"https://www.destinationhotels.com/hotel-de-anza/events\">Hedley Club\u003c/a> on Aug. 12, Saratoga's \u003ca href=\"http://cafepinkhouse.com/\">Cafe Pink House\u003c/a> on Aug. 20, and North Hollywood's \u003ca href=\"https://apps.vendini.com/ticket-software.html?t=tix&w=abe1f9cf62f8a0b9d529f8e560d241c1&vqitq=98c4f29d-38da-424d-855d-4eae42e958c7&vqitp=4ab93519-9593-45c5-a90e-1f977c98e2fa&vqitts=1456159698&vqitc=vendini&vqite=itlwww&vqitrt=Safetynet&vqith=5b1226e8689a36b556e64886a79a3dd3\">E Spot Lounge \u003c/a>on Sept. 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Melissa Morgan performs at Brisbane's \u003ca href=\"https://www.facebook.com/events/993384834112583/\">7 Mile House\u003c/a> on July 26 and \u003ca href=\"http://soundroom.org/#\">Oakland's Sound Room\u003c/a> on Aug. 13.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Songs for People Who've Been Homeless: The Bay Area's Empathy on Record",
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"content": "\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BPIXlsXurdI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DgwJQj2E6So\u003c/p>\n\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=eXvBjCO19QY\u003c/p>\n\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k2Qq_tBhDsQ\u003c/p>\n\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=sgpa7wEAz7I\u003c/p>\n\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\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/BPIXlsXurdI'\n title='//www.youtube.com/embed/BPIXlsXurdI'\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>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\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/DgwJQj2E6So'\n title='//www.youtube.com/embed/DgwJQj2E6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\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/eXvBjCO19QY'\n title='//www.youtube.com/embed/eXvBjCO19QY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\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/k2Qq_tBhDsQ'\n title='//www.youtube.com/embed/k2Qq_tBhDsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\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/sgpa7wEAz7I'\n title='//www.youtube.com/embed/sgpa7wEAz7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At Camarillo High School, students are building electric guitars in the name of science. \u003ca href=\"http://www.guitarbuilding.org/\" target=\"_blank\" rel=\"noopener\">The STEM Guitar Project\u003c/a>, a National Science Foundation-funded program, gets students to explore science, math and technology through handcrafted woodwork and the physics of instrument making.\u003c/p>\n\u003cp>“It’s increased interest in wood shop by students who wouldn’t normally take it and by woodworking and their interest in science that wouldn’t normally have taken physics. So it’s been a win-win,” said Chip Mills, who teaches the wood shop portion of the program at Camarillo High.\u003c/p>\n\u003cp>About a dozen students at the Ventura County school are currently participating in the program. Mills said students often wonder why they need to know math.\u003c/p>\n\u003cp>“When they’re in here having to do fractions and use Pythagoras’ theorem and all of that where mathematics is used so much, it’s kind of illuminating and makes mathematics more relevant to them,” said Mills.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/268543564″ 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>The wood shop teacher talks a lot about curves and angles in his class. If they’re wrong, the guitar components won’t fit together like they’re supposed to. And the guitar is at the heart of what attracts students to this class, like Senior Zach Thatcher. “That’s the only reason I took it,” Thatcher said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a recent visit to the class, Thatcher is sanding down his guitar, smoothing out the edges, which have been curved by hand. The sweet sounds of the STEM Guitar Project also lured Thatcher into another class he never thought he’d take: physics.\u003c/p>\n\u003cp>“Physics is pretty hard, but it’s also really interesting. So it kind of worked out,” Thatcher said. “I took physics just so I could build the guitar also — that’s the only reason I’m in physics, too. But physics turned out to be really interesting.”\u003c/p>\n\u003cp>That’s the kind of reaction the creators of the STEM Guitar Project were hoping for when they started it in Washington state seven years ago.\u003c/p>\n\u003cp>Now, the project is hitting notes at more than 21 schools and school districts in California, including campuses in Orange, San Diego and Ventura counties.\u003c/p>\n\u003cfigure id=\"attachment_10985404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg\" alt=\"Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School.\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-960x666.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School. \u003ccite>(Susan Valot/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The STEM Guitar Project’s Scot Rabe of Ventura College said organizers knew it would be a hit with students during a training for teachers in Southern California. \u003c/p>\n\u003cp>“At the end of the second day — it was a five-day experience, the first time I’d ever built a guitar — we had rooms packed with high school kids who just wanted to see what was going on,” Rabe said. “So we knew, instantly, it was a winner.”\u003c/p>\n\u003cp>The program trains teachers of all kinds how to build electric guitars. Then schools can buy guitar-building kits — at cost — for students. Rabe said guitar-building is the rock star jumping off point for all sorts of subjects, from the math of musical notes to the poetry of song lyrics to the inner workings of the guitars.\u003c/p>\n\u003cp>“Then there’s the actual mechanics, the physics of the guitar, and why are the strings the length they are and how much tension is on them when we tighten them? Why do they make different sounds from one string to the next?” Rabe listed off.\u003c/p>\n\u003cp>In the class at Camarillo High School, students will learn about electricity and metals as they solder together the components of their guitars. Once they’re finished, senior Farhan Saleh will have a new challenge. \u003c/p>\n\u003cp>“I don’t actually know how to play instruments,” Saleh said. Regardless, Saleh said he looks forward to plucking the strings of his labor.\u003c/p>\n\u003cp>“It kind of shows that your work is paying off,” Saleh said. “People kind of take it for granted as they buy it and they play it and they kind of get rid of it as it gets old. And … as you’re building, you kind of see how much work and effort goes into actually building these.”\u003c/p>\n\u003cp>STEM Guitar Project organizers hope the students will not only take the guitar home with them, but a passion for hard work and learning, as well.\u003c/p>\n\u003cp>“It’s really enjoyable and relaxing to be able to make something out of wood,” said student Timothy Lee. “And it’s just really fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece was made with support from KCRW’s Independent Producer Project.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Camarillo High School, students are building electric guitars in the name of science. \u003ca href=\"http://www.guitarbuilding.org/\" target=\"_blank\" rel=\"noopener\">The STEM Guitar Project\u003c/a>, a National Science Foundation-funded program, gets students to explore science, math and technology through handcrafted woodwork and the physics of instrument making.\u003c/p>\n\u003cp>“It’s increased interest in wood shop by students who wouldn’t normally take it and by woodworking and their interest in science that wouldn’t normally have taken physics. So it’s been a win-win,” said Chip Mills, who teaches the wood shop portion of the program at Camarillo High.\u003c/p>\n\u003cp>About a dozen students at the Ventura County school are currently participating in the program. Mills said students often wonder why they need to know math.\u003c/p>\n\u003cp>“When they’re in here having to do fractions and use Pythagoras’ theorem and all of that where mathematics is used so much, it’s kind of illuminating and makes mathematics more relevant to them,” said Mills.\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/268543564″&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/268543564″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The wood shop teacher talks a lot about curves and angles in his class. If they’re wrong, the guitar components won’t fit together like they’re supposed to. And the guitar is at the heart of what attracts students to this class, like Senior Zach Thatcher. “That’s the only reason I took it,” Thatcher said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent visit to the class, Thatcher is sanding down his guitar, smoothing out the edges, which have been curved by hand. The sweet sounds of the STEM Guitar Project also lured Thatcher into another class he never thought he’d take: physics.\u003c/p>\n\u003cp>“Physics is pretty hard, but it’s also really interesting. So it kind of worked out,” Thatcher said. “I took physics just so I could build the guitar also — that’s the only reason I’m in physics, too. But physics turned out to be really interesting.”\u003c/p>\n\u003cp>That’s the kind of reaction the creators of the STEM Guitar Project were hoping for when they started it in Washington state seven years ago.\u003c/p>\n\u003cp>Now, the project is hitting notes at more than 21 schools and school districts in California, including campuses in Orange, San Diego and Ventura counties.\u003c/p>\n\u003cfigure id=\"attachment_10985404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg\" alt=\"Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School.\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-960x666.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School. \u003ccite>(Susan Valot/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The STEM Guitar Project’s Scot Rabe of Ventura College said organizers knew it would be a hit with students during a training for teachers in Southern California. \u003c/p>\n\u003cp>“At the end of the second day — it was a five-day experience, the first time I’d ever built a guitar — we had rooms packed with high school kids who just wanted to see what was going on,” Rabe said. “So we knew, instantly, it was a winner.”\u003c/p>\n\u003cp>The program trains teachers of all kinds how to build electric guitars. Then schools can buy guitar-building kits — at cost — for students. Rabe said guitar-building is the rock star jumping off point for all sorts of subjects, from the math of musical notes to the poetry of song lyrics to the inner workings of the guitars.\u003c/p>\n\u003cp>“Then there’s the actual mechanics, the physics of the guitar, and why are the strings the length they are and how much tension is on them when we tighten them? Why do they make different sounds from one string to the next?” Rabe listed off.\u003c/p>\n\u003cp>In the class at Camarillo High School, students will learn about electricity and metals as they solder together the components of their guitars. Once they’re finished, senior Farhan Saleh will have a new challenge. \u003c/p>\n\u003cp>“I don’t actually know how to play instruments,” Saleh said. Regardless, Saleh said he looks forward to plucking the strings of his labor.\u003c/p>\n\u003cp>“It kind of shows that your work is paying off,” Saleh said. “People kind of take it for granted as they buy it and they play it and they kind of get rid of it as it gets old. And … as you’re building, you kind of see how much work and effort goes into actually building these.”\u003c/p>\n\u003cp>STEM Guitar Project organizers hope the students will not only take the guitar home with them, but a passion for hard work and learning, as well.\u003c/p>\n\u003cp>“It’s really enjoyable and relaxing to be able to make something out of wood,” said student Timothy Lee. “And it’s just really fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece was made with support from KCRW’s Independent Producer Project.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>“Because you’re young, you’re angry, you can break a bone and you just don’t care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody’s going to tell you what to do. They’re going to applaud you.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/268544098″ 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>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, “\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they’re playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I’m not doing it. Just get your noise out and play. That’s the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there’s a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>“Los Punks” introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>“I’m 15,” giggles April in the film. “I’m probably like the only one’s that’s like young in the scene.”\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But “Los Punks” also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in ‘Los Punks.’\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, ‘Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,’ ” explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. “Los Punks” captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn’t speak any English. And she’s like, well I just don’t want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don’t really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out — not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\" rel=\"noopener\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.”\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes “Los Punks” can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>“Los Punks: We Are All We Have” screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n",
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"title": "Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>“Because you’re young, you’re angry, you can break a bone and you just don’t care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody’s going to tell you what to do. They’re going to applaud you.”\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/268544098″&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/268544098″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, “\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they’re playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I’m not doing it. Just get your noise out and play. That’s the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there’s a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>“Los Punks” introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>“I’m 15,” giggles April in the film. “I’m probably like the only one’s that’s like young in the scene.”\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But “Los Punks” also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in ‘Los Punks.’\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, ‘Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,’ ” explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. “Los Punks” captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn’t speak any English. And she’s like, well I just don’t want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don’t really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out — not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\" rel=\"noopener\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.”\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes “Los Punks” can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>“Los Punks: We Are All We Have” screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun",
"title": "L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'",
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"headTitle": "L.A.’s Punk History Comes to Light in ‘Under the Big Black Sun’ | KQED",
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"content": "\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266809431″ 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>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n",
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"excerpt": "A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.",
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"title": "L.A.'s Punk History Comes to Light in 'Under the Big Black Sun' | KQED",
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"nprByline": "\u003cstrong>Peter Gilstrap\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\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/266809431″&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/266809431″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Music: A Massive Grateful Dead Tribute, East L.A.'s 'Stars at Night'",
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"content": "\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oddNibVais8\u003c/p>\n\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCanZehKVD0\u003c/p>\n\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DCyAE-UJVng\u003c/p>\n\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oddNibVais8'\n title='//www.youtube.com/embed/oddNibVais8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\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/HCanZehKVD0'\n title='//www.youtube.com/embed/HCanZehKVD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\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/DCyAE-UJVng'\n title='//www.youtube.com/embed/DCyAE-UJVng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/264036523\" 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>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\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/264036523&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/264036523'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Jazz From a Cuban Pianist and a Former Kronos Quartet Cellist",
"title": "New Jazz From a Cuban Pianist and a Former Kronos Quartet Cellist",
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"content": "\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BKxsv9bxok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\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/_BKxsv9bxok'\n title='//www.youtube.com/embed/_BKxsv9bxok'\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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"disqusTitle": "Music Picks for April: Egyptian Lover, Rogue Wave and Terrace Martin",
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"content": "\u003cp>\u003cstrong>Egyptian Lover, “1983-1988” (Stones Throw)\u003c/strong>\u003c/p>\n\u003cp>By any measure, the music of L.A.’s Egyptian Lover — born Greg Broussard, who came out of the Uncle Jam’s Army DJ collective — was, and remains, pretty weird. And yet, for a brief time in the mid-‘80s he was \u003cem>the\u003c/em> leader of the nascent hip-hop of this city. With N.W.A’s story told in the acclaimed “Straight Outa Compton” movie and the group just now inducted into the Rock and Roll Hall of Fame, and with Kendrick Lamar, the Odd Future collective and others here surging as global forces, it’s a perfect time to look back at this pioneer and celebrate that weirdness.\u003c/p>\n\u003cp>His “Theme” was a series of beeps and blips and squiggles. His musical quotes and references could swing from the instrumental middle of the Mamas and the Papas’ “California Dreaming” (on “Yes, Yes, Yes”) to the Big Bopper (“Dial-a-Freak” opens with a telephone beep-beep dialing, ‘80s style, followed by his heavily echoed voice going “Helloooo, baby!”) to minimalist Prince-ly funk. And on the sort-of-also theme “Egypt, Egypt,” he evokes Kraftwerk so strongly that you might expect the robotic vocals to be in German, though they are in English. And capping that song off is the familiar melody “The Streets of Cairo,” the tune to which generations of kids have sung “There’s a place in France, where the ladies wear no pants.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjFs9CPGhts\u003c/p>\n\u003cp>This collection, nearly two hours long, captures the achievements of his five-year heyday, a time when hip-hop/rap was young and barely scratching the mainstream, other than the surging New York scene led by Grandmaster Flash, Run-DMC and LL Cool J. The West Coast? Not really a factor at all at that point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in the course of this we hear Mr. Lover go from a guy obsessed with Kraftwerk, Prince and Rick James playing around with relatively primitive technology of a Roland TR-808 rhythm generator (still his favorite tool to this day) to someone able to headline a triumphant showcase for a burgeoning, if ill-defined scene, a show at Santa Ana stadium that also featured the World Class Wreckin Cru and L.A. Dream Team. Not incidentally, the Wreckin Cru included pre-N.W.A Dr. Dre and DJ Yella.\u003c/p>\n\u003cp>Throughout three themes remain constant, his randy, suave ladies man persona (we should note that on his album covers he’s billed as \u003cem>The\u003c/em> Egyptian Lover), the oft-winking use of Egyptian iconography in images, titles and lyrics and some prime existential DJ boasting. For the latter, paired on this collection “What Is a DJ If He Can’t Scratch?” and “And My Beat Goes Boom” are minimalist anthems, “Boom” being little more than a spare beat and vocals, perhaps consciously imitating/spoofing Melle Mel’s “White Lines.”\u003c/p>\n\u003cp>The music gained in some range and sophistication — “I Cry (Night After Night)” even features a snaky, Isleys-like guitar. But he never let go of the stripped-down aesthetic. By the end of the decade he was obscured by the rising gangsta-rap wave in L.A., even though he’d been a key influence and inspiration to many of its key figures. Listening to the collected works here, though, the idiosyncratic vision remains compelling, the relative naivety of it delightful, the beats and persona equally charming.\u003c/p>\n\u003cp>\u003cstrong>Terrace Martin, “Velvet Portraits” (Sounds Of Crenshaw/Ropeadope)\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Okay, well the title might carry a bit of an ironic wink, given how much of the music on L.A.-based sax player Martin’s second album evokes the smooth jazz and soul of the ‘70s — the velvet portrait sweet spot. Following a jazzy invocation of the short title track, the album kicks in with “Valdez Off Crenshaw,” which could almost have been on an old Grover Washington album.\u003c/p>\n\u003cp>But this is music made with such love and care that it’s hard to doubt the sincerity behind it. Even more so as while it’s the predominant style, it’s far from the only one, threading through a landscape that also includes Curtis Mayfield-like wah-wah funk (“Push,” featuring Tone Trezure), impassioned ‘60s-style soul balladry (“Patiently Waiting,” sung by Uncle Chucc and the classic vocal group the Emotions), slinky R&B-jazz (“Think of You” sung by Rose Gold) to a squonky P-Funk homage (“With You”) to a seven-minute jazz-funk workout (“Curly Martin,” named for his drummer, who happens to be Martin’s dad).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3rZJVwKgv_4&feature=youtu.be\u003c/p>\n\u003cp>Martin proudly calls all this “the Sound of Crenshaw,” which is also his label’s name. That sound, he says, is found in everything he’s done, which includes work with Kendrick Lamar (you might have seen him wailing away on the stunning Grammy show performance) and Herbie Hancock (he’s producing some tracks for the jazz-funk man right now).\u003c/p>\n\u003cp>Like fellow saxophonist Kamasi Washington (who guests on this album), he’s been part of the L.A. musical collective anchored by bassist-entrepreneur Thundercat (who also guests). Others sitting in and supplementing Martin’s regular quartet include groundbreaking pianist Robert Glasper and singer Lalah Hathaway (on the forceful “Oakland”)\u003c/p>\n\u003cp>And it all comes to a close on a harder-to-classify note, starting with the odd disjointed electronically manipulated impressionism of “Reverse,” flowing into the closing, 12-minute floating dream-distortion instrumental “Mortal Man,” which continues a journey followed on the same-named closer of Lamar’s “To Pimp a Butterfly.”\u003c/p>\n\u003cp>It’s not the tour de force statement of “Butterfly” or Washington’s epic “Epic” from last year, but it’s an impressive, uh, portrait from and of an emerging artist of talent and vision.\u003c/p>\n\u003cp>\u003cstrong>Rogue Wave, “Delusions of Grand Fur” (Easy Sound)\u003c/strong>\u003c/p>\n\u003cp>Maybe it’s too early for a cool summer song, but “California Bride,” from Oakland band Rogue Wave’s new fifth album, is a strong pick for spring. It’s about looking for new hopes, new vistas, pulling yourself out of darkness, not giving up. And it just \u003cem>sounds\u003c/em> like spring. Even if we’re not totally sure what Zach Rogue means by “you lucked out like a California Bride.”\u003c/p>\n\u003cp>Well, that’s not something new from Rogue (not his real name, as you may have guessed), either the sound of hope or the somewhat obscure references.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TU-RB00FoBQ&feature=youtu.be\u003c/p>\n\u003cp>On the one hand. On the other, at least hope-wise, there’s “What is Left to Solve,” its Kraftwerk-echoing electronic pulse carrying Rogue’s musings about the existential void of life in a time when all the answers can be found on our phones — except for to the questions that really matter: “If everything’s my fault,” he sings, “what is left to solve?” A nagging, rhetorical querry for, or from, that bride.\u003c/p>\n\u003cp>Those two songs more or less frame “Delusions of Grand Fur” (do we love the title or what?) both in terms of the emotional and musical tones. With singer-guitarist Rogue along with co-founder drummer and keyboardist Patrick Spurgeon anchoring the band, as they have since the start in 2002, this album sees a turn to more intimate approaches vs. the bigger, more polished sounds on earlier albums for major indie labels Sub Pop and Vagrant. This not only debuts their own label, but saw them recording largely at home in Oakland, where they found a nice mix of, well, homeyness and an ability to explore and experiment at will.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So “California Bride” is closer to the old sound — alt-pop with some arty touches — and “What Is Left to Solve” somewhat newer with the electronics emphasis. Elsewhere there are various shades and mixes of those two sides, some echoes of Brian Wilson here, some faint imprints of ‘80s pop a la the Cure there, never enough to be dominant elements, but just enough to provide some nice accents. Everything is hummable, but with some twists, a bit askew, open and inviting and yet not quite fully revealing, some mystery left. Veiled… like a California bride.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Egyptian Lover, “1983-1988” (Stones Throw)\u003c/strong>\u003c/p>\n\u003cp>By any measure, the music of L.A.’s Egyptian Lover — born Greg Broussard, who came out of the Uncle Jam’s Army DJ collective — was, and remains, pretty weird. And yet, for a brief time in the mid-‘80s he was \u003cem>the\u003c/em> leader of the nascent hip-hop of this city. With N.W.A’s story told in the acclaimed “Straight Outa Compton” movie and the group just now inducted into the Rock and Roll Hall of Fame, and with Kendrick Lamar, the Odd Future collective and others here surging as global forces, it’s a perfect time to look back at this pioneer and celebrate that weirdness.\u003c/p>\n\u003cp>His “Theme” was a series of beeps and blips and squiggles. His musical quotes and references could swing from the instrumental middle of the Mamas and the Papas’ “California Dreaming” (on “Yes, Yes, Yes”) to the Big Bopper (“Dial-a-Freak” opens with a telephone beep-beep dialing, ‘80s style, followed by his heavily echoed voice going “Helloooo, baby!”) to minimalist Prince-ly funk. And on the sort-of-also theme “Egypt, Egypt,” he evokes Kraftwerk so strongly that you might expect the robotic vocals to be in German, though they are in English. And capping that song off is the familiar melody “The Streets of Cairo,” the tune to which generations of kids have sung “There’s a place in France, where the ladies wear no pants.”\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/qjFs9CPGhts'\n title='//www.youtube.com/embed/qjFs9CPGhts'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This collection, nearly two hours long, captures the achievements of his five-year heyday, a time when hip-hop/rap was young and barely scratching the mainstream, other than the surging New York scene led by Grandmaster Flash, Run-DMC and LL Cool J. The West Coast? Not really a factor at all at that point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in the course of this we hear Mr. Lover go from a guy obsessed with Kraftwerk, Prince and Rick James playing around with relatively primitive technology of a Roland TR-808 rhythm generator (still his favorite tool to this day) to someone able to headline a triumphant showcase for a burgeoning, if ill-defined scene, a show at Santa Ana stadium that also featured the World Class Wreckin Cru and L.A. Dream Team. Not incidentally, the Wreckin Cru included pre-N.W.A Dr. Dre and DJ Yella.\u003c/p>\n\u003cp>Throughout three themes remain constant, his randy, suave ladies man persona (we should note that on his album covers he’s billed as \u003cem>The\u003c/em> Egyptian Lover), the oft-winking use of Egyptian iconography in images, titles and lyrics and some prime existential DJ boasting. For the latter, paired on this collection “What Is a DJ If He Can’t Scratch?” and “And My Beat Goes Boom” are minimalist anthems, “Boom” being little more than a spare beat and vocals, perhaps consciously imitating/spoofing Melle Mel’s “White Lines.”\u003c/p>\n\u003cp>The music gained in some range and sophistication — “I Cry (Night After Night)” even features a snaky, Isleys-like guitar. But he never let go of the stripped-down aesthetic. By the end of the decade he was obscured by the rising gangsta-rap wave in L.A., even though he’d been a key influence and inspiration to many of its key figures. Listening to the collected works here, though, the idiosyncratic vision remains compelling, the relative naivety of it delightful, the beats and persona equally charming.\u003c/p>\n\u003cp>\u003cstrong>Terrace Martin, “Velvet Portraits” (Sounds Of Crenshaw/Ropeadope)\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Okay, well the title might carry a bit of an ironic wink, given how much of the music on L.A.-based sax player Martin’s second album evokes the smooth jazz and soul of the ‘70s — the velvet portrait sweet spot. Following a jazzy invocation of the short title track, the album kicks in with “Valdez Off Crenshaw,” which could almost have been on an old Grover Washington album.\u003c/p>\n\u003cp>But this is music made with such love and care that it’s hard to doubt the sincerity behind it. Even more so as while it’s the predominant style, it’s far from the only one, threading through a landscape that also includes Curtis Mayfield-like wah-wah funk (“Push,” featuring Tone Trezure), impassioned ‘60s-style soul balladry (“Patiently Waiting,” sung by Uncle Chucc and the classic vocal group the Emotions), slinky R&B-jazz (“Think of You” sung by Rose Gold) to a squonky P-Funk homage (“With You”) to a seven-minute jazz-funk workout (“Curly Martin,” named for his drummer, who happens to be Martin’s dad).\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/3rZJVwKgv_4'\n title='//www.youtube.com/embed/3rZJVwKgv_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Martin proudly calls all this “the Sound of Crenshaw,” which is also his label’s name. That sound, he says, is found in everything he’s done, which includes work with Kendrick Lamar (you might have seen him wailing away on the stunning Grammy show performance) and Herbie Hancock (he’s producing some tracks for the jazz-funk man right now).\u003c/p>\n\u003cp>Like fellow saxophonist Kamasi Washington (who guests on this album), he’s been part of the L.A. musical collective anchored by bassist-entrepreneur Thundercat (who also guests). Others sitting in and supplementing Martin’s regular quartet include groundbreaking pianist Robert Glasper and singer Lalah Hathaway (on the forceful “Oakland”)\u003c/p>\n\u003cp>And it all comes to a close on a harder-to-classify note, starting with the odd disjointed electronically manipulated impressionism of “Reverse,” flowing into the closing, 12-minute floating dream-distortion instrumental “Mortal Man,” which continues a journey followed on the same-named closer of Lamar’s “To Pimp a Butterfly.”\u003c/p>\n\u003cp>It’s not the tour de force statement of “Butterfly” or Washington’s epic “Epic” from last year, but it’s an impressive, uh, portrait from and of an emerging artist of talent and vision.\u003c/p>\n\u003cp>\u003cstrong>Rogue Wave, “Delusions of Grand Fur” (Easy Sound)\u003c/strong>\u003c/p>\n\u003cp>Maybe it’s too early for a cool summer song, but “California Bride,” from Oakland band Rogue Wave’s new fifth album, is a strong pick for spring. It’s about looking for new hopes, new vistas, pulling yourself out of darkness, not giving up. And it just \u003cem>sounds\u003c/em> like spring. Even if we’re not totally sure what Zach Rogue means by “you lucked out like a California Bride.”\u003c/p>\n\u003cp>Well, that’s not something new from Rogue (not his real name, as you may have guessed), either the sound of hope or the somewhat obscure references.\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/TU-RB00FoBQ'\n title='//www.youtube.com/embed/TU-RB00FoBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the one hand. On the other, at least hope-wise, there’s “What is Left to Solve,” its Kraftwerk-echoing electronic pulse carrying Rogue’s musings about the existential void of life in a time when all the answers can be found on our phones — except for to the questions that really matter: “If everything’s my fault,” he sings, “what is left to solve?” A nagging, rhetorical querry for, or from, that bride.\u003c/p>\n\u003cp>Those two songs more or less frame “Delusions of Grand Fur” (do we love the title or what?) both in terms of the emotional and musical tones. With singer-guitarist Rogue along with co-founder drummer and keyboardist Patrick Spurgeon anchoring the band, as they have since the start in 2002, this album sees a turn to more intimate approaches vs. the bigger, more polished sounds on earlier albums for major indie labels Sub Pop and Vagrant. This not only debuts their own label, but saw them recording largely at home in Oakland, where they found a nice mix of, well, homeyness and an ability to explore and experiment at will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So “California Bride” is closer to the old sound — alt-pop with some arty touches — and “What Is Left to Solve” somewhat newer with the electronics emphasis. Elsewhere there are various shades and mixes of those two sides, some echoes of Brian Wilson here, some faint imprints of ‘80s pop a la the Cure there, never enough to be dominant elements, but just enough to provide some nice accents. Everything is hummable, but with some twists, a bit askew, open and inviting and yet not quite fully revealing, some mystery left. Veiled… like a California bride.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"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.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
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