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"content": "\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/250267435\" 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>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Sunday night for the last two years, San Francisco's \u003ca href=\"http://www.boomboomroom.com/\" target=\"_blank\">Boom Boom Room\u003c/a> has played host to \u003ca href=\"https://www.facebook.com/SFCypher/\" target=\"_blank\">Return of the Cypher\u003c/a>, or ROTC for short.\u003c/p>\n\u003cp>The event's website describes it as a show that “features amazing local freestyle artists taking the stage in improvised sessions, known as Cyphers, where emcees, singers, beat-boxers and musicians collaborate in a spontaneous combustion of pure skill.”\u003c/p>\n\u003cfigure id=\"attachment_10879268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879268\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg\" alt=\"Hip-Hop artist Flo J Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area.\" width=\"800\" height=\"548\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-800x548.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/FloJSimpson-960x658.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop artist Flo J. Simpson takes the stage at the Boom Boom Room in San Francisco. The Sunday night Return of the Cypher event draws rappers from across the Bay Area. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I checked it out one Sunday night to see for myself.\u003c/p>\n\u003cp>Under a pink neon sign advertising \"Live Grooves, Cocktails and Dancing,\" music bursts onto the sidewalk as local emcees with varying skills take turns on the mic, honoring the hip-hop artists who came before them.\u003c/p>\n\u003cp>Opening \u003ca href=\"http://www.sfweekly.com/shookdown/2013/10/24/dj-kevvy-kev-on-djing-for-the-rza-playing-chess-onstage-and-the-decline-of-commercial-radio\" target=\"_blank\">DJ Kevvy Kev\u003c/a> has been spinning records in the Bay Area for over 30 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"ROTC is something that needed to happen, so we built it,” Kev explains. “And the response has been really, really cool. It’s been gratifying to see the response. It’s my favorite thing that I do every week.\"\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/250267435&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/250267435'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>DJing wasn’t a part of Kev's plan when he moved to California in the early 1980s to attend Stanford University. His initial goal was to graduate with a degree in chemical engineering, but everything suddenly changed when he studied abroad.\u003c/p>\n\u003cp>“My junior year I went over to France for a quarter. This was the year hip-hop was exploding overseas,” Kev says. “So my timing was exact. I went over there, and it was the first time that anyone reacted to me as the hip-hop guy. It meant something to be a DJ, an emcee or a B-Boy. They were really into the culture over there, so I started thinking in terms of maybe this isn’t the plan B, maybe chemistry is the plan B.\"\u003c/p>\n\u003cfigure id=\"attachment_10885288\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10885288\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/KevvyKev-800x1078.jpg\" alt=\"DJ Kevvy Kev\" width=\"800\" height=\"1078\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/KevvyKev-400x539.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Kevvy Kev \u003ccite>(cgnsfo/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kev hasn’t put the turntable down since. After returning to Stanford he began DJing for the university’s hip-hop radio show, \"The Drum,\" \u003ca href=\"http://www.amoeba.com/blog/2008/11/jamoeblog/interview-with-kevvy-kev-host-of-world-s-longest-running-hip-hop-radio-show-the-drum-on-kzsu-stanford.html\" target=\"_blank\">where he continued DJing for 27 years\u003c/a>.\u003c/p>\n\u003cp>Back at the Boom Boom Room on Fillmore Street, Kev wraps up his first set and makes room for the Gemstone Band, who take over and keep the rhythm going for the rest of the Cypher.\u003c/p>\n\u003cp>Cyphers are unique events, dating back to the late 1970s when rappers, beat-boxers and dancers would gather in a circle and take turns showing off their skills in one big open jam session.\u003c/p>\n\u003cp>ROTC’s Cypher works a little differently. Rappers get one minute to freestyle onstage. A head emcee keeps the time on an old school hourglass sand timer and passes along the mic to the next rapper when time runs out. Performers can go back on stage, but they’ll have to get in line among the many waiting. Meanwhile, the band just keeps playing, seamlessly changing the beat every few minutes.\u003c/p>\n\u003cfigure id=\"attachment_10879343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10879343\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/CypherMC-800x568.jpg\" alt=\"A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher.\" width=\"800\" height=\"568\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/CypherMC-960x682.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A local hip-hop artist takes the stage at the Boom Boom Room in San Francisco at Return of the Cypher. \u003ccite>(Alex Cwalinski/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also some great dancers who bust out some impressive moves. “Just about every week there's somebody that gets open on the floor and starts spinning on their neck,” Kev says.\u003c/p>\n\u003cp>The event is very inclusive and I didn’t see anyone getting turned away from the mic.\u003c/p>\n\u003cp>Local hip-hop artist Flo J. Simpson has been coming to ROTC for about a year now, and he told me why he keeps coming back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I really believe it’s the positivity and the atmosphere that’s created, where everyone feels comfortable expressing themselves, however they do it,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"title": "'Salt Into the Wound': Why Anohni Is Skipping the Oscars",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f1JiJhWkM9M\u003c/p>\n\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=\"y9KvQtaAGcLOjPzagrLi7NblGmZbxaxg\"]\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What was behind the decision not to invite the artists behind two tunes nominated for Best Original Song to perform on Sunday night's Academy Awards broadcast?\u003c/p>\n\u003cp>One of the snubbed musicians is singer and lyricist \u003ca href=\"http://anohni.com/\" target=\"_blank\">Anohni\u003c/a>, whose song \"Manta Ray,\" with music by J. Ralph appears in the documentary \u003cem>Racing Extinction.\u003c/em> On Thursday, she published a heartfelt \u003ca href=\"http://antonyandthejohnsons.com/news/news.html\" target=\"_blank\">essay\u003c/a> on why she feels she was left out — and why she has decided not to attend the ceremony at all.\u003c/p>\n\u003cp>\u003cem>Variety\u003c/em> \u003ca href=\"http://variety.com/2016/film/in-contention/oscars-song-performances-youth-racing-extinction-1201710638/\" target=\"_blank\">reported\u003c/a> last week that both \"Manta Ray\" and Pulitzer Prize-winning American composer \u003ca href=\"http://www.npr.org/artists/120995816/david-lang\" target=\"_blank\">David Lang\u003c/a>'s \"Simple Song #3,\" sung by Grammy-winning soprano \u003ca href=\"http://www.npr.org/artists/16320515/sumi-jo\" target=\"_blank\">Sumi Jo\u003c/a>, were being omitted from the broadcast due to \"time constraints.\"\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/f1JiJhWkM9M'\n title='//www.youtube.com/embed/f1JiJhWkM9M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>However, the three other nominated artists — \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\">Lady Gaga\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\" target=\"_blank\">Sam Smith\u003c/a>, and \u003ca href=\"http://www.npr.org/artists/135036318/the-weeknd\" target=\"_blank\">The Weeknd\u003c/a> — will be \u003ca href=\"http://oscar.go.com/news/oscar-news/oscars-2016-presenters-and-performers-the-complete-list\" target=\"_blank\">singing\u003c/a> on Sunday evening, as will Foo Fighters frontman \u003ca href=\"http://www.npr.org/artists/173424658/dave-grohl\" target=\"_blank\">Dave Grohl\u003c/a> in a \"special performance.\" The Weeknd's \"Earned It,\" from \u003cem>Fifty Shades of Grey, \u003c/em>became a Top 3 \u003ca href=\"http://www.billboard.com/artist/419413/weeknd/chart?page=1&f=379\" target=\"_blank\">hit\u003c/a> on the \u003cem>Billboard \u003c/em>Hot 100 chart, and \"Writing's On The Wall,\" co-written by Sam Smith and Jimmy Nape, became the first James Bond movie theme to ever reach \u003ca href=\"http://www.officialcharts.com/chart-news/sam-smith-makes-history-with-first-ever-official-number-1-james-bond-theme-this-is-a-special-moment-i-ll-never-forget-__10891/\" target=\"_blank\">No. 1\u003c/a> on the British charts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Til It Happens to You,\" the song co-written by Lady Gaga and \u003ca href=\"http://www.npr.org/artists/127988436/diane-warren\" target=\"_blank\">Diane Warren\u003c/a> for the documentary \u003cem>The Hunting Ground\u003c/em>, hasn't made any headway on the American or British charts, but Gaga has been a staple during this awards telecast season, particularly after her Grammy Awards \u003ca href=\"http://www.npr.org/2016/02/21/467269601/it-changes-you-forever-lady-gaga-on-david-bowie-and-being-brave\" target=\"_blank\">tribute\u003c/a> to David Bowie earlier this month.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/therecord/2012/08/06/158237793/antonys-future-feminism-stage-banter-as-statement-of-purpose\" target=\"_blank\">Formerly known as\u003c/a> Antony (of \u003ca href=\"http://www.npr.org/artists/15239231/antony-and-the-johnsons\" target=\"_blank\">Antony and the Johnsons\u003c/a>), Anohni writes that she feels humiliated by the Academy's decision: \"There I was, feeling a sting of shame that reminded me of America's earliest affirmations of my inadequacy as a transperson.\"\u003c/p>\n\u003cp>But, she adds, she thinks that there is another issue at play:\u003c/p>\n\u003cblockquote>\n\u003cp>\"I want to be clear — I know that I wasn't excluded from the performance directly because I am transgendered. I was not invited to perform because I am relatively unknown in the U.S., singing a song about ecocide, and that might not sell advertising space. It is not me that is picking the performers for the night, and I know that I don't have an automatic right to be asked.\u003c/p>\n\u003cp>But if you trace the trail of breadcrumbs, the deeper truth of it is impossible to ignore. Like global warming, it is not one isolated event, but a series of events that occur over years to create a system that has sought to undermine me, at first as a feminine child, and later as an androgynous transwoman. It is a system of social oppression and diminished opportunities for transpeople that has been employed by capitalism in the U.S. to crush our dreams and our collective spirit.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>She added some stinging words for those artists, actors and other people who are participating in this year's ceremony: \"I will not be lulled into submission with a few more well manufactured, feel-good ballads and a bit of good old fashioned T. and A. They are going to try to convince us that they have our best interests at heart by waving flags for identity politics and fake moral issues. But don't forget that many of these celebrities are the trophies of billionaire corporations whose only intention it is to manipulate you into giving them your consent and the last of your money.\"\u003c/p>\n\u003cp>Anohni is the first transgendered performer ever nominated for an Oscar, but not the first transgendered artist. In the 1970s, the late composer Angela Morley was nominated for scores to \u003cem>The Little Prince\u003c/em> and \u003cem>The Slipper and the Rose\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As the British-born Morley wrote in an essay on her \u003ca href=\"http://www.angelamorley.com/site/bio.htm\" target=\"_blank\">website\u003c/a>, she was thrilled by how she was received in Hollywood: \"I went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying.\"\u003c/p>\n\u003cp>Over the past several years, there have been a few instances of certain Oscar-nominated songs not being performed on the live broadcast. In \u003ca href=\"http://deadline.com/2010/02/oscar-spoilers-best-original-song-artists-not-performing-25443/\" target=\"_blank\">2010\u003c/a> and \u003ca href=\"http://carpetbagger.blogs.nytimes.com/2012/02/08/without-man-or-muppet-singing-pharrell-williams-has-other-options/?_r=0\" target=\"_blank\">2012\u003c/a>, no nominated songs were given live performance airtime.\u003c/p>\n\u003cp>David Lang declined to comment for this story. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "3 New Jazz Albums by California Artists: Brian Andres, David James, Kneedelus",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n[soundcloud url=\"https://api.soundcloud.com/tracks/249103637\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TsVz3XzZBRg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E55fb4850Mo\u003c/p>\n\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LKq0Kv7GlgU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California continues to serve as a musical laboratory for catalytic collaborations. Three recent releases bring musicians together in very different ways while all arriving at fascinating destinations.\u003c/p>\n\u003cp>\u003ca href=\"http://www.brianandres.com/afro-cuban-jazz-cartel\">Drummer Brian Andres\u003c/a> and the Afro-Cuban Jazz Cartel is a talent-laden ensemble that has steadily expanded its rhythmic purview over the past decade. \u003c/p>\n\u003caside class=\"alignright\">\n\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/249103637&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/249103637'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/aside>\n\u003cp>With its third album, \"This Could Be That,\" the band delivers a consistently smart and entertaining program of Latin jazz and salsa. The Cartel’s core octet features some of the strongest players on the Bay Area scene, including a bevy of noted bandleaders (like \u003ca href=\"http://orquestadharma.com\">trombonist Jamie Dubberly\u003c/a>, and the co-leaders, Grammy Award-winning \u003ca href=\"http://www.pacificmambo.com\">Pacific Mambo Orchestra\u003c/a>, pianist Christian Tumalan and trumpeter Steffen Kuehn).\u003c/p>\n\u003cp>Just about every track features a noted guest artist, including Cuban-American vocalist \u003ca href=\"http://www.venissasanti.com\">Venissa Santi\u003c/a>, bata master \u003ca href=\"http://www.michaelspiro.com\">Michael Spiro\u003c/a>, Peruvian percussion star Alex Acuña and percussion maestro \u003ca href=\"http://johnsantos.com\">John Santos\u003c/a>. But what I love most about this band is the way it’s become a community affair in the Bay Area’s bustling Latin jazz scene. \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/TsVz3XzZBRg'\n title='//www.youtube.com/embed/TsVz3XzZBRg'\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>Players who don’t perform regularly with the band are eager to contribute arrangements, like bassist Saul Sierra’s tasty version of late Cuban percussion legend Daniel Ponce’s “Bacalaitos,” a chart that celebrates the cultural kinship between Cuba and Puerto Rico (with an assist from Fania All-Stars percussion great \u003ca href=\"http://www.mazacote.com\">Louie Romero\u003c/a>). For blazing Latin jazz, it’s hard to beat Tumalan’s concise version of Chick Corea’s fusion flag-waver “Got a Match?”\u003c/p>\n\u003cp>\u003cem> \u003cimg class=\"alignnone size-medium wp-image-10879047\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/JamesCover-800x600.jpg\" alt=\"JamesCover\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/JamesCover-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>If Andres and the Afro-Cuban Jazz Cartel is busy lighting fires, guitarist \u003ca href=\"http://www.heydavidjames.com\">David James's GPS\u003c/a> demonstrate the power of cool on \"Billionaire Blues.\" James is a veteran sideman who has done memorable work in an array of contexts, including Michael Franti and Spearhead, Sila and the Afrofunk Experience, and the \u003ca href=\"http://bethcuster.com\">Beth Custer Ensemble\u003c/a> (he's still performing with the latter two ). \u003c/p>\n\u003cp>After three decades of elevating other bandleaders’ projects, he’s put out his first album. And it’s a stunner.\u003c/p>\n\u003cp>James is known as a groove master, and there are some fierce ones on \"Billionaire Blues,\" but he’s more interested in creating long sinuous melodies and transparent textures than displaying his rhythmic chops. The album explores an array of styles, from the lithe reggae of “Rubber Foot” and the sinewy bop of “Obama Hop” to the playfully cartoonish bounce of “Wag the Puppy” and the elegant Afrobeat of “Black Ops.”\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/E55fb4850Mo'\n title='//www.youtube.com/embed/E55fb4850Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes the album cohere so beautifully is James’ uncluttered orchestrations. He makes brilliant use of his cast, creating spacious arrangements that leave plenty of space for his enviable cast of violist Dina Maccabee, bassist Lisa Mezzacappa, clarinetist Beth Custer, trombonist Alan Williams and drummer Jan Jackson (half of GPS — James, Jackson and Custer — can also be found in the Beth Custer Ensemble, as can entirely different versions of “Wag the Puppy” and “Black Ops” on her excellent new album \"For the Grace of Any Man\"). \u003c/p>\n\u003cp>A striking achievement by a player who’s been in the background far too long, \"Billionaire Blues\" is my favorite album of the year so far.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10879048\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg\" alt=\"kneedelus-main\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/kneedelus-main.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where James’ album seemed to come out of nowhere, the collaboration between the great avant funk jazz combo \u003ca href=\"http://www.kneebody.com\">Kneebody\u003c/a> and Los Angeles producer and beat master \u003ca href=\"http://daedelusmusic.com\">Daedalus\u003c/a> (aka Alfred Darlington) comes with a great deal of history. A digital release on \u003ca href=\"http://www.brainfeedersite.com\">Brainfeeder\u003c/a>, the creatively charged L.A. label responsible for saxophonist Kamasi Washington’s 2015 breakout \"The Epic,\" \"Kneedelus\" is the latest and most extensive encounter between artists with ties dating back to high school (where Kneebody saxophonist Ben Wendel and Darlington first met).\u003c/p>\n\u003cp>Some of the music has a celestial Miles Davis \"In A Silent Way\" vibe, and other times it brings to mind the space funk of Herbie Hancock’s Mwandishi band. But there’s nothing retro about \"Kneedelus.\" \u003c/p>\n\u003cp>I love the way the push and pull of sound manipulation keeps me off balance. Kneebody has honed an expansive sonic palette wedded to a menagerie of circuitous grooves unlike any other band, and with Daedalus subtly manipulating the proceedings it’s a truly seamless merging of sensibilities.\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/LKq0Kv7GlgU'\n title='//www.youtube.com/embed/LKq0Kv7GlgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>I see a \"Daedebody\" project in the future, but in the meantime, Kneedelus is \u003ca href=\"http://www.kneebody.com/tour/\">performing around California\u003c/a>, including Feb. 26 in San Diego, March 3 in Santa Cruz and March 4 in San Jose.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
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"content": "\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY_6-YTjMrw\u003c/p>\n\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vu1kBnR01VM\u003c/p>\n\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-mlg-fFJZGA\u003c/p>\n\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdW0g6jAxE\u003c/p>\n\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\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/xY_6-YTjMrw'\n title='//www.youtube.com/embed/xY_6-YTjMrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\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/Vu1kBnR01VM'\n title='//www.youtube.com/embed/Vu1kBnR01VM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\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/-mlg-fFJZGA'\n title='//www.youtube.com/embed/-mlg-fFJZGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\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/KXdW0g6jAxE'\n title='//www.youtube.com/embed/KXdW0g6jAxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Blues, Alive and Well in a South Central L.A. Garage",
"title": "The Blues, Alive and Well in a South Central L.A. Garage",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>On a sun-baked residential street in South Central L.A., you hear the constant ebb and flow of jets cruising in line toward Los Angeles International Airport. Unless you’re in Franklin Bell’s garage, where you hear the blues.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/227720239\" 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>For the last decade, 81-year-old Bell has hosted the Blues Workshop every Sunday, regular as church, in a one-car garage rebuilt to hold about 50 people. The place gets crowded, folks dressed to the nines. For a small, voluntary donation, they dance, eat and drink to music that ranges from raw to graceful. There’s a stage in the back, and anyone’s welcome to sit in.\u003c/p>\n\u003cp>“We play R&B, we play a lot of pop music, but basically we go with the blues,” explains Bell. “That’s what people look for when they come to the Workshop. They love to come to try to participate, play the blues and listen to it. And I just love that.”\u003c/p>\n\u003cfigure id=\"attachment_10713895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/MississippiBo-800x561.jpg\" alt=\"Guitarist and singer Mississippi Bo kicks back between sets.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-10713895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1440x1010.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Mississippi Bo kicks back between sets.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bell came to L.A. from his hometown of Tuscaloosa, Alabama in 1968. He ran a Chevron gas station that fell to the construction of the 105 Freeway. A musician since high school, he picked up his drums and hit the road. The years passed. His eyesight was failing, “and I was getting tired of the travel, hotel, motel, and carrying them drums,” says Bell. He hit on the idea of setting up shop in the garage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the players onstage dig in, finding and changing grooves, trading fours and eights, Bell works the crowd. He’s dapper, sporting a crisp, dark suit and tie despite the heat. He wears a white cap tilted back on his head. He carries a Styrofoam cup in his hand, sipping from it every now and again. He looks you in the eye when he speaks, despite being legally blind. It’s just part of getting older, and there’s a lot of that in the garage.\u003c/p>\n\u003cp>“The average age, you’re talking about 65. Average!” exclaims Bell. “So that means, we got people 75, 85, even 90 in the audience every Sunday. But young? Once in a while, maybe someone in their 50s, maybe under 50. Very few.”\u003c/p>\n\u003cp>Lester Lands is a guitarist and vocalist from Baton Rouge who cut his teeth on the southern gospel circuit. Lands looks about half of his 62 years.\u003c/p>\n\u003cp>“If you stop and think about it, the blues is for people that age, 60 and over,” Lands says. “A lot of them live the blues, coming out of the South and stuff, man. And still today, that’s their soundtrack, the blues. So that’s why it’s so nice and so popular around here.\"\u003c/p>\n\u003cfigure id=\"attachment_10713900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg\" alt=\"The dance floor kicks in on another Sunday in the garage.\" width=\"800\" height=\"671\" class=\"size-medium wp-image-10713900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-400x336.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1440x1208.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1180x990.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-960x806.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dance floor kicks in on another Sunday in the garage. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Workshop audience regular Betty Madison is a beautiful woman with a Lena Horne smile, another Bayou State transplant.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’m originally from Louisiana but I’ve been here since 1942,” she says. “I’m 84.” Eighty-four? Watching her work the dance floor, this is astonishing news.\u003c/p>\n\u003cp>“I’m here every Sunday,” Madison says. “I go to church and come home, get me a nap and then get dressed and come over and listen to the blues. 'Cause I enjoy the people, and the people be enjoying themselves. That’s what I like, too.”\u003c/p>\n\u003cp>Madison and most of the folks here fall into what’s known as the Second Great Migration of African-Americans, people who moved from states like Texas, Mississippi and Louisiana to cities in the North and West, a period that lasted from the early 1940s until about 1970. They came searching for jobs in California, and many found them in the burgeoning defense industry, as did harp player and singer Sammy Lee, who left Shreveport, Louisiana for the City of Angels in 1965.\u003c/p>\n\u003cp>“[I] graduated from high school,” Lee says. “Started working at a car wash. Few years later I got drafted, went in the Army. Came out the Army. Went to work for Northrop Aircraft.\u003c/p>\n\u003cp>“I met Bell in the early ‘80s when he was playing in a band. Then he got this place going. I think it’s fantastic. It’s a great place for the neighborhood. Keeps the blues alive, right here in South Central.”\u003c/p>\n\u003cfigure id=\"attachment_10712143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\">\u003cimg class=\"size-full wp-image-10712143\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\" alt=\"Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee.\" width=\"1920\" height=\"1095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-400x228.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-800x456.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1440x821.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1180x673.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-960x548.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocated Southerners brought more than just regional music. “Blues and food,” Bell gushes. “We got something to eat! Got to have some food to go along with the blues.”\u003c/p>\n\u003cp>Supper is the handiwork of a number of Bell supporters who lend their culinary skills. Bell’s cousin Alice Cabile is among them. And what’s on the menu?\u003c/p>\n\u003cp>“Spaghetti and beans, a variety of salads, cake and pie,” Cabile says. “We have one lady that makes the bomb banana pudding. Chicken, pig feet, meatloaf, fish, hushpuppies, coleslaw. It’s always great.”\u003c/p>\n\u003cp>The buffet table is a mighty ritual at the Workshop, and Lester Lands is called upon to offer grace from the bandstand.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Right now they telling me that some food is about to be served,\" Lands says. \"We don’t wanna offend nobody but we give thanks to the Lord and savior Jesus Christ here. Now, let’s bow our heads … Father God in the name of Jesus we come to you right now thanking you for another beautiful day. We thank you for the Workshop, Lord.”\u003c/p>\n\u003cfigure id=\"attachment_10711871\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\">\u003cimg class=\"size-full wp-image-10711871\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\" alt=\"There are rules at the Workshop.\" width=\"1920\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1440x1022.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-960x682.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">There are rules at the Workshop. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post blessing, Lands explains that everyone is welcome in the garage. “Here, it’s not no mess, no racial barriers, none of that. It’s just good clean fun, man.”\u003c/p>\n\u003cp>Yet you don’t see many young people showing up for the good clean fun. Twenty-nine-year-old Donae Alexander is an exception. She says her generation just doesn’t get the blues.\u003c/p>\n\u003cp>“I think that they need to just wake up cause that’s what time it is,” Alexander says. “If you don’t know basically where we came from, far as in your roots and a certain type of music that you listen to, and what they have going on today, hip-hop is not the same, to be honest. It’s not. Not without the old school. You have to go way back to come to present, that’s how I look at it.”\u003c/p>\n\u003cfigure id=\"attachment_10713902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Guitarist-800x543.jpg\" alt=\"Guitarist and singer Tony Ibarra, a regular at the Blues Workshop. \" width=\"800\" height=\"543\" class=\"size-medium wp-image-10713902\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1180x800.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-960x651.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Tony Ibarra, a regular at the Blues Workshop.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guitarist and singer Tony Ibarra is one Workshop fixture who didn’t come from the American South. The Guadalajara native played in primal Mexican rock combo Los Fugitivos, and came to Southern California in 1963. He’s been slinging the blues for decades and has seen his share of rough joints. In fact, he spent his Summer of Love playing onstage in Tijuana. But this scene, he says, is a far cry from that.\u003c/p>\n\u003cp>“Here and there is somebody screaming, which is normal, you know, but nothing to scare you away,” says Ibarra with a chuckle. “Everybody’s cool. It’s very unique. It’s like the real thing to me, you know? Everybody’s friendly, no fights. We eat, have a few beers, listen to good players, listen to good music, talk to the people. To me it’s great.”\u003c/p>\n\u003cp>That’s exactly what Franklin Bell wanted all along.\u003c/p>\n\u003cp>“It don’t take no big crowd,” says Bell. “It take a few peoples that you can get together and if they can get some joy and they can spread that as they go through life it makes a difference. That’s what my thing is about.”\u003c/p>\n\u003cp>And as the jets continue overhead, flying toward the future, in the garage, the blues will continue to extend the past, thanks to Franklin Bell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on Oct. 10, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sun-baked residential street in South Central L.A., you hear the constant ebb and flow of jets cruising in line toward Los Angeles International Airport. Unless you’re in Franklin Bell’s garage, where you hear the blues.\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/227720239&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/227720239'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For the last decade, 81-year-old Bell has hosted the Blues Workshop every Sunday, regular as church, in a one-car garage rebuilt to hold about 50 people. The place gets crowded, folks dressed to the nines. For a small, voluntary donation, they dance, eat and drink to music that ranges from raw to graceful. There’s a stage in the back, and anyone’s welcome to sit in.\u003c/p>\n\u003cp>“We play R&B, we play a lot of pop music, but basically we go with the blues,” explains Bell. “That’s what people look for when they come to the Workshop. They love to come to try to participate, play the blues and listen to it. And I just love that.”\u003c/p>\n\u003cfigure id=\"attachment_10713895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/MississippiBo-800x561.jpg\" alt=\"Guitarist and singer Mississippi Bo kicks back between sets.\" width=\"800\" height=\"561\" class=\"size-medium wp-image-10713895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1440x1010.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-1180x827.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/MississippiBo-960x673.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Mississippi Bo kicks back between sets.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bell came to L.A. from his hometown of Tuscaloosa, Alabama in 1968. He ran a Chevron gas station that fell to the construction of the 105 Freeway. A musician since high school, he picked up his drums and hit the road. The years passed. His eyesight was failing, “and I was getting tired of the travel, hotel, motel, and carrying them drums,” says Bell. He hit on the idea of setting up shop in the garage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the players onstage dig in, finding and changing grooves, trading fours and eights, Bell works the crowd. He’s dapper, sporting a crisp, dark suit and tie despite the heat. He wears a white cap tilted back on his head. He carries a Styrofoam cup in his hand, sipping from it every now and again. He looks you in the eye when he speaks, despite being legally blind. It’s just part of getting older, and there’s a lot of that in the garage.\u003c/p>\n\u003cp>“The average age, you’re talking about 65. Average!” exclaims Bell. “So that means, we got people 75, 85, even 90 in the audience every Sunday. But young? Once in a while, maybe someone in their 50s, maybe under 50. Very few.”\u003c/p>\n\u003cp>Lester Lands is a guitarist and vocalist from Baton Rouge who cut his teeth on the southern gospel circuit. Lands looks about half of his 62 years.\u003c/p>\n\u003cp>“If you stop and think about it, the blues is for people that age, 60 and over,” Lands says. “A lot of them live the blues, coming out of the South and stuff, man. And still today, that’s their soundtrack, the blues. So that’s why it’s so nice and so popular around here.\"\u003c/p>\n\u003cfigure id=\"attachment_10713900\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg\" alt=\"The dance floor kicks in on another Sunday in the garage.\" width=\"800\" height=\"671\" class=\"size-medium wp-image-10713900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-800x671.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-400x336.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1440x1208.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-1180x990.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/CuttingaRug-960x806.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dance floor kicks in on another Sunday in the garage. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Workshop audience regular Betty Madison is a beautiful woman with a Lena Horne smile, another Bayou State transplant.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’m originally from Louisiana but I’ve been here since 1942,” she says. “I’m 84.” Eighty-four? Watching her work the dance floor, this is astonishing news.\u003c/p>\n\u003cp>“I’m here every Sunday,” Madison says. “I go to church and come home, get me a nap and then get dressed and come over and listen to the blues. 'Cause I enjoy the people, and the people be enjoying themselves. That’s what I like, too.”\u003c/p>\n\u003cp>Madison and most of the folks here fall into what’s known as the Second Great Migration of African-Americans, people who moved from states like Texas, Mississippi and Louisiana to cities in the North and West, a period that lasted from the early 1940s until about 1970. They came searching for jobs in California, and many found them in the burgeoning defense industry, as did harp player and singer Sammy Lee, who left Shreveport, Louisiana for the City of Angels in 1965.\u003c/p>\n\u003cp>“[I] graduated from high school,” Lee says. “Started working at a car wash. Few years later I got drafted, went in the Army. Came out the Army. Went to work for Northrop Aircraft.\u003c/p>\n\u003cp>“I met Bell in the early ‘80s when he was playing in a band. Then he got this place going. I think it’s fantastic. It’s a great place for the neighborhood. Keeps the blues alive, right here in South Central.”\u003c/p>\n\u003cfigure id=\"attachment_10712143\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\">\u003cimg class=\"size-full wp-image-10712143\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg\" alt=\"Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee.\" width=\"1920\" height=\"1095\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-400x228.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-800x456.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1440x821.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-1180x673.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16974_bells-players-qut-960x548.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Left to right: Roland Atkins, Lil' John Dantzler, B.J., and Sammy Lee. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The relocated Southerners brought more than just regional music. “Blues and food,” Bell gushes. “We got something to eat! Got to have some food to go along with the blues.”\u003c/p>\n\u003cp>Supper is the handiwork of a number of Bell supporters who lend their culinary skills. Bell’s cousin Alice Cabile is among them. And what’s on the menu?\u003c/p>\n\u003cp>“Spaghetti and beans, a variety of salads, cake and pie,” Cabile says. “We have one lady that makes the bomb banana pudding. Chicken, pig feet, meatloaf, fish, hushpuppies, coleslaw. It’s always great.”\u003c/p>\n\u003cp>The buffet table is a mighty ritual at the Workshop, and Lester Lands is called upon to offer grace from the bandstand.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Right now they telling me that some food is about to be served,\" Lands says. \"We don’t wanna offend nobody but we give thanks to the Lord and savior Jesus Christ here. Now, let’s bow our heads … Father God in the name of Jesus we come to you right now thanking you for another beautiful day. We thank you for the Workshop, Lord.”\u003c/p>\n\u003cfigure id=\"attachment_10711871\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\">\u003cimg class=\"size-full wp-image-10711871\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg\" alt=\"There are rules at the Workshop.\" width=\"1920\" height=\"1363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-800x568.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1440x1022.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-1180x838.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/RS16961_no-drinks-sign-qut-960x682.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">There are rules at the Workshop. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post blessing, Lands explains that everyone is welcome in the garage. “Here, it’s not no mess, no racial barriers, none of that. It’s just good clean fun, man.”\u003c/p>\n\u003cp>Yet you don’t see many young people showing up for the good clean fun. Twenty-nine-year-old Donae Alexander is an exception. She says her generation just doesn’t get the blues.\u003c/p>\n\u003cp>“I think that they need to just wake up cause that’s what time it is,” Alexander says. “If you don’t know basically where we came from, far as in your roots and a certain type of music that you listen to, and what they have going on today, hip-hop is not the same, to be honest. It’s not. Not without the old school. You have to go way back to come to present, that’s how I look at it.”\u003c/p>\n\u003cfigure id=\"attachment_10713902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/10/Guitarist-800x543.jpg\" alt=\"Guitarist and singer Tony Ibarra, a regular at the Blues Workshop. \" width=\"800\" height=\"543\" class=\"size-medium wp-image-10713902\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-800x543.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1440x977.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-1180x800.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/10/Guitarist-960x651.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist and singer Tony Ibarra, a regular at the Blues Workshop.\u003cbr> \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Guitarist and singer Tony Ibarra is one Workshop fixture who didn’t come from the American South. The Guadalajara native played in primal Mexican rock combo Los Fugitivos, and came to Southern California in 1963. He’s been slinging the blues for decades and has seen his share of rough joints. In fact, he spent his Summer of Love playing onstage in Tijuana. But this scene, he says, is a far cry from that.\u003c/p>\n\u003cp>“Here and there is somebody screaming, which is normal, you know, but nothing to scare you away,” says Ibarra with a chuckle. “Everybody’s cool. It’s very unique. It’s like the real thing to me, you know? Everybody’s friendly, no fights. We eat, have a few beers, listen to good players, listen to good music, talk to the people. To me it’s great.”\u003c/p>\n\u003cp>That’s exactly what Franklin Bell wanted all along.\u003c/p>\n\u003cp>“It don’t take no big crowd,” says Bell. “It take a few peoples that you can get together and if they can get some joy and they can spread that as they go through life it makes a difference. That’s what my thing is about.”\u003c/p>\n\u003cp>And as the jets continue overhead, flying toward the future, in the garage, the blues will continue to extend the past, thanks to Franklin Bell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on Oct. 10, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How the 'Vietnamese Madonna' Became a Sandwich Maven in Orange County",
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"content": "\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216225838\" 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>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on July 25, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Orange County, California, there’s no shortage of restaurants selling bánh mì, that delicious Vietnamese sandwich featuring a crunchy baguette filled with grilled meat, pate, and fresh and pickled vegetables. The county's Little Saigon is home to the largest Vietnamese population outside Vietnam. But go to the town of Westminster and you can see a pop star behind the counter, a woman known as the \"Vietnamese Madonna.\"\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/216225838&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/216225838'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Lynda Trang Dai is the most glamorous proprietor of a sandwich shop I’ve ever seen. She sports stiletto heels, a short skirt and perfect makeup -- including false eyelashes. She’s also a bit of a diva. She makes me wait two hours to interview her! Yet in between text messages and phone calls, \u003cem>she’s\u003c/em> the one running to the kitchen -- checking an industrial mixer as it churns a special sauce for the sandwiches. She’s the only one who knows the recipe.\u003c/p>\n\u003cp>Her shop, Lynda Sandwich, sit in the middle of a parking lot in a strip mall. Inside, though, it feels like a posh living room, with lush plants, brightly painted murals of her idols like Michael Jackson and Marilyn Monroe, and a wide-screen TV playing the Food Network. There’s also a wall of fame, with framed images of Vietnamese-American singers, but Lynda Trang Dai might be more famous than any of them.\u003c/p>\n\u003cfigure id=\"attachment_10614788\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg\" alt=\"The storefront of Lynda Sandwich in Westminster, Orange County.\" width=\"800\" height=\"603\" class=\"size-medium wp-image-10614788\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-800x603.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-400x301.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1440x1085.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1400x1054.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-1180x889.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront-960x723.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaStorefront.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The storefront of Lynda Sandwich in Westminster, Orange County. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I used to watch her in videos with my parents when I was a kid growing up. So, she's pretty famous among the Vietnamese community,” says customer Patrick Pham, adding sheepishly, “I never met her, personally,” even though she’s actually at a table just a few feet away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s clearly star-struck, but he insists he comes for the bánh mì. “They have really good food here. Yeah, it's really simple, you know what I mean?\" he says. \"I think the whole baguette came from like France, when they colonized us for 100 years.”\u003c/p>\n\u003cp>Another customer, Javier Alcala, works at the local community college. He’s eating his favorite \u003cem>cha tom\u003c/em>, a slightly unconventional bánh mì with shrimp cake. Alcala first came in out of curiosity. For years he’d seen posters around town, announcing the singer’s concerts, so he wanted to come in and try the food made by the Madonna of Little Saigon.\u003c/p>\n\u003cp>Lynda Trang Dai’s journey to Orange County was pretty arduous, but as she talks even about her earliest days, in the ‘70s in central Vietnam, it’s clear that food has always been a driving force.\u003c/p>\n\u003cfigure id=\"attachment_10614792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaInside-800x805.jpg\" alt=\"Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them.\" width=\"800\" height=\"805\" class=\"size-medium wp-image-10614792\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-800x805.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-400x403.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1440x1450.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1400x1409.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-1180x1188.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-960x967.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaInside.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai's shop features framed images of Vietnamese-American singers, but she might be more famous than any of them. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I remember sitting on this wooden table. My grandmother taught me how to make \u003cem>bánh bèo\u003c/em>, dough with shrimp on it,” a dish she still loves.\u003c/p>\n\u003cp>After the war, her family went from well-off to poor, and she remembers, “I would buy fruit, a whole big watermelon, cut it up, and sell it and make money.\"\u003c/p>\n\u003cp>Then, in 1979, her father got tipped off that the government was going to investigate him on suspicion of aiding the CIA during the war. They escaped at 2:00 in the morning, family members split between tiny boats.\u003c/p>\n\u003cp>“We had to be quiet, so quiet,” Lynda remembers. “It was scary. If we got caught, we'd go to jail.”\u003c/p>\n\u003cp>They went through storms and ran out of food, and finally found some refuge on a Chinese island, where she says they were fed rice with sugar. “It’s strange to eat rice with sugar, but it was so good at the time,” she says.\u003c/p>\n\u003cp>They got back on the water, headed for Hong Kong, and then saw the large British ship that would save them. They all started waving.\u003c/p>\n\u003cp>“I could never forget. It was just unbelievable, the most amazing moment,” Lynda remembers, choking up. “When we got up for them to rescue us into land, they gave us croissants. That was like going from hell to heaven.”\u003c/p>\n\u003cfigure id=\"attachment_10614790\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BanhMi-800x532.jpg\" alt=\"One of Lynda's signature bánh mì.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-10614790\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1400x931.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/BanhMi.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Lynda's signature bánh mì. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But when her family got to the United States, she developed another passion, and found her first career. She always loved to sing, the first to volunteer in elementary school, she says. As a high school student she started performing in tiny venues around Little Saigon, putting up her own fliers. \u003c/p>\n\u003cp>And then one night she was discovered singing at a club. She was invited to film her first spot in a variety show called \"Paris By Night\" -- a hugely popular video series -- so she missed her high school graduation and flew to France.\u003c/p>\n\u003cp>She became a star, dressing provocatively, singing in both English and Vietnamese, a draw for young Vietnamese-Americans. In the '90s in any home throughout the Vietnamese diaspora, you’d probably find a VHS tape featuring Lynda Trang Dai. The videos even made it back to Vietnam in a kind of gray market.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Sometimes when I travel to sing on a tour, I would be up all night making sauce, and just sleep on the plane.'\u003c/aside>\n\u003cp>“Back then, it's illegal to watch,” Lynda explains, adding that if people got caught they could go to jail. But an estimated 72 million people in Vietnam did watch.\u003c/p>\n\u003cp>Lynda started touring Vietnamese communities around the U.S. and the world, but her obsession with Vietnamese food remained constant. She says the first time she went to Australia, she brought food on the plane with her, including \u003cem>bánh bèo \u003c/em>and a noodle soup that she asked the flight attendant to heat up.\u003c/p>\n\u003cp>“All the other Vietnamese singers would look at me, like, ‘You are so weird,’ ” she says. But she found good Vietnamese food all over the world, and started a kind of ritual wherever she touched down.\u003c/p>\n\u003cp>“In any city I'd go to, I'd just check in on the hotel, throw all my luggage down and go and find a Vietnamese restaurant, that’s it,” she says.\u003c/p>\n\u003cfigure id=\"attachment_10614785\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg\" alt=\"Lynda Trang Dai at a recent performance.\" width=\"800\" height=\"562\" class=\"size-medium wp-image-10614785\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-800x562.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-400x281.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1440x1012.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1400x984.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-1180x829.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming-960x675.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/LyndaPerforming.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lynda Trang Dai at a recent performance. \u003ccite>(Vickie Ly/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She still tours a lot, but when I visit she’s performing in Westminster with her contemporaries in a banquet hall, just a few hundred feet away from her bánh mì shop. People in the crowd are dressed to the nines, including sisters Hang and Juliette Nguyen. They came from L.A. to see this show.\u003c/p>\n\u003cp>When they were younger, the sisters say, these were the big Vietnamese stars. They used to watch them on videos, and go to their concerts whenever they came to the South.\u003c/p>\n\u003cp>The sisters say there weren’t a lot of Vietnamese people in Alabama in the '80s. Tonight the singer is dressed in a barely-there strappy outfit. It fits the image the sisters remember: the sex symbol among Vietnamese singers. She was the \"Vietnamese Madonna,” they say in unison.\u003c/p>\n\u003cp>That comparison thrills Lynda, who is in her late 40s, but she says she worked hard to communicate to the larger community that it was just her onstage persona. “When I’m off stage I’m like 100 percent completely different, a total Vietnamese traditional girl who takes care of their family, food on the table, everything,\" she says.\u003c/p>\n\u003cp>Case in point: She started her sandwich shop as a business with her family, and though a small staff does most of the food prep and sales, Lynda Trang Dai is still is the only one to make the special Lynda Sauce.\u003c/p>\n\u003cp>“Sometimes when I travel to Australia to sing on a tour, or to Europe, I would be up all night here making sauce, and just sleep on the plane if I have to.” Anything, she says, for a great meal.\u003c/p>\n\u003cp>\u003cem>This story was originally produced for KCRW’s \u003ca href=\"http://www.kcrw.com/news-culture/independent-producer-project\">Independent Producers Project\u003c/a> while Morehouse was at a residency at \u003ca href=\"http://www.mesarefuge.org/\">Mesa Refuge\u003c/a>. The series \u003ca href=\"http://californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Despite Severe Arthritis, Pianist Gets Second Chance at Stardom",
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"content": "\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/199158709\" 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>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 5, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some kids know from a very young age what they want to be when they grow up; Anthony Ferraro knew he wanted to be a concert pianist. That is, until early onset arthritis in his hands threw his entire career up in the air.\u003c/p>\n\u003cp>Ferraro grew up in a home where you didn’t hear much Top 40 music. The stereo played Beethoven sonatas, and his mom, dad and sister all practiced on the Yamaha grand in the living room. Ferraro gave his first recital at age six. By the time he was in high school his dream of becoming a concert pianist had come into sharp focus.\u003c/p>\n\u003cp>“I fashioned these grandiose visions in my head of me with a full orchestra and band behind me playing a concert hall to standing ovations,” Ferraro says.\u003c/p>\n\u003cp>He was accepted to Baylor University’s piano program and was on his way to classical music stardom. But then, just when his dream seemed close at hand, he began to experience random bouts of stiffness in his hands.\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/199158709&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/199158709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ferraro, now 24, had been diagnosed with arthritis in his knees at age 10, and he was afraid it had moved into his hands. But he was even more afraid that he was imagining things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most sinister part is that sometimes I’d be playing a piece, and wondering, 'is this just my ability, or is this the disease?' The not knowing is the part that just killed me,” he says.\u003c/p>\n\u003cp>Plagued by self-doubt, he dropped out of Baylor before he even started. He moved back in with his parents in Orange County. Unsure of his next move, he got a job at the clothing store Urban Outfitters. And that’s where, against the odds, the next chapter of his career began.\u003c/p>\n\u003cp>The music playing at the store sounded nothing like the symphonies and concertos of his youth. It was at the store that he first heard an electro-pop musician from South Carolina called \u003ca href=\"http://toroymoi.com/\" target=\"_blank\">Toro Y Moi\u003c/a>.\u003c/p>\n\u003cp>“It was on constant rotation in the store. I knew the three singles nauseatingly well,” Ferraro says with a laugh. “I associated it with putting people in fitting rooms.”\u003c/p>\n\u003cp>Around the same time he received a loan from his dad to buy keyboards, a guitar and recording equipment.\u003c/p>\n\u003cp>“I had to do music somehow,\" he says. \"Pop music seemed like a possible solution.”\u003c/p>\n\u003cp>He began crafting his own songs under the name \u003ca href=\"https://soundcloud.com/astronautsetc\" target=\"_blank\">Astronauts etc.\u003c/a> -- singing in a distinct, piercing falsetto. After a year at home, Ferraro enrolled in the music department at UC Berkeley and got a job at a local coffeehouse called Philz. That’s where things got really weird.\u003c/p>\n\u003cp>“I was working there for a few months when Chaz (Chazwick Bradley Bundick of Toro y Moi) walked in the door,” he says.\u003c/p>\n\u003cp>Ferraro recognized him from an interview.\u003c/p>\n\u003cp>“He got his coffee and sat outside. I asked my shift leader if I could take my 10-minute break,\" Ferraro says. \"I knew it was going to be strange. I’d probably come off as a fan who couldn’t keep his mouth shut.\u003c/p>\n\u003cp>Bundick explains via email that he had moved to Berkeley from South Carolina the day before. He knew no one.\u003c/p>\n\u003cp>“I mentioned that we should hang out. I guess I asked him on a date,” Ferraro adds with a laugh. “We just kind of hit it off.”\u003c/p>\n\u003cp>Bundick became a mentor and friend to Ferraro. One day, months before Ferraro was set to graduate from UC Berkeley, he got an unexpected email from Bundick, who was on tour in Brazil.\u003c/p>\n\u003cp>“Hey man,” it began. “I’ve been talking to the guys. We think it would be great to add you to the group starting in the fall. What do you think?”\u003c/p>\n\u003cp>“His casualness made me think this can’t be earnest,” Ferraro says. “He can’t actually be asking me that.”\u003c/p>\n\u003cp>A second chance had fallen into his lap. No grand piano, but electric keyboards. No concert hall, but festivals stages and rock clubs the world over. His dream had come true, but could he keep his arthritis at bay?\u003c/p>\n\u003cfigure id=\"attachment_10473726\" class=\"wp-caption aligncenter\" style=\"max-width: 575px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\">\u003cimg class=\"size-full wp-image-10473726\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg\" alt=\"Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week.\" width=\"575\" height=\"383\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left.jpg 575w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/04/credit-jeremiah-garcia-anthony-on-left-320x213.jpg 320w\" sizes=\"(max-width: 575px) 100vw, 575px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anthony Ferraro, far left, with Toro y Moi. The group has just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous Coachella festival next week. \u003ccite>(Jeremiah Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ferraro’s first tour with Toro Y Moi in the summer of 2013 was a seven-week jaunt across the United States, and his medication kept him in decent shape. It wasn’t until he returned to Berkeley that the most painful symptoms appeared.\u003c/p>\n\u003cp>\"It started with difficulty walking; my knees, my hips, elbows, shoulders,\" Ferraro explains. \"On a good day I could get around with a cane. On a bad day I was bed-ridden.”\u003c/p>\n\u003cp>In preparation for the next leg of the tour, in Australia, Ferraro switched to a new medication taken through an IV. But he missed one of his injections before leaving, and he found himself often playing to crowds in the thousands only able to use some of his fingers. Traveling from city to city proved to be even harder.\u003c/p>\n\u003cp>“If the pain was contained to my hands, I could still set up my equipment,\" he says. \"I’ve broken my wrist before -- that was the only analogous pain I could relate to.\"\u003c/p>\n\u003cp>When he returned home he went to the doctor for his next IV infusion. But his body rejected the medication.\u003c/p>\n\u003cp>“[The nurses] always tell you, if you feel lightheaded, let us know right away,” Ferraro recounts. “Five to 10 minutes in, I started to think ‘I could feel a little bit dizzy right now. By the time I said how dizzy I felt, it was almost too late.”\u003c/p>\n\u003cp>He slumped over in the chair, and had to be revived with a steroid injection.\u003c/p>\n\u003cp>That was over a year ago. Now Toro Y Moi has a new album, \"What For?,\" out April 7. They’ve just begun a world tour, starting with a string of dates across California that includes a stop at the world-famous \u003ca href=\"https://www.coachella.com/\" target=\"_blank\">Coachella festival\u003c/a> next week. It has only been in recent months that he has found a medicine that should sustain him during the tour.\u003c/p>\n\u003cp>Finally, Anthony Ferraro will be able to leave his symptoms behind and focus on the music in his head, not the pain in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 5, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An 'Epic' Year In California Music",
"title": "An 'Epic' Year In California Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wzi_A2cyWu8\u003c/p>\n\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871051\" 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>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1t9_UNjaDxU\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The year in California music was marked by artists rising to challenges, and often above them, whether in the way Palm Desert band \u003ca href=\"http://eaglesofdeathmetal.com\">Eagles of Death Metal\u003c/a> responded to the horror that occurred while they were onstage at La Bataclan in Paris in November or in how others took on the more mundane challenges presented by the dramatic changes in the music business.\u003c/p>\n\u003cp>While there is no comparison between those things, the top artists this year didn’t see challenges as much as opportunities for supreme creativity, and went after them with gusto. That came from across a wide musical and cultural landscape, a real reflection of the wealth of the Golden State, as represented in this roundup of the year’s best.\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/Wzi_A2cyWu8'\n title='//www.youtube.com/embed/Wzi_A2cyWu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>THE MVPs:\u003c/b>\u003c/p>\n\u003cp>\u003ci>“Our friends went there to see rock ’n’ roll and died. I want to go back there and live.”\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>— Jesse Hughes, Eagles of Death Metal\u003c/i>\u003c/p>\n\u003cp>Arguably, the most inspiring words not just from a California artist but in all of rock this year stemmed from an unspeakable tragedy, and not here in the state but in Paris.\u003c/p>\n\u003cp>It’s unclear, and perhaps unlikely, that the terrorists who stormed La Bataclan theater on Nov. 13, killing 84 and wounding scores more as part of a citywide series of attacks, knew anything about the band playing that night. Eagles of Death Metal, while having a strong following, was hardly a mainstream presence. But the unthinkable events thrust the Palm Desert group into global consciousness, associating them with the horror and tragedy that occurred. It was a seeming ill fit for a good-time band with an ironic name.\u003c/p>\n\u003cp>Hughes’ words above came in \u003ca href=\"http://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks\" target=\"_blank\">a video conversation with Vice\u003c/a>, the only interview he’s done since the massacre. He shakily recounted the events of that night, the harrowing escape and the realization of what had happened. Watching the video or reading the words, it’s hard not to be shaken, too. But hearing or reading his resolute determination to keep the music going, to be back on that stage, to be the first band to play at La Bataclan when it reopens, it’s hard not to be moved to tears, as many were.\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/238871051&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/238871051'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the tears came again just recently when Eagles of Death Metal was brought onstage at Paris’ Accor Arena by U2, which was completing a set of shows that had been postponed after the attack. Bono introduced the California outfit and the two bands together played Patti Smith’s “People Have the Power” before the Irish band left the stage for EODM to close out with its own “I Love You All the Time,” a highlight from its recent, frisky “Zipper Down” album. (The album is a legitimate entry for a California’s best list this year, regardless of the surrounding events.)\u003c/p>\n\u003cp>Meanwhile, as the Inland Empire became a target in the San Bernardino attack, the song itself became a celebration and remembrance. Artists around the world took up a challenge to do their own versions, all proceeds going to \u003ca href=\"http://sweet%20stuff%20foundation\" target=\"_blank\">the Sweet Stuff Foundation\u003c/a>, to help the family of EODM crew member Nick Alexander, who was killed at La Bataclan. One lovely version of the song is an \u003ca href=\"https://www.youtube.com/watch?v=y6WQ75wyowQ\">all-vocal rendition by Petra Haden\u003c/a>.\u003c/p>\n\u003cp>And now Eagles of Death Metal has just announced the rescheduled European dates, with a Feb. 16 return to Paris — the Olympia Theatre, not La Bataclan at this point. Wherever it is, there will be tears. And dancing.\u003c/p>\n\u003cfigure id=\"attachment_10812039\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg class=\"size-full wp-image-10812039\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/kamasi.jpg\" alt=\"Kamasi Washington \" width=\"1200\" height=\"802\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-768x513.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-1180x789.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/kamasi-960x642.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kamasi Washington\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.kamasiwashington.com\">Kamasi Washington\u003c/a>, 'The Epic' (Brainfeeder)\u003c/b>\u003c/p>\n\u003cp>If you title an album “The Epic,” you’d better deliver. Kamasi Washington did, in size and in scope: Three full CDs spanned by an ambitious jazz suite with layers of strings and vocal choruses ornamenting the complex but compelling celestial excursions. But the very fact that it and its creator, saxophonist and composer Kamasi Washington, are being celebrated in relatively mainstream circles is itself epic. Heroic even. This is not pop jazz by any stretch. It’s not even an easy fit in the world of today’s \u003ci>jazz\u003c/i> jazz, but rather a project that draws on the pioneering progressions of Pharaoh Sanders, Oliver Nelson, Archie Shepp and, inevitably, John Coltrane among other key figures of ‘60s and ‘70s jazz, inspired by social and cultural consciousness and struggles to reach for new forms of expression. And Washington, a youngish man from Inglewood, is still reaching.\u003c/p>\n\u003cp>It doesn’t hurt that he’s gained a foothold in the public consciousness via work with such local luminaries as Kendrick Lamar, appearing on Lamar’s “To Pimp a Butterfly,” which looks likely to be at or near the top of the aggregated national critics' polls for 2015.\u003c/p>\n\u003cp>Washington’s success is not a matter of opportunism, but of talent and hard work. While still at UCLA he toured with Snoop Dogg and was enlisted by veteran pioneer Gerald Wilson for his jazz orchestra — a range of styles that he continues to explore and expand tirelessly, whether in sessions with his own group the Next Step or with its alter-ego, the West Coast Get Down, a more avant-funk ensemble in which he serves not as leader but as a featured horn player.\u003c/p>\n\u003cp>And even within months of the spring release of “The Epic” he was reaching further, his “65-92: The Rhythm Changes But the Struggle Remains” concert at Grand Performances in Downtown L.A. — portraying two turbulent years in the city’s life in a vast sonic landscape — standing as one of the top concert events of the year here.\u003c/p>\n\u003cp>How does an artist top all that? Whatever Washington does next, it’s a good bet it will be, well, you know.\u003c/p>\n\u003cp>\u003cb>THE OTHER TOP EXPLORERS:\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10812049\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003cimg class=\"size-full wp-image-10812049\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/mamak.jpg\" alt=\"Mamak Khadem \" width=\"450\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak.jpg 450w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/mamak-75x75.jpg 75w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Mamak Khadem\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.mamak-khadem.com\">Mamak Khadem\u003c/a>, 'The Road' (Innova)\u003c/b>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://lianrecords.com\">Lian Ensemble\u003c/a> & Merima Ključo, 'Majnun' (Lian Recordings)\u003c/b>\u003c/p>\n\u003cp>Coincidentally, two always-creative acts in the California Persian community made collaborations with Balkan artists, both with bracing but very different approaches and results. Several highlights of “The Road” saw singer-composer Khadem in Macedonia working with a local brass ensemble with boisterous results, the cultural mix seemingly seamless and natural. Ditto for other songs in which she mixed her considerable Iranian classical and folk artistry and Rumi poetry with a Bulgarian women’s chorus, as well as musicians in Morocco and Indonesia, all recorded on location.\u003c/p>\n\u003cp>L.A.’s Lian Ensemble’s work with Croatian accordion virtuoso Ključo yielded more ethereal sounds -- dreamscapes of Iranian classical styles taken into new, vivid worlds by the reedy colorations of the guest. The album also features several appearances by Israeli singer-actor Theodore Bikel for some affecting performances that are among his final work before his death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_10812053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812053\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/miguel-800x1108.jpg\" alt=\"Miguel\" width=\"800\" height=\"1108\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-800x1108.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-400x554.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-768x1064.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel-960x1330.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/miguel.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://wildheart.officialmiguel.com\">Miguel\u003c/a>, 'Wildheart' (RCA) \u003c/b>\u003c/p>\n\u003cp>With all the attention going to Kendrick Lamar in the (for lack of a better term) new L.A. urban scene, don’t overlook the latest from San Pedro’s Miguel Jontel Pimentel, known simply as Miguel. Not only does it cover a wider musical span than Lamar’s album — from rock to smooth R&B to jazz to hip-hop — it covers a wider cultural landscape, arguably as full a portrait of L.A. as you’ll find in a single album (literally in such songs as “the valley” and “Hollywood Dreams”), but with a very personal perspective.\u003c/p>\n\u003cp>Miguel has two previous albums that established him as a creative force, not to mention his status as an in-demand producer-writer with Usher and Asher Roth, among artists with whom he’s collaborated. But “Wildheart” sounds like a breakthrough of deep imagination and resonance, somehow balancing a sense of hope with barbed cynicism. The track “NWA” (with guest rapper Kurupt) pays tribute to an inspiration from the past, without sounding like the Compton crew. Every note, every syllable is true to Miguel.\u003c/p>\n\u003cfigure id=\"attachment_10812055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10812055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/luciana-souza-800x549.jpg\" alt=\"Luciana Souza\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-768x527.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1440x988.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1920x1318.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-1180x810.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/luciana-souza-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luciana Souza \u003ccite>(Kim Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"http://www.lucianasouza.com\">Luciana Souza\u003c/a>, 'Speaking in Tongues' (Sunnyside) \u003c/b>\u003c/p>\n\u003cp>Brazilian-born Angeleno Souza has sung many words in many languages in many styles — Portuguese samba and bossa nova, jazz standards (in English), the poems of Pablo Neruda (also in English), biblical liturgy (in Spanish as a favorite voice of groundbreaking Argentine modern-classical composer Osvaldo Golijov). For most of “Speaking in Tongues,” though, she sings in no language, or at least no recognizable one, but rather wordless vocalese in a series of thrilling, daring pieces calling to mind the classic ‘70s Brazilian fusion of Hermeto Pascoal (her godfather, as it happens) and Airto Moriera, among others.\u003c/p>\n\u003cp>Teaming with her are some of the most distinctive, challenging musicians working today, an international all-star band of Benin-born guitarist Lionel Loueke, Swiss harmonica wizard Gregoire Maret and the nimble and powerful rhythm tandem of bassist Massimo Biolcati and drummer Kendrick Scott, all guided by her producer (and husband) Larry Klein, who just earned a Grammy producer-of-the-year nomination. Throughout, the voice, guitar and harmonica soar and dart like swallows in playful flight. And punctuating/contrasting it all are two “lyrics” songs with Souza writing new music to two rather somber Leonard Cohen poems.\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/1t9_UNjaDxU'\n title='//www.youtube.com/embed/1t9_UNjaDxU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003ca href=\"http://www.loslobos.org/site/\">Los Lobos\u003c/a>, 'Gates of Gold' (429 Records)\u003c/b>\u003c/p>\n\u003cp>While “Gates of Gold” is not the game-changer of 1992’s “Kiko,” more than 40 years into its career the East L.A. band has given us a statement as impressive as such landmarks as 1984’s “How Will the Wolf Survive?” and 1990’s “The Neighborhood.” The familiar Lobos touchstones are here — a Norteño-style waltz, a snappy cumbia, a gritty roadhouse grinder, a scorching classic-rocker, all delivered with deftness and power. But the album is marked by some more surprising sounds and turns, the loss-filled opener “Made to Break Your Heart” signaling a ruminative, reflective tone that threads through the album, and the jazzy soul of “When We Were Free” painting musically, in a dreamy, seductively jazzy tone poem. There’s been a lot of looking in and looking back for Los Lobos of late, not least of which in the “Dream in Blue” biography by journalist Chris Morris. In the title song, though, the band looks inward and outward, backward and forward, standing at the “Gates of Gold” to start a journey to new horizons where there is “mystery untold.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.loscenzontles.com/band\">Los Cenzontles\u003c/a>, 'Alma Campirana' (Los Cenzontles Mexican Arts Center)\u003c/b>\u003c/p>\n\u003cp>The musical wing of the East Bay Mexican arts and culture education and activism organization has explored styles from regional traditions to rock, funk and soul variations over the course of 25 years. For this album, it’s back to basics, a stripped-down quartet of voice and plucked strings on songs largely originated in Mexican village life. Los Cenzontles founder Eugene Rodriguez is joined by three former students, with the lovely, strong voice of Fabiola Trujillo at the front, bringing freshness to the traditions.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"http://www.hiddeninthesun.com\">Hidden in the Sun\u003c/a>, 'Seven Seasons' (self-released)\u003c/b>\u003c/p>\n\u003cp>“You mistook me for smoke,” sings Lizzie Clapper, leading this slightly off-kilter San Francisco rock band in its debut. It’s as good a description as you’ll get for both her voice and the band’s music. There’s an intriguing elusiveness to all this, the way the vocals don’t quite follow Ciara MacAllister’s keyboards, which don’t quite mesh with Sean Alexander’s guitar, all of which glide along the flowing rhythms of Jason Vivrette’s bass and Scott Rouse’s drums as songs serpentine through five, six, seven minutes. And yet somehow it all works together -- captivatingly at best -- in its mistook-as-smoky way. That's fitting for something recorded in a cabin deep in the Mendocino redwoods.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.mergerecords.com/mike-krol\">Mike Krol\u003c/a>, 'Turkey' (Merge)\u003c/b>\u003c/p>\n\u003cp>It was another great year for the neo-garage scene in the state, led again by a wealth of releases from instigators/provocateurs Ty Segall and Mikal Cronin (and capped off by Segall’s Marc Bolan tribute “Ty Rex\"). But the best of the field may have been L.A.-based Krol’s “Turkey,” a burst of guitar-drive unleashed in a Sacramento studio, the entire album of nine songs clocking in at less than 20 minutes. Call this “The Anti-Epic.” And yet, in its own way ...\u003c/p>\n\u003cp>\u003cb>THE REST OF THE BEST:\u003c/b>\u003c/p>\n\u003cp>Any one of these could have been in the Top 10 this year, each representing individual vision, which speaks to how strong and varied a year it was. We don’t have time or space to give each its due, but please explore, including the reviews of several that aired on “The California Report.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mikal Cronin\u003c/b>’s “MCIII,” \u003cb>Dawes\u003c/b>’ “All Your Favorite Bands,” \u003cb>Rocky Dawuni\u003c/b>’s “Branches of the Same Tree,” \u003cb>Milk Carton Kids\u003c/b>’ “Monterey,” \u003cb>Joanna Newsom\u003c/b>’s “Divers,” \u003cb>Dawn Oberg\u003c/b>’s “Bring,” \u003cb>Dave Rawlings Machine\u003c/b>’s “Nashville Obsolete,” \u003cb>Wand\u003c/b>’s “Golem,” \u003cb>Watkins Family Hour\u003c/b>’s “Watkins Family Hour.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ragtime Lives On at a Southern California Chinese Restaurant",
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"content": "\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238871148\" 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>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"10795716,10795715,10795714\"]\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small restaurant in Monrovia, a town just east of Pasadena, a handful of faithful music fans meet once a month to keep the genre they love alive. The group’s members range from their teens to their 90s, all bound by a deep passion for ragtime.\u003c/p>\n\u003cp>The pale light of a December afternoon comes through the picture windows of the banquet room at Wang’s Place, as Vincent Johnson coaxes a haunting piece called “Blueberry Rhyme” out of an old Yamaha upright.\u003c/p>\n\u003cp>Steam rises from the buffet table heaped with noodles, stir fry and egg rolls. It costs $2 to get in; admission is free if you’re a player. And most of those who show up are indeed players.\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/238871148&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/238871148'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>About 20 people sit at tables scattered across the black-and-white checkerboard flooring. Eyes are closed. Heads nod slightly with the syncopated pulse of the song as they take in perhaps the most American of popular music, here in a Chinese restaurant, played on a Japanese piano.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Welcome to the Rose Leaf Ragtime Club.\u003c/p>\n\u003cfigure id=\"attachment_10795703\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795703 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/Mitchell.jpg\" alt=\"Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife Yvonne.\" width=\"1920\" height=\"1749\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-400x364.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-800x729.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-768x700.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1440x1312.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-1180x1075.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/Mitchell-960x875.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club co-founder Bill Mitchell and his wife, Yvonne. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s Bill Mitchell’s turn at the keys. He makes his way up to the piano, an instrument he’s been playing for 84 years.\u003c/p>\n\u003cp>“I’ve been playing ragtime since about 1950,” he says. “I’m 91.”\u003c/p>\n\u003cp>He’s been a founding member of local rag clubs since 1967. For him, the music is transcendent.\u003c/p>\n\u003cp>\"It takes me back in time,” Mitchell offers. “It takes me into kind of an enchanted world. Certainly a more innocent time, I think.”\u003c/p>\n\u003cp>The style was born in the not-so-innocent African-American red-light district of St. Louis in the 1890s. When jazz took over in the late teens, ragtime began to fade. But it refused to die. In 1974, the music re-entered the culture -- and topped the easy-listening charts as the soundtrack to the Oscar-winning film \"The Sting.\"\u003c/p>\n\u003cp>And while most of the Rose Leafers are easily old enough to have seen the film in theaters, there are three guys in the room who missed it by a long shot.\u003c/p>\n\u003cp>Ryan Wishner, 18, hunkers down at the piano and launches into a strident, rollicking tune he penned himself, “The Indestructible Rag,” inspired by an ad he saw for Indestructible phonograph records from the early 1900s.\u003c/p>\n\u003cp>But how does an 18-year-old get into this?\u003c/p>\n\u003cfigure id=\"attachment_10795707\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-10795707 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/WangsYoungins.jpg\" alt=\"Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R).\" width=\"1920\" height=\"1324\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-768x530.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1440x993.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/WangsYoungins-960x662.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rose Leaf Ragtime Club members Vincent Johnson, Edward Maraga and Ryan Wishner (L-R). \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One night I heard my mom playing ‘The Entertainer,’ ” he explains. “This was about eight years ago, and I asked her to show me what notes to play and it turned into this.”\u003c/p>\n\u003cp>Edward Maraga, who’s 23, started playing the music of Joy Division and other ‘80s post-punk bands before discovering ragtime.\u003c/p>\n\u003cp>“I think not too many people our age play this type of music,” states Maraga. “It’s just rare. I listen to heavy metal every day, so I’m the oddball.”\u003c/p>\n\u003cp>Vincent Johnson, also 23, sits down for another tune. He’s been coming to the club, where the trio met, for a decade. He’s playing one of the 80-some compositions he’s written since he was 14, “Milk and Honey.”\u003c/p>\n\u003cp>“I feel like it’s my primary way of relating to America as a country because often times, culturally and politically, I feel at odds and it’s hard for me to say, you know, America!” explains Johnson. “But when I play this music I feel it’s very, very American. There’s definitely a connection to the land, the culture, to what life was like about 100 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a table in the back, Jeff Hartmann, who’s 56, hunches over his sketchbook, a plate of glistening noodles at his elbow. He’s drawing pen-and-ink images of vintage locomotives, cars and street scenes that fit perfectly with the music that fills the room.\u003c/p>\n\u003cp>“Between the drawing and listening to the music, you just forget about the bills you have to pay and your job and all the day-to-day things you have to deal with,” says Hartmann. “It’s nice to kind of forget about that for a while.”\u003c/p>\n\u003cp>But what’s the future of this music that has somehow managed to hold on for a century of ups and downs? Doug Haise ought to know. His day job has been performing ragtime at retirement communities and other venues since 1987.\u003c/p>\n\u003cp>“At any given ragtime event, there are fewer people and the ones that remain are generally old. But that’s fine with us because they love the music, we love to play it, so we’ll just keep going,” Haise says. “So if it ends up there’s no audience except ourselves, we’ll be playing it for each other, I guess.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, there’ll be an audience at Wang’s Place next month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"title": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/237171024\" 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>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zHFro4tRy3g\u003c/p>\n\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c-fUxP_Bezc\u003c/p>\n\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\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/237171024&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/237171024'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\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/zHFro4tRy3g'\n title='//www.youtube.com/embed/zHFro4tRy3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\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/c-fUxP_Bezc'\n title='//www.youtube.com/embed/c-fUxP_Bezc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/236144190″ 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>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQuyCNiHFAw\u003c/p>\n\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N_k5jnIXaQ8\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3aDDmt-8ZSM\u003c/p>\n\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7U0k_vHxc2k\u003c/p>\n\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qSJCSR4MuhU\u003c/p>\n\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been to a shopping mall or turned on the radio since Thanksgiving, chances are you’ve heard at least one of these Christmas standards: “Let It Snow!,” “Winter Wonderland,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” “White Christmas,” “Silver Bells,” “A Holly Jolly Christmas” or “Rudolph the Red-Nosed Reindeer.”\u003c/p>\n\u003cp>What’s one thing those songs all have in common? Besides being ubiquitous this time of year, they were all written by Jewish composers, mostly in the 1940s and ‘50s.\u003c/p>\n\u003cp>So if Jews are writing all the Christmas classics, who’s writing the Hanukkah songs?\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/236144190″&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/236144190″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There are actually a lot of Hanukkah songs, says Lihi Shadmi, an early childhood educator at the Silverlake Independent Jewish Community Center in Los Angeles. Most of us just haven’t learned them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in an Israeli household, so for me there are so many Hanukkah songs,” Shadi said. “And most of them are in Hebrew.”\u003c/p>\n\u003cp>On a recent weekday morning, Shadmi led a group of 4-year-olds in a Hanukkah singalong, including the classics “I Have a Little Dreidel” and “Oh Chanukah.”\u003c/p>\n\u003cp>On the eight nights of Hanukkah, Jews traditionally light candles, recite blessings and sing songs marking the victory of a group of Jewish rebels against their Syrian rulers more than 2,000 years ago.\u003c/p>\n\u003cp>The best-known Hanukkah song is also the oldest: the hymn “Maoz Tzur,” or “Rock of Ages.”\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/OQuyCNiHFAw'\n title='//www.youtube.com/embed/OQuyCNiHFAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The melody of Maoz Tzur comes out of a concatenation of influences of different hymn melodies that were done in the 17th century, during the time period of the German Reformation. And various scholars who have looked at it have been able to trace the origins of these melodies to these hymns. And by the late 18th, early 19th century we get Maoz Tzur in the framework that we know it today,” said Mark Kligman, a professor of Jewish music at UCLA.\u003c/p>\n\u003cp>That melody has been used in different parts of the Jewish liturgy, including for the candle blessings.\u003c/p>\n\u003cp>But most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s, when Jewish immigrants in New York created a whole new genre of more playful Hanukkah songs. Samuel Goldfarb wrote “I Have A Little Dreidel” and “On This Night Let Us Light One Little Candle Fire.”\u003c/p>\n\u003caside class=\"pullquote alignright\">Most of the Hanukkah songs we know today can be traced back to the Tin Pan Alley era of the 1910s and ’20s.\u003c/aside>\n\u003cp>These melodies were supported by the Jewish Welfare Board, an organization in New York that helped Jewish immigrants — and part of that was through music. But newer Hanukkah music, liturgical or not, hasn’t caught on in the same way.\u003c/p>\n\u003cp>“Jews in general are very reluctant to pick up new melodies, particularly for ritual contexts,” Kligman said.\u003c/p>\n\u003cp>So instead, a whole genre of Hanukkah parody songs has emerged. One of the biggest debuted over 20 years ago on “Saturday Night Live”: Adam Sandler’s “Hanukkah Song,” which rhymes the holiday’s name with words like yarmulke, funukah and marijuanuka.\u003c/p>\n\u003cp>He unveiled the fourth version of his now-classic song just last month, listing such notable Jews as Jesus, Olaf (the “Frozen” snowman voiced by Josh Gad), Punky Brewster (played on TV by Soleil Moon Frye) and film producer Scott Rudin.\u003c/p>\n\u003cp>With the rise of YouTube and user-generated content, there are now countless Hanukkah parody songs, changing the lyrics of such hits as Taylor Swift’s “Shake It Off,” Adele’s “Rolling In The Deep” and Outkast’s “Hey Ya.”\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/N_k5jnIXaQ8'\n title='//www.youtube.com/embed/N_k5jnIXaQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=J9d2fN1fPSw\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/3aDDmt-8ZSM'\n title='//www.youtube.com/embed/3aDDmt-8ZSM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rachel Bloom (who currently stars in CW’s “Crazy Ex-Girlfriend”) released a 2013 comedy musical album called “Suck It, Christmas!!!” It included this parody of “Santa Baby.”\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/7U0k_vHxc2k'\n title='//www.youtube.com/embed/7U0k_vHxc2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think we were talking about how there just aren’t that many songs out there that deal with, like, Hanukkah or Judaism that are funny and also good,” said Jack Dolgen, who co-wrote and produced the album.\u003c/p>\n\u003cp>But there’s one Hanukkah video that’s really gone viral. “Candlelight,” performed by a Yeshiva University all-male a capella group called The Maccabeats, has more than 10 million views on YouTube:\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/qSJCSR4MuhU'\n title='//www.youtube.com/embed/qSJCSR4MuhU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it comes down to it, though, if you celebrate Hanukkah, you’ll light the candles and recite the blessings, and then sing “I Have A Little Dreidel” and other classics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then you might search for the latest viral Hanukkah video and watch it with your family. So to answer the question of who will write the next Hanukkah classic: Maybe it’ll be you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near Oakland’s Lake Merritt, the windows of the Trybe Youth and Family Resource Center vibrate with rhythm. Two nights a week, this space on Park Boulevard throbs with pounding bass drums, tapping snares and clunking agogô bells, as the students of \u003ca href=\"http://www.boomshakemusic.com/\" target=\"_blank\">Boomshake Music\u003c/a> play through their two-hour lesson.\u003c/p>\n\u003cp>Boomshake is a space for novice and experienced drummers who may not feel welcome in more traditional musical environments, who want to learn the cultural roots of their music and who may hope to employ their newfound skills on the front lines of protests. Founded in 2014 by Sarah Norr and Nkeiruka Oruche, the school provides classes that are multicultural and multigenerational.\u003c/p>\n\u003cp>The night classes are open exclusively to female, transgender and gender-non-conforming adults and teens. Norr and Oruche also host a \"tyke tunes\" session for toddlers, preschoolers and their parents, as well as afterschool programs for older kids at Manzanita SEED and Malcolm X elementary schools. They have a class specifically for LGBTQ families, too.\u003c/p>\n\u003cp>When Norr and Oruche started Boomshake, they came up with a set of class agreements, built on their own experiences as musicians, dancers and community activists. They want their students to be willing to take risks, to make mistakes and to express themselves without having to apologize for it.\u003c/p>\n\u003cfigure id=\"attachment_10776821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3.jpg\">\u003cimg class=\"wp-image-10776821 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg\" alt=\"Boomshake's adult classes are open to women and transgender and gender non-conforming people.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/boomshakestill3-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Boomshake's adult classes are open to women and transgender and gender non-conforming people. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oruche has taught at Dance Mission Theater, Loco Bloco and other Bay Area dance and arts organizations, and is a mother who has taken her own kids to community music classes. She thinks Boomshake provides an alternative to more traditional extracurricular music programs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When you go to those classes, a lot of times it’s multicultural in the presentation of the music,” she said. “But the crowd there is people who can afford the money, to make the time, to get to that location and to experience this multiculturalism from afar without having those lived experiences.”\u003c/p>\n\u003cp>But at Boomshake, the founders build their repertoire around their students. Drummers of all ages are welcome to bring their own languages and musical traditions to the class, and Oruche and Norr make sure to emphasize the historical and cultural context of the techniques they teach, something that adult student Julia Sen appreciates.\u003c/p>\n\u003cp>“Learning all the ways that so much of African culture has traveled around the world because of slavery, the ways that fighting spirit has endured and has come to us today, especially with all the stuff going in Oakland and the Black Lives Matter movement — that feels very connected to me,\" Sen said.\u003c/p>\n\u003cp>Supporting activism is another key tenet of the Boomshake philosophy; Norr is a labor and community organizer who has used music on the front lines of her work.\u003c/p>\n\u003cp>“[We] had to find ways to sustain ourselves on the picket line, sometimes for years,” Norr said. “[I] really came to feel the power of music and rhythm of bringing people together and keeping spirits up.”\u003c/p>\n\u003cp>Shreya Shah signed up after learning about the Tuesday night class on Facebook, bringing a group of her fellow #AsiansforBlackLives activists with her.\u003c/p>\n\u003cp>“We wanted to play together at actions, just keep the spirit alive,” she said. “We’re hoping to play and do the work for the long haul, and so we’re trying to build up all kinds of capacity.”\u003c/p>\n\u003cfigure id=\"attachment_10777960\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya.jpg\">\u003cimg class=\"size-medium wp-image-10777960\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg\" alt=\"From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1440x810.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/nkeisarahshreya-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left: Boomshake founders Nkeiruka Oruche and Sarah Norr with student Shreya Shah. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norr and Oruche started with one adult class. But as word spread, they watched their student body, like much of Oakland, become whiter.\u003c/p>\n\u003cp>“As we were trying to do something to help people preserve and share their culture and build community, we’re seeing our community be destroyed,” Norr said.\u003c/p>\n\u003cp>Oruche explains that she and Norr wanted to create a space that looked like the diverse community that currently exists in Oakland. So they decided to start a second class specifically for women of color and transgender and gender non-conforming people of color. And as the city continues to change, Norr and Oruche hope that Boomshake can serve as one of its cultural anchors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Many other people have this urge to drum and this urge to play music ... but not have music be something that you practice alone in your room for many years,\" Norr said. \"Have music be something that we play together to express what we’re feeling, express what’s going on in our society, and to bring people together and to build our own power.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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