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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Singer-songwriter Kerry Wing of the island-reggae band Pacific Vibration says the song “Smile” is about the uncontained feeling “of excitement, inspiration, muse and feeling alive and connected to the beauty in someone else.” In other words, it’s a simple love song. “Smile” was officially released on Valentine’s Day as a single under Pacific Vibration.\u003c/p>\n\u003cp>Wing plays the guitar and ukulele, and “dabbles” in many other instruments. He and a friend were traveling in Saint Kitts and Nevis and saw a woman walk by. “She just gave us this beautiful smile,” he said. That moment provided the inspiration for the song — a love song with an island-reggae vibe.\u003c/p>\n\u003cp>Born and raised in the Bay Area, Wing describes his musical upbringing in the Bay as both challenging and beautiful.\u003c/p>\n\u003cp>“It’s influenced my music in the sense that I think my music also represents that mixed emotions about everything — about life,” said Wing.\u003c/p>\n\u003cp>Now based in Pacifica, Wing said that when he was a baby, his older brother Aidan (also a musician), who was very into cowboy songs, would play him songs like “Whoopee-Ti-Yi-Yo.”\u003c/p>\n\u003cp>“I’d start humming along and singing the melodies of the songs he was playing for me,” he said.\u003c/p>\n\u003cp>Wing comes from a musical family: Both his parents sing and play guitar. His mom started him on the piano at age 6.\u003c/p>\n\u003cp>“You can see music so much more visually on the piano as an instrument to start off with,” Wing said. His early love for music blossomed into playing with different bands, travel and a growing spiritual alignment.\u003c/p>\n\u003cp>https://youtu.be/yWz7P5qj_MU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>For Wing, playing music is part of a spiritual process. In his late teens, he followed a Craigslist ad for spiritual voice lessons, which led him to John DeRobertis, whom he described as a tough guy with a “guru vibe.” They formed an intense student-teacher relationship, and Wing became his caregiver for nearly 10 years, until DeRobertis died in 2021. [pullquote size=\"medium\" align=\"right\" citation=\"Kerry Wing, musician and songwriter\"]‘I listen to the song and it comes through me. I’m just fortunate enough to have heard it and been able to transcribe it into a song.’[/pullquote]\u003c/p>\n\u003cp>DeRobertis influenced and informed the way Wing feels and thinks, and he says this has allowed him to be more in touch with his heart.\u003c/p>\n\u003cp>Wing also teaches \u003ca href=\"https://pacificvibration.com/lessons\">music lessons\u003c/a> and says it’s integral to his own musical and spiritual journey. He sees the process of teaching and sharing as a profound one.\u003c/p>\n\u003cp>“It’s more than just learning to technically play an instrument or sing. It is an expression of the soul, heart and mind,” he said.\u003c/p>\n\u003cp>For Wing, songwriting is more like tuning into something. “I listen to the song and it comes through me,” he said. “I’m just fortunate enough to have heard it and been able to transcribe it into a song.”\u003c/p>\n\u003cp>Ultimately, music is one of the ways he expresses himself. “I do feel like music is a way of communicating something that I can’t do otherwise,” he said. “I’m also starting to realize that being an artist is not just about the music. It’s really about my life.”\u003c/p>\n\u003cp>Wing has plans to finish a solo album this year, as well as a Pacific Vibration album.\u003c/p>\n\u003cp>“Smile” was mixed and mastered by E.N. Young. Pacific Vibration’s band members include Randy Nakamura and Aidan Wing.\u003c/p>\n\u003cp>Wing will be playing a solo acoustic show on March 17, 2023, at Alice’s Restaurant in Woodside. He’ll also be playing with Pacific Vibration in Tahoe on July 21, 2023, at \u003ca href=\"https://northtahoebusiness.org/music-on-the-beach/\">Music on the Beach\u003c/a>.\u003c/p>\n\u003cp>To keep up with his music, follow Kerry Wing and Pacific Vibration on social media:\u003c/p>\n\u003cul>\n\u003cli>Kerry Wing: \u003ca href=\"https://www.instagram.com/kerrywingmusic/\">Instagram\u003c/a>, \u003ca href=\"https://open.spotify.com/artist/33bB79iEslUdOCQWDWsF8z\">Spotify\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCOaOLf0wRO3nP-_skzValMA\">YouTube\u003c/a>\u003c/li>\n\u003cli>Pacific Vibration: \u003ca href=\"https://www.instagram.com/pacificvibration/\">Instagram\u003c/a>, \u003ca href=\"https://open.spotify.com/artist/3VGgDr7FKNimM8esrtg0MD\">Spotify\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCPAIvlB1q497kEN9_wbeK0A\">YouTube\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DeRobertis influenced and informed the way Wing feels and thinks, and he says this has allowed him to be more in touch with his heart.\u003c/p>\n\u003cp>Wing also teaches \u003ca href=\"https://pacificvibration.com/lessons\">music lessons\u003c/a> and says it’s integral to his own musical and spiritual journey. He sees the process of teaching and sharing as a profound one.\u003c/p>\n\u003cp>“It’s more than just learning to technically play an instrument or sing. It is an expression of the soul, heart and mind,” he said.\u003c/p>\n\u003cp>For Wing, songwriting is more like tuning into something. “I listen to the song and it comes through me,” he said. “I’m just fortunate enough to have heard it and been able to transcribe it into a song.”\u003c/p>\n\u003cp>Ultimately, music is one of the ways he expresses himself. “I do feel like music is a way of communicating something that I can’t do otherwise,” he said. “I’m also starting to realize that being an artist is not just about the music. It’s really about my life.”\u003c/p>\n\u003cp>Wing has plans to finish a solo album this year, as well as a Pacific Vibration album.\u003c/p>\n\u003cp>“Smile” was mixed and mastered by E.N. Young. Pacific Vibration’s band members include Randy Nakamura and Aidan Wing.\u003c/p>\n\u003cp>Wing will be playing a solo acoustic show on March 17, 2023, at Alice’s Restaurant in Woodside. He’ll also be playing with Pacific Vibration in Tahoe on July 21, 2023, at \u003ca href=\"https://northtahoebusiness.org/music-on-the-beach/\">Music on the Beach\u003c/a>.\u003c/p>\n\u003cp>To keep up with his music, follow Kerry Wing and Pacific Vibration on social media:\u003c/p>\n\u003cul>\n\u003cli>Kerry Wing: \u003ca href=\"https://www.instagram.com/kerrywingmusic/\">Instagram\u003c/a>, \u003ca href=\"https://open.spotify.com/artist/33bB79iEslUdOCQWDWsF8z\">Spotify\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCOaOLf0wRO3nP-_skzValMA\">YouTube\u003c/a>\u003c/li>\n\u003cli>Pacific Vibration: \u003ca href=\"https://www.instagram.com/pacificvibration/\">Instagram\u003c/a>, \u003ca href=\"https://open.spotify.com/artist/3VGgDr7FKNimM8esrtg0MD\">Spotify\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCPAIvlB1q497kEN9_wbeK0A\">YouTube\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Read the transcript \u003ca href=\"http://bit.ly/3hzxB5v\" rel=\"noopener noreferrer\" target=\"_blank\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The Bay Area has a vibrant and eclectic music scene, but when Jessica Kariisa moved here last year she couldn’t find many places playing the African dance hits she loves. She’d spent time in big East Coast cities like Washington, D.C. and New York that have large, visible African populations, so she was surprised that she didn’t see many people that looked like her in either San Jose, where she lives, or San Francisco, where she works.\u003c/p>\n\u003cp>But African music is her passion, so Jessica went on a mission to find it. Her first clue that there was something in the Bay Area came from a line in Fireboy DML’s hit song, “Peru,” when he croons, “I’m in San Francisco jamming.” Anyone else might have heard that as a throw away line, but to Jessica it was a clue. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jessica soon found out that while not as visible, Africans have been spinning music they love and hosting dance parties for decades. \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">Check out the amazing dance parties, clubs and community Jessica found in from San Jose to Oakland and back to San Francisco\u003c/a>. Through the love of music, DJs and fans paint the picture of a community willing to go to great lengths for that next hot track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>[dropcap]I[/dropcap] never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=jx6zqCY8GMU\u003c/p>\n\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n",
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"excerpt": "Widely credited as the first DJ to play rock and roll on the West Coast, Art Laboe died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art Laboe, widely credited as the first DJ to play rock and roll on the West Coast, died earlier this month in Palm Springs at the age of 97, after a broadcasting career spanning some 80 years. He coined the term \"oldies but goodies,\" and his beloved radio show drew a racially diverse audience from across California and beyond. California Report Magazine host Sasha Khokha got a chance to interview him for a 2019 story. This week, we're reprising that piece as a tribute to Laboe. Listen to the story in the audio link above.\u003c/p>\n\u003cp>\u003cstrong>Original story, Feb. 8, 2019:\u003cbr>\n\u003c/strong>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never knew who Art Laboe was, or what he meant to so many Californians, until I moved to Fresno, and started dating someone who grew up on Laboe's music. We would drive on country roads lined with orange groves and tune into Laboe's Sunday radio show, where people from all over the state would send in lovey-dovey dedications to each other. And then there was Laboe's signature on-air smooch into the microphone.\u003c/p>\n\u003cp>My now-husband Karl was a low-rider growing up, cruising in his Nissan mini-truck with tinted windows, custom-painted graphics on the side and a booming stereo. He would blast Laboe's show, which played songs by artists like Rick James, Teena Marie, Tierra and the Temptations — from the 12-inch woofers, while waxing his car and cleaning the custom spoke wheels with a toothbrush.\u003c/p>\n\u003cp>By the time I met Karl, he had moved away from the low-rider lifestyle, but not Art Laboe, or the love songs. He's one of generations of Californians — especially Chicanos and Latinx folks — who've grown up on Laboe's music, first listening as their grandparents did.\u003c/p>\n\u003cfigure id=\"attachment_11723560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723560\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg\" alt=\"\" width=\"800\" height=\"958\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-800x958.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-160x192.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1020x1221.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut-1002x1200.jpg 1002w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35135_1947-circa-Art-Laboe-in-KCMJ-Palm-Springs-studio-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe developed a radio persona that was daring and rebellious for its time. Here he broadcasts from the Palm Springs studios of KCMJ in 1946 while getting a haircut. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After all, Laboe has been spinning oldies and love songs since 1943. He coined the term “oldies but goodies” and was one of the first DJs on the West Coast to play rock 'n' roll.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He still takes to the airwaves from a Palm Springs studio six nights a week from 7 p.m. to midnight, hosting \u003ca href=\"https://www.facebook.com/ArtLaboeConnection/\" target=\"_blank\" rel=\"noopener noreferrer\">The Art Laboe Connection\u003c/a> — a show broadcast on more than a dozen stations across California.\u003c/p>\n\u003cp>\u003cem>Watch a tribute to Art Laboe produced by videographer Bryan Mendez:\u003c/em>\u003cbr>\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/jx6zqCY8GMU'\n title='//www.youtube.com/embed/jx6zqCY8GMU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Laboe spends hours every day playing songs that are about the heart.\u003c/p>\n\u003cp>“Love is a powerful medicine, whether you’re falling in love, or out of love,” he says.\u003c/p>\n\u003ch3>Connecting loved ones, in and out of prison\u003c/h3>\n\u003cp>These days, many of those calling in with regular dedications have loved ones in prison.\u003c/p>\n\u003cp>\"He's just an amazing DJ. I would listen to him until my last breath,\" says longtime listener Rosie Morales, of Sylmar.\u003c/p>\n\u003cfigure id=\"attachment_11723897\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003cimg class=\" wp-image-11723897\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg\" alt=\"\" width=\"351\" height=\"233\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-800x531.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1020x677.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut-1200x797.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35166_DSCF7495-1-qut.jpg 1920w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe receives thousands of letters from incarcerated people each year. Some envelopes contain a week's work of dedications for their loved ones. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She calls in every single day with a dedication to her husband Scrappy, who's serving a life sentence in Kern Valley State Prison in Delano. She can't call her husband directly right now, because he's in solitary confinement. But she can hear Laboe smooch kisses sent by her husband into his microphone.\u003c/p>\n\u003cp>\"He's able to communicate to our loved ones when we can't,\" Morales says. \"He brings that spark into relationships.\"\u003c/p>\n\u003cp>“They’re there, man and wife, every night, man and wife, doing it to each other, dedications,\" Laboe laughs. \"Conjugal, but not conjugal.\"\u003c/p>\n\u003cp>Some incarcerated people send in a week's worth of dedications to their spouses or lovers, with a different love song for each day of the week.\u003c/p>\n\u003cfigure id=\"attachment_11723729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723729\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35147_2018_1211_185557001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe has been spinning love songs for 75 years. \u003ccite>(Bryan Mendez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Art’s so concerned about the prisoners, because for every person that's inside there can be 10 or 20 family members on the outside affected by that person being in jail,\" says his longtime audio engineer, Joanna Morones, who answers phones to take dedications.\u003c/p>\n\u003cp>\"He really caters to that family dynamic, you know, and connecting them. We're told every night, ‘I can't go visit him. I won't be able to go see him for two weeks, but I can talk to him on the radio.’ The guys in prison sit there and wait to hear their wives’ voice on the radio,\" Morones says.\u003c/p>\n\u003ch3>Getting his start — thanks to the WWII draft\u003c/h3>\n\u003cp>Laboe's obsession with radio started when he was eight years old, when his sister sent his parents what he called \"this box that talked.\" He set up a ham radio station in his bedroom at age 14, broadcasting to his neighbors.\u003c/p>\n\u003cp>When he was 18, he walked into radio station KSAN in San Francisco and asked for a job.\u003c/p>\n\u003cp>He had no real experience, and he hadn’t yet honed his rich baritone. But he did have one thing: a radio operator’s license.\u003c/p>\n\u003cp>The station had lost its engineers to the draft — this was World War II. The manager offered him a job on the spot. As long as he changed his last name, which the manager thought sounded \"too ethnic\" for the airwaves in 1943.\u003c/p>\n\u003cp>So Art Egnoian — the son of Armenian immigrants — took the name of the station’s receptionist and became Art Laboe.\u003c/p>\n\u003cfigure id=\"attachment_11723557\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg class=\"size-full wp-image-11723557\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg\" alt=\"\" width=\"768\" height=\"936\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35134_1945-KPMO-Art-Laboe-w-Eddie-Rodriquez-s-qut-160x195.jpg 160w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Laboe claims to have invented the on-air dedication, where listeners write or call in to send music and love notes to each other on the air. Here he reads dedications with Eddie Rodriguez in 1945, at radio station KPMO in Pomona. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But his music, and his fan base, have never been whitewashed. Laboe has built a huge fan base, starting with the teenagers who attended his live concerts or dances back in the 1950s. He made a name for himself hosting rock 'n' roll concerts in the Los Angeles suburb of El Monte, pioneering racially integrated, all-ages dance parties with live bands.\u003c/p>\n\u003cp>\"I can do some nice talking in Armenian. But I can do almost that good in Spanish, too,\" Laboe smiles. \"I’m happy that [our concerts and shows appeal to] everybody. If you come to one of our concerts, you’ll see a mixture, a complete mixture of what we have in California.\"\u003c/p>\n\u003cfigure id=\"attachment_11723561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11723561\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg\" alt=\"Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-160x114.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut-1020x726.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/02/RS35138_1958-Art-Laboe-KPOP-broadcast-event-s-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laboe pioneered live broadcast events, talking to listeners from drive-ins and concert halls, and sometimes even pulling stunts like trying to get a lion to roar into his microphone. \u003ccite>(Courtesy of Art Laboe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 94, Laboe is still hosting live shows across California and the west, wearing his signature bedazzled track suit and a sparkly bowler hat.\u003c/p>\n\u003cp>Laboe says he knows people his age always say this kind of thing, but he is nostalgic for the old days — a time when people used to have a little more kindness for each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would be good if we had a little bit more of what we used to have in the world,\" Laboe says. \"Nevertheless, people are people and they still have the same basic wants and needs. Everyone is capable of love and affection, if they could just have a little bit more of it for each other.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”[aside postID=news_11927353 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/09/artsed_prop28-1020x626.jpg']Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.[pullquote size=\"medium\" align=\"right\" citation=\"Andrea Landin, director of school and neighborhood partnerships, East Bay Center for the Performing Arts\"]‘Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth.’[/pullquote]\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When singer Marina Crouse was a child in Southern California, Spanish surrounded her but was not a language she spoke. She’s a fourth-generation Californian and a Chicana, but when she was born, in the late 1960s, speaking English was heavily prioritized.\u003c/p>\n\u003cp>“People now value being bilingual, but at that time, and before that, it was not necessarily valued,” says Crouse, who now lives in El Cerrito.\u003c/p>\n\u003cp>Eventually, as an adult, she made a concerted effort to learn Spanish. It was a pursuit she became so committed to that she has since become a Spanish professor at Diablo Valley College in Pleasant Hill.\u003c/p>\n\u003cp>But Crouse’s study of language and literature came only after she pursued a career in music.\u003c/p>\n\u003cfigure id=\"attachment_11916613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916613 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8464-800x640.jpg\" alt=\"A women sings into a microphone.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Marina Crouse is well-known for her throaty blues. But her new album features Spanish songs originally sung by ‘crossover‘ artist Eydie Gormé. \u003ccite>(R Hakins/Freight and Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied classical music [in college] and I thought I was going to be maybe an opera singer,” says Crouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it was expensive to hire a teacher, and Crouse’s family couldn’t afford to help support her education. Crouse, who grew up in a lower-income, single-parent home, needed financial security, and wasn’t sure her love of music would translate into a true career.\u003c/p>\n\u003cp>Still, after college, graduate school, and a divorce, Crouse’s daughter encouraged her to return to music. She discovered that her bold, brassy voice was perfect for singing blues, and released her first album, “Never Too Soon,” in 2018.\u003c/p>\n\u003cp>https://youtu.be/O1-xmJmLTCQ\u003c/p>\n\u003cp>Now, Crouse is back with a new album , “\u003ca href=\"https://www.marinacrouse.com/music\">Canto de Mi Corazón\u003c/a>” (released by the Bay Area’s Little Village Foundation), that celebrates her love of the Spanish language. It’s also a tribute to an artist whose work has long inspired her.\u003c/p>\n\u003cfigure id=\"attachment_11916683\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916683 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\" alt=\"A woman holds a record cover of an album called 'Amor' by Eydie Gormé and The Trio Los Panchos.\" width=\"240\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543-160x213.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse holds a copy of the album ‘Amor’ performed by Eydie Gormé and The Trio Los Panchos. Crouse remembers her grandmother playing the record whenever she would visit her as a child in Los Angeles. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Crouse, the renowned singer \u003ca href=\"https://en.wikipedia.org/wiki/Eydie_Gorm%C3%A9\">Eydie Gormé\u003c/a> — who rose to stardom in the 1950s and 1960s — recorded in both English and Spanish. But Gormé’s background was a bit different: Her parents were Turkish-born Jews who emigrated to New York and spoke Ladino, a language derived from Spanish by Jews who were expelled from their homeland during the Spanish Inquisition. \u003ca href=\"https://www.youtube.com/watch?v=kQeGLk4nGus&ab_channel=iTubeNL\">Gormé performed in Spanish\u003c/a> with a group called The Trio Los Panchos, becoming among the earliest so-called “crossover” artists.\u003c/p>\n\u003cp>“Her music, and the music she did in Spanish with Trio Los Panchos, was probably the most memorable music for me growing up,” says Crouse, whose new album pays tribute to Gormé, with versions of the songs “Piel Canela, Sabor a Mi” and “Cuando Vuelva a tu Lado.” She sings the entire album in Spanish.\u003c/p>\n\u003cp>Crouse, who grew up in Los Angeles, says her childhood was difficult. She moved around a lot and attended many different schools, she recalls.\u003c/p>\n\u003cp>But when she was a child, her grandmother’s house was an anchor for her. And that’s where she first encountered Gormé’s music, immediately noticing how happy it made her grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11916611\" class=\"wp-caption alignright\" style=\"max-width: 232px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\" alt=\"A young girl and a baby sit on an elderly woman's lap.\" width=\"232\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny-.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny--160x128.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse (left) says listening to Eydie Gormé’s records in Spanish with her grandmother is among her favorite memories from a childhood that was otherwise turbulent. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She had one of these big stereos that look like a 1960s TV console,” Crouse says. “And you would lift up the heavy top and put the records on in there and then the speakers were on each side.”\u003c/p>\n\u003cp>Crouse remembers studying the album covers, reading the names of songs and looking at the pictures. Even though she didn’t understand the lyrics back then, the music — and the experience — left a lasting impression.\u003c/p>\n\u003cp>“It was this sort of magical thing. And the music was so beautiful,” she says.\u003c/p>\n\u003cp>“Piel Canela” is one of Crouse’s favorite tracks on the new album.\u003c/p>\n\u003cp>“The lyrics are just so gorgeous,” she says. “It’s about brown skin, and the beauty of brown skin.”\u003c/p>\n\u003cp>Crouse says singing in Spanish “feels incredible” after the frustration she experienced as a child, when people often assumed she spoke Spanish, and she sometimes felt ashamed because she didn’t.\u003c/p>\n\u003cp>“I used to sort of phonetically sing along, but I didn’t really understand what they were talking about,” she says. “After spending all these years studying Spanish and teaching literature and poetry and really, you know, sinking into words, it just feels … it sounds very cliché — it just feels like home.”\u003c/p>\n\u003cp>https://youtu.be/p046AdGMDc4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Marina Crouse plans to celebrate her new album at a \u003ca href=\"https://www.bandsintown.com/artist-rsvp/11902503?event_id=103493680&utm_campaign=event&utm_medium=api&app_id=WIX_marina-crouse-sings&utm_source=public_api&came_from=267&spn=0&signature=ZZea27e3c573a72de12bebfee46904818726858739fbb90311044b19ab85c27f88\">record release party \u003c/a>July 23 at The Sound Room in Oakland. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When singer Marina Crouse was a child in Southern California, Spanish surrounded her but was not a language she spoke. She’s a fourth-generation Californian and a Chicana, but when she was born, in the late 1960s, speaking English was heavily prioritized.\u003c/p>\n\u003cp>“People now value being bilingual, but at that time, and before that, it was not necessarily valued,” says Crouse, who now lives in El Cerrito.\u003c/p>\n\u003cp>Eventually, as an adult, she made a concerted effort to learn Spanish. It was a pursuit she became so committed to that she has since become a Spanish professor at Diablo Valley College in Pleasant Hill.\u003c/p>\n\u003cp>But Crouse’s study of language and literature came only after she pursued a career in music.\u003c/p>\n\u003cfigure id=\"attachment_11916613\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916613 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8464-800x640.jpg\" alt=\"A women sings into a microphone.\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464-1920x1536.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8464.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Marina Crouse is well-known for her throaty blues. But her new album features Spanish songs originally sung by ‘crossover‘ artist Eydie Gormé. \u003ccite>(R Hakins/Freight and Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I studied classical music [in college] and I thought I was going to be maybe an opera singer,” says Crouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it was expensive to hire a teacher, and Crouse’s family couldn’t afford to help support her education. Crouse, who grew up in a lower-income, single-parent home, needed financial security, and wasn’t sure her love of music would translate into a true career.\u003c/p>\n\u003cp>Still, after college, graduate school, and a divorce, Crouse’s daughter encouraged her to return to music. She discovered that her bold, brassy voice was perfect for singing blues, and released her first album, “Never Too Soon,” in 2018.\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/O1-xmJmLTCQ'\n title='//www.youtube.com/embed/O1-xmJmLTCQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, Crouse is back with a new album , “\u003ca href=\"https://www.marinacrouse.com/music\">Canto de Mi Corazón\u003c/a>” (released by the Bay Area’s Little Village Foundation), that celebrates her love of the Spanish language. It’s also a tribute to an artist whose work has long inspired her.\u003c/p>\n\u003cfigure id=\"attachment_11916683\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916683 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/IMG_8543.jpg\" alt=\"A woman holds a record cover of an album called 'Amor' by Eydie Gormé and The Trio Los Panchos.\" width=\"240\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/IMG_8543-160x213.jpg 160w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse holds a copy of the album ‘Amor’ performed by Eydie Gormé and The Trio Los Panchos. Crouse remembers her grandmother playing the record whenever she would visit her as a child in Los Angeles. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Crouse, the renowned singer \u003ca href=\"https://en.wikipedia.org/wiki/Eydie_Gorm%C3%A9\">Eydie Gormé\u003c/a> — who rose to stardom in the 1950s and 1960s — recorded in both English and Spanish. But Gormé’s background was a bit different: Her parents were Turkish-born Jews who emigrated to New York and spoke Ladino, a language derived from Spanish by Jews who were expelled from their homeland during the Spanish Inquisition. \u003ca href=\"https://www.youtube.com/watch?v=kQeGLk4nGus&ab_channel=iTubeNL\">Gormé performed in Spanish\u003c/a> with a group called The Trio Los Panchos, becoming among the earliest so-called “crossover” artists.\u003c/p>\n\u003cp>“Her music, and the music she did in Spanish with Trio Los Panchos, was probably the most memorable music for me growing up,” says Crouse, whose new album pays tribute to Gormé, with versions of the songs “Piel Canela, Sabor a Mi” and “Cuando Vuelva a tu Lado.” She sings the entire album in Spanish.\u003c/p>\n\u003cp>Crouse, who grew up in Los Angeles, says her childhood was difficult. She moved around a lot and attended many different schools, she recalls.\u003c/p>\n\u003cp>But when she was a child, her grandmother’s house was an anchor for her. And that’s where she first encountered Gormé’s music, immediately noticing how happy it made her grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11916611\" class=\"wp-caption alignright\" style=\"max-width: 232px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11916611\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/06/Granny-.jpg\" alt=\"A young girl and a baby sit on an elderly woman's lap.\" width=\"232\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny-.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/06/Granny--160x128.jpg 160w\" sizes=\"(max-width: 232px) 100vw, 232px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Marina Crouse (left) says listening to Eydie Gormé’s records in Spanish with her grandmother is among her favorite memories from a childhood that was otherwise turbulent. \u003ccite>(Courtesy Marina Crouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She had one of these big stereos that look like a 1960s TV console,” Crouse says. “And you would lift up the heavy top and put the records on in there and then the speakers were on each side.”\u003c/p>\n\u003cp>Crouse remembers studying the album covers, reading the names of songs and looking at the pictures. Even though she didn’t understand the lyrics back then, the music — and the experience — left a lasting impression.\u003c/p>\n\u003cp>“It was this sort of magical thing. And the music was so beautiful,” she says.\u003c/p>\n\u003cp>“Piel Canela” is one of Crouse’s favorite tracks on the new album.\u003c/p>\n\u003cp>“The lyrics are just so gorgeous,” she says. “It’s about brown skin, and the beauty of brown skin.”\u003c/p>\n\u003cp>Crouse says singing in Spanish “feels incredible” after the frustration she experienced as a child, when people often assumed she spoke Spanish, and she sometimes felt ashamed because she didn’t.\u003c/p>\n\u003cp>“I used to sort of phonetically sing along, but I didn’t really understand what they were talking about,” she says. “After spending all these years studying Spanish and teaching literature and poetry and really, you know, sinking into words, it just feels … it sounds very cliché — it just feels like home.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p046AdGMDc4'\n title='//www.youtube.com/embed/p046AdGMDc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>Marina Crouse plans to celebrate her new album at a \u003ca href=\"https://www.bandsintown.com/artist-rsvp/11902503?event_id=103493680&utm_campaign=event&utm_medium=api&app_id=WIX_marina-crouse-sings&utm_source=public_api&came_from=267&spn=0&signature=ZZea27e3c573a72de12bebfee46904818726858739fbb90311044b19ab85c27f88\">record release party \u003c/a>July 23 at The Sound Room in Oakland. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003ch2>\u003ca href=\"https://ww2.kqed.org/news/2022/05/13/how-a-santa-rosa-psych-ward-nurse-became-one-of-the-bay-areas-most-unique-bandleaders/\">How a Santa Rosa Psych Ward Nurse Became One of the Bay Area’s Most Tenacious Bandleaders\u003c/a>\u003c/h2>\n\u003cp class=\"x_MsoNormal\">We’ve been bringing you stories about Californians who are finding their passions, creating connections, and lifting up their communities. A few months ago, KQED culture reporter Chloe Veltman headed out with friends to a restaurant in the Sonoma County town of Guerneville. There was a cover band\u003ci data-stringify-type=\"italic\"> \u003c/i>playing called “Suzi’s Last Resort.” Chloe was blown away by how charismatic and fun the group was, and got even more excited when she learned about the woman behind the music. How she started her showbiz career when she was pushing forty and how, at nearly eighty, she’s still at it. Chloe knew she had to track the bandleader down and bottle her magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"slug": "meet-the-three-women-behind-an-indigenous-land-back-effort-to-reclaim-an-sf-peninsula-farm",
"title": "Meet Three of the Women Behind an Indigenous Land Back Effort to Reclaim an SF Peninsula Farm",
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"content": "\u003cp>\u003cem>The California Report Magazine’s Sasha Khokha and Izzy Bloom visited a 38-acre farm in San Gregorio, 40 miles west of San José, to follow a new project aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula. The project is spearheaded by \u003ca href=\"https://www.deepmedicinecircle.org/\">Deep Medicine Circle\u003c/a>, a nonprofit group led by women of color, whose goal, according to its founder Rupa Marya, is to “heal the wounds of colonialism through food, medicine, story, learning and restoration.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>We spoke with three of the women leading this land back effort.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg\" alt=\"A woman holding a flat stick standing in field, behind the skull of an elk.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramaytush elder Cata Gomes on the Te Kwe A’naa Warep farm in San Gregorio on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Catalina Gomes: Ramaytush Indigenous elder\u003c/h3>\n\u003cp>When Catalina Gomes was growing up in San José, she knew very little about her Indigenous roots. Gomes said her mother and grandmother wanted to protect her from the “trauma that we’ve suffered in the last 400 years,” so they didn’t speak about their heritage. The only thing they told her when she was a child was that she was a 12th-generation Californian. But Gomes said she always had a strong intuition that this wasn’t the full story.\u003c/p>\n\u003cp>As a young adult, Gomes learned she was descended from the Salinan Tribe, from the Salinas Valley and the Santa Lucia coastal range. Then, four years ago, Gomes’s cousin unearthed records from the Spanish missions that revealed their family also has Ramaytush ancestry\u003cem>.\u003c/em> In those records, they discovered an ancestor named Muchia Te’. The Spanish recorded her baptismal date as Oct. 2, 1782, when she was about 50 years old.\u003c/p>\n\u003cp>Gomes said she feels lucky to know Muchia Te’s Indigenous name, because it was common for the Spanish to record only the baptismal names of Indigenous people. Gomes is now creating a land trust, called the “Muchia Te’ Indigenous Land Trust,” named after her ancestors. The 38 acres of farmland, which are currently being held by \u003ca href=\"http://openspacetrust.org\">Peninsula Open Space Trust\u003c/a>, will soon be returned to Gomes and the Ramaytush.\u003c/p>\n\u003cfigure id=\"attachment_11911825\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911825 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\" alt=\"People gather in a farm structure, next to boxes of potatoes.\" width=\"1920\" height=\"1276\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">UCSF pediatricians-in-training learn about Indigenous foods from farm director Jibril Kyser at the Ramaytush Te Kwe A’naa Warep farm, on Jan. 30, 2022. \u003ccite>(Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On May 1, Deep Medicine Circle will officially rename the farm Te Kwe A’naa Warep, which means “honoring Mother Earth” in the Ramaytush language.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the farm include harvesting traditional indigenous herbs and medicines, setting up an herbal apothecary, and farming nutritious, organic food that will be available, for free, to communities in need.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cstrong>\u003cbr>\n\u003c/strong>“We’re here to heal the land, and the land is here to heal us. So it’s a copacetic relationship that we have with the land and the creatures here, the creek, the plants. We’re all here working together, struggling to bring forward a better future than what we’ve been exposed to. … We’re hoping to grow this project and expand and get other land to hopefully get another property that we could open a health center and have an alternative approach to healing our bodies that have been so traumatized after the last 400 years.”\u003c/p>\n\u003cp>\u003cstrong>What brings her joy\u003c/strong>:\u003cbr>\n“It is bringing me great joy to have a positive goal to look forward to. … It’s been a complete change of my mindset to go from COVID being the focus, to focusing on this land, healing the land and having the land heal us.”\u003c/p>\n\u003cfigure id=\"attachment_11911821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911821 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg\" alt=\"A woman with long hair in what looks like a wooden barn playing guitar.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1020x1365.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-160x214.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1148x1536.jpeg 1148w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1530x2048.jpeg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1920x2570.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-scaled.jpeg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician, physician and farmer Rupa Marya sowing seeds and songs in the barn at Te Kwe A’naa Warep farm. \u003ccite>(Bija Milagro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rupa Marya: executive instigator and founder of Deep Medicine Circle\u003c/h2>\n\u003cp>When Rupa Marya was 5 years old, she told her kindergarten teacher that she wanted to be “a ballerina and a surgeon.” Even then, she had a strong desire to heal. Art, she said, was a way for her to process and digest her experiences. Through art, everything made sense to her.\u003c/p>\n\u003cp>Marya’s career path didn’t veer too far from the one she imagined for herself as a child: She’s now an activist, physician and musician — the lead singer of \u003ca href=\"https://www.theaprilfishes.com/\">Rupa and the April Fishes\u003c/a>. The polyglot band performs original songs in French, Spanish, English and Hindi, ranging in genre from jazz to punk to reggae. Their music also highlights Indigenous rights and social justice issues, like police violence and racism in the medical system.\u003c/p>\n\u003cp>About 15 years ago, Marya, who also is an \u003ca href=\"https://profiles.ucsf.edu/rupa.marya\">associate professor of medicine\u003c/a> at UCSF, noticed many young people coming to see her with stomach problems, and she became fascinated with stool cultures. She made the connection between inflammation of the human gut and the way the soil and earth’s systems are “inflamed.” Marya sought to reject capitalist food systems by growing nutritious food to give away to oppressed groups, an effort that led her to create the nonprofit Deep Medicine Circle, which is managing the farm and oversees the Land Back Solidarity Project.\u003c/p>\n\u003cp>[aside label=\"related coverage\" tag=\"land-back\"]The group is focused on \u003ca href=\"https://www.deepmedicinecircle.org/restore\">growing organic, nutritious food\u003c/a> using a blend of agroecology and Indigenous traditional ecological knowledge. It’s also \u003ca href=\"https://www.deepmedicinecircle.org/nourish\">decommodifying food\u003c/a> by giving away what it grows to marginalized communities, partnering with organizations like the American Indian Cultural District and Tenderloin Neighborhood Development Corporation in San Francisco. The group also \u003ca href=\"https://www.deepmedicinecircle.org/heal\">invites health care workers\u003c/a> to visit the farm and heal from the trauma of the pandemic.\u003c/p>\n\u003cp>Marya also co-authored the book “\u003ca href=\"https://bookshop.org/books/inflamed-deep-medicine-and-the-anatomy-of-injustice/9780374602512\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>” with economist Raj Patel, exploring how the earth’s gut — our soil — is causing diseases in the human gut and affecting community health.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cbr>\n“I would like to turn around and look at these hills and see tule elk grazing. I would love to see beaver back on the land, and the creek full of salmon, and the creek healthy. I would love to know that that whole valley and watershed has eliminated all the synthetic pesticides and fertilizers that are harmful to the soil. I would love to see young people learning this work, and people from many different cultures coming together to learn about Ramaytush heritage and culture and land stewardship and this model of farming. I would love to see people coming there to participate in growing food for our communities.”\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cbr>\n“Knowing that I’m participating with my family in a great awakening and a great healing. My children aren’t waiting until they’re 20 to learn the truth about what happened to these lands, and they’re actively engaged in participating in that healing work. … Being together in this work in community is probably one of the best feelings I’ve had in a long time.”\u003c/p>\n\u003cfigure id=\"attachment_11911822\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911822 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\" alt=\"A women with a cap standing outside next to a barn, and wearing a t-shirt that says 'Phenomenally Indigenous.'\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sage La Pena, Deep Medicine Circle’s director of traditional ecological knowledge and an Indigenous plant medicine doctor, at the Te Kwe A’naa Warep farm on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sage La Pena: Nomtipom Wintu ethnobotanist and certified medicinal herbalist\u003c/h2>\n\u003cp>When she was a child, Sage La Pena began working with and learning from Mabel McKay, a \u003ca href=\"https://www.californiamuseum.org/inductee/mabel-mckay\">globally respected doctor and basket weaver \u003c/a>from the Pomo and Wintun tribes of Northern California. La Pena later discovered that what McKay had taught her also is considered “ethnobotany,” the study of traditional customs, and the medicinal, religious and other uses of plants, and went on to teach at the \u003ca href=\"https://cshs.com/\">California School of Herbal Studies\u003c/a>, founded by herbalist Rosemary Gladstar.\u003c/p>\n\u003cp>“They told me I was an herbalist, and I didn’t know what an herbalist was,” La Pena said. “I thought the knowledge that was given and passes through me now was the norm.”\u003c/p>\n\u003cp>La Pena now works with Deep Medicine Circle to preserve and pass on traditional ecological knowledge. She’s an expert in the medicinal uses of native plants, like elderberry and stinging nettle, which are grown and harvested on the farm.\u003c/p>\n\u003cp>\u003cb>What she hopes this project will achieve\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“I feel a very close affinity to the plant life and the people, in turn. … We want beaver here and elk to participate in these landscapes. That is their birthright. And they’ve been kept from these places. So if there’s something that as a two-legged I can do to help that process, that is as it should be with balance, then that’s why I’m here. To do that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“My daughter Roxy, who’s my youngest birth child of five, and my grandchildren. I see within these generations, open minds that are often clouded in adults. … Just seeing how they’re so open and willing to learn. The vitality that they share with us, it’s very joyful.”\u003c/p>\n\n",
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"excerpt": "The 38-acre farm project in San Gregorio is aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula.",
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"title": "Meet Three of the Women Behind an Indigenous Land Back Effort to Reclaim an SF Peninsula Farm | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The California Report Magazine’s Sasha Khokha and Izzy Bloom visited a 38-acre farm in San Gregorio, 40 miles west of San José, to follow a new project aimed at returning land to the Ramaytush, the Indigenous people of the San Francisco Peninsula. The project is spearheaded by \u003ca href=\"https://www.deepmedicinecircle.org/\">Deep Medicine Circle\u003c/a>, a nonprofit group led by women of color, whose goal, according to its founder Rupa Marya, is to “heal the wounds of colonialism through food, medicine, story, learning and restoration.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>We spoke with three of the women leading this land back effort.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911820\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911820 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg\" alt=\"A woman holding a flat stick standing in field, behind the skull of an elk.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6204-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramaytush elder Cata Gomes on the Te Kwe A’naa Warep farm in San Gregorio on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Catalina Gomes: Ramaytush Indigenous elder\u003c/h3>\n\u003cp>When Catalina Gomes was growing up in San José, she knew very little about her Indigenous roots. Gomes said her mother and grandmother wanted to protect her from the “trauma that we’ve suffered in the last 400 years,” so they didn’t speak about their heritage. The only thing they told her when she was a child was that she was a 12th-generation Californian. But Gomes said she always had a strong intuition that this wasn’t the full story.\u003c/p>\n\u003cp>As a young adult, Gomes learned she was descended from the Salinan Tribe, from the Salinas Valley and the Santa Lucia coastal range. Then, four years ago, Gomes’s cousin unearthed records from the Spanish missions that revealed their family also has Ramaytush ancestry\u003cem>.\u003c/em> In those records, they discovered an ancestor named Muchia Te’. The Spanish recorded her baptismal date as Oct. 2, 1782, when she was about 50 years old.\u003c/p>\n\u003cp>Gomes said she feels lucky to know Muchia Te’s Indigenous name, because it was common for the Spanish to record only the baptismal names of Indigenous people. Gomes is now creating a land trust, called the “Muchia Te’ Indigenous Land Trust,” named after her ancestors. The 38 acres of farmland, which are currently being held by \u003ca href=\"http://openspacetrust.org\">Peninsula Open Space Trust\u003c/a>, will soon be returned to Gomes and the Ramaytush.\u003c/p>\n\u003cfigure id=\"attachment_11911825\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911825 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_doctors--scaled-e1650672672633.jpeg\" alt=\"People gather in a farm structure, next to boxes of potatoes.\" width=\"1920\" height=\"1276\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">UCSF pediatricians-in-training learn about Indigenous foods from farm director Jibril Kyser at the Ramaytush Te Kwe A’naa Warep farm, on Jan. 30, 2022. \u003ccite>(Courtesy of Rupa Marya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On May 1, Deep Medicine Circle will officially rename the farm Te Kwe A’naa Warep, which means “honoring Mother Earth” in the Ramaytush language.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plans for the farm include harvesting traditional indigenous herbs and medicines, setting up an herbal apothecary, and farming nutritious, organic food that will be available, for free, to communities in need.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cstrong>\u003cbr>\n\u003c/strong>“We’re here to heal the land, and the land is here to heal us. So it’s a copacetic relationship that we have with the land and the creatures here, the creek, the plants. We’re all here working together, struggling to bring forward a better future than what we’ve been exposed to. … We’re hoping to grow this project and expand and get other land to hopefully get another property that we could open a health center and have an alternative approach to healing our bodies that have been so traumatized after the last 400 years.”\u003c/p>\n\u003cp>\u003cstrong>What brings her joy\u003c/strong>:\u003cbr>\n“It is bringing me great joy to have a positive goal to look forward to. … It’s been a complete change of my mindset to go from COVID being the focus, to focusing on this land, healing the land and having the land heal us.”\u003c/p>\n\u003cfigure id=\"attachment_11911821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911821 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg\" alt=\"A woman with long hair in what looks like a wooden barn playing guitar.\" width=\"800\" height=\"1071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-800x1071.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1020x1365.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-160x214.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1148x1536.jpeg 1148w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1530x2048.jpeg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-1920x2570.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/DMC_rupa-with-guitar-scaled.jpeg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician, physician and farmer Rupa Marya sowing seeds and songs in the barn at Te Kwe A’naa Warep farm. \u003ccite>(Bija Milagro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rupa Marya: executive instigator and founder of Deep Medicine Circle\u003c/h2>\n\u003cp>When Rupa Marya was 5 years old, she told her kindergarten teacher that she wanted to be “a ballerina and a surgeon.” Even then, she had a strong desire to heal. Art, she said, was a way for her to process and digest her experiences. Through art, everything made sense to her.\u003c/p>\n\u003cp>Marya’s career path didn’t veer too far from the one she imagined for herself as a child: She’s now an activist, physician and musician — the lead singer of \u003ca href=\"https://www.theaprilfishes.com/\">Rupa and the April Fishes\u003c/a>. The polyglot band performs original songs in French, Spanish, English and Hindi, ranging in genre from jazz to punk to reggae. Their music also highlights Indigenous rights and social justice issues, like police violence and racism in the medical system.\u003c/p>\n\u003cp>About 15 years ago, Marya, who also is an \u003ca href=\"https://profiles.ucsf.edu/rupa.marya\">associate professor of medicine\u003c/a> at UCSF, noticed many young people coming to see her with stomach problems, and she became fascinated with stool cultures. She made the connection between inflammation of the human gut and the way the soil and earth’s systems are “inflamed.” Marya sought to reject capitalist food systems by growing nutritious food to give away to oppressed groups, an effort that led her to create the nonprofit Deep Medicine Circle, which is managing the farm and oversees the Land Back Solidarity Project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The group is focused on \u003ca href=\"https://www.deepmedicinecircle.org/restore\">growing organic, nutritious food\u003c/a> using a blend of agroecology and Indigenous traditional ecological knowledge. It’s also \u003ca href=\"https://www.deepmedicinecircle.org/nourish\">decommodifying food\u003c/a> by giving away what it grows to marginalized communities, partnering with organizations like the American Indian Cultural District and Tenderloin Neighborhood Development Corporation in San Francisco. The group also \u003ca href=\"https://www.deepmedicinecircle.org/heal\">invites health care workers\u003c/a> to visit the farm and heal from the trauma of the pandemic.\u003c/p>\n\u003cp>Marya also co-authored the book “\u003ca href=\"https://bookshop.org/books/inflamed-deep-medicine-and-the-anatomy-of-injustice/9780374602512\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>” with economist Raj Patel, exploring how the earth’s gut — our soil — is causing diseases in the human gut and affecting community health.\u003c/p>\n\u003cp>\u003cstrong>What she hopes this project will achieve\u003c/strong>:\u003cbr>\n“I would like to turn around and look at these hills and see tule elk grazing. I would love to see beaver back on the land, and the creek full of salmon, and the creek healthy. I would love to know that that whole valley and watershed has eliminated all the synthetic pesticides and fertilizers that are harmful to the soil. I would love to see young people learning this work, and people from many different cultures coming together to learn about Ramaytush heritage and culture and land stewardship and this model of farming. I would love to see people coming there to participate in growing food for our communities.”\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cbr>\n“Knowing that I’m participating with my family in a great awakening and a great healing. My children aren’t waiting until they’re 20 to learn the truth about what happened to these lands, and they’re actively engaged in participating in that healing work. … Being together in this work in community is probably one of the best feelings I’ve had in a long time.”\u003c/p>\n\u003cfigure id=\"attachment_11911822\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11911822 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/04/IMG_6196-scaled.jpg\" alt=\"A women with a cap standing outside next to a barn, and wearing a t-shirt that says 'Phenomenally Indigenous.'\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/IMG_6196-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sage La Pena, Deep Medicine Circle’s director of traditional ecological knowledge and an Indigenous plant medicine doctor, at the Te Kwe A’naa Warep farm on Feb. 13, 2022. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sage La Pena: Nomtipom Wintu ethnobotanist and certified medicinal herbalist\u003c/h2>\n\u003cp>When she was a child, Sage La Pena began working with and learning from Mabel McKay, a \u003ca href=\"https://www.californiamuseum.org/inductee/mabel-mckay\">globally respected doctor and basket weaver \u003c/a>from the Pomo and Wintun tribes of Northern California. La Pena later discovered that what McKay had taught her also is considered “ethnobotany,” the study of traditional customs, and the medicinal, religious and other uses of plants, and went on to teach at the \u003ca href=\"https://cshs.com/\">California School of Herbal Studies\u003c/a>, founded by herbalist Rosemary Gladstar.\u003c/p>\n\u003cp>“They told me I was an herbalist, and I didn’t know what an herbalist was,” La Pena said. “I thought the knowledge that was given and passes through me now was the norm.”\u003c/p>\n\u003cp>La Pena now works with Deep Medicine Circle to preserve and pass on traditional ecological knowledge. She’s an expert in the medicinal uses of native plants, like elderberry and stinging nettle, which are grown and harvested on the farm.\u003c/p>\n\u003cp>\u003cb>What she hopes this project will achieve\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“I feel a very close affinity to the plant life and the people, in turn. … We want beaver here and elk to participate in these landscapes. That is their birthright. And they’ve been kept from these places. So if there’s something that as a two-legged I can do to help that process, that is as it should be with balance, then that’s why I’m here. To do that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What brings her joy\u003c/b>:\u003cb>\u003cbr>\n\u003c/b>“My daughter Roxy, who’s my youngest birth child of five, and my grandchildren. I see within these generations, open minds that are often clouded in adults. … Just seeing how they’re so open and willing to learn. The vitality that they share with us, it’s very joyful.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77",
"title": "Phương Tâm, Sixties Star of Vietnam Surf Rock, Reclaims Her Legacy at 77",
"publishDate": 1647050175,
"format": "image",
"headTitle": "Phương Tâm, Sixties Star of Vietnam Surf Rock, Reclaims Her Legacy at 77 | KQED",
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"content": "\u003cp>It was 1945 in Quảng Bình, the thin north-central neck of Vietnam, and \u003ca href=\"https://apjjf.org/2011/9/5/Geoffrey-Gunn/3483/article.html\">famine ravaged the country\u003c/a>. A newborn baby wailed in a sugarcane field, announcing her arrival with a rawness that would later become her signature. Giving birth indoors was thought to be bad luck, so Nguyễn Thị Tâm — or Tâm — was born outside. A fortuneteller said she would be famous one day.\u003c/p>\n\u003cp>Still, by adolescence, Tâm didn’t seem destined for traditional greatness — which in Vietnam usually meant academic achievement. Her family moved to Hóc Môn, a district outside the southern capital of Saigon. Here, she failed to enter the prestigious Gia Long Girls’ High School.\u003c/p>\n\u003cp>But Tâm didn’t care; she had music.\u003c/p>\n\u003cp>By 19, under the stage name Phương Tâm, she shared album covers and marquees with Saigon’s most sought-after singers, musicians and composers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W1rDLliHJGc&t=4128s\u003c/p>\n\u003cp>Phương Tâm peaked from 1964 to 1966, and then disappeared into obscurity for over 50 years.\u003c/p>\n\u003cp>She married a doctor and had three children, living a suburban life in San José. It wasn’t until recently, with the encouragement of her oldest daughter, Hannah Hà, did Phương Tâm at age 77 reclaim her identity as Vietnam’s first rock-and-roll queen.\u003c/p>\n\u003ch2>Growth of a star\u003c/h2>\n\u003cp>Tâm’s father kept the family’s single radio set on BBC News. So, as an adolescent, Tâm found her musical fix in the cacophony of her village courtyard. It was the late 1950s, and American pop music was beginning to influence Vietnamese tastes — which had previously included folk opera, French jazz and bolero. Tâm lingered by a neighbor’s window listening to songs like Connie Francis’s “Lipstick on your Collar,” and rapidly copied the beats and lyrics she didn’t understand.\u003c/p>\n\u003cp>At 16, Tâm won a singing competition and was accepted into Đoàn Văn nghệ Việt Nam, a program to create live entertainment for military personnel. It was good money, but eventually Tâm ditched the propaganda music — and high school.\u003c/p>\n\u003cp>She found mentors who shared her love of Western music. One well-known musician, Nguyễn Văn Xuân, took her on as a private student. He gave all his best students stage names, so Tâm became “Phương Tâm.” It meant “the direction of the heart.”\u003c/p>\n\u003cfigure id=\"attachment_11908007\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908007\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg\" alt=\"\" width=\"1920\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Miss Vietnam pageant in 1965. Phương Tâm wore traditional áo dài while singing subversive songs. \u003ccite>(Courtesy Nguyễn Ánh 9)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her name change signaled her rise to fame. Phương Tâm headlined the nightclub circuit, and she collaborated with famed composers and musicians, including \u003ca href=\"https://vi.wikipedia.org/wiki/Kh%C3%A1nh_B%C4%83ng\">Khánh Băng, one of the first Vietnamese people to perform with an electric guitar\u003c/a>. The \u003ca href=\"https://vietcetera.com/en/jan-hagenkotter-and-saigon-supersound-volume-1\">major Saigon labels\u003c/a> — Sóng Nhạc, Continental and Việt Nam — recorded her songs.\u003c/p>\n\u003cp>Her style of singing wasn’t just “sexy-naive,” a common trope that continues to have appeal in Vietnam today, but also at times was downright loud and raucous. In spite (or because) of the subversive nature of the music she sang, Phương Tâm kept her clothing modest.\u003c/p>\n\u003cp>“At night I always wore áo dài, but always wore white or beige, not bright,” says Tâm, sitting in her living room in San José.\u003c/p>\n\u003cp>The áo dài was the wispy national dress of Vietnam, made famous by pictures of schoolgirls. But Phương Tâm wasn’t your average schoolgirl. In a music review from 1962, \u003ca href=\"https://vietnamlit.org/wiki/index.php?title=Mai_Thao\">famed Vietnamese writer Mai Thảo\u003c/a> wrote in “Kịch Ảnh” (“Drama”) magazine about the simmering power of this modestly dressed teen:\u003c/p>\n\u003cblockquote>\u003cp>“As she steps from the back and moves toward the microphone with glittering eyes her hands clapping to the beat — a new shape emerges. The figure is now drawn with burning flames, like a green fruit ripening before your eyes.”\u003c/p>\u003c/blockquote>\n\u003cp>Phương Tâm, like other performers, would chạy số — which literally translates as “run numbers.” The phrase described the high-speed nightclub runs that were common for performers at the time: 5 p.m. at Tân Sơn Nhất Air Base, 7 p.m. at An Đông, 8 p.m. at \u003ca href=\"http://taybui.blogspot.com/2015/10/nhac-saigon-ban-em-1963.html\">the Capriccio Bar\u003c/a> — then to \u003ca href=\"https://saigoneer.com/saigon-heritage/13814-old-saigon-building-of-the-week-the-glitz-and-glam-of-tu-do-nightclub\">Tự Do\u003c/a>. And so on, every hour, three songs per venue. At midnight, she finished with an hour-long set at the Olympia.\u003c/p>\n\u003cfigure id=\"attachment_11908008\" class=\"wp-caption alignnone\" style=\"max-width: 1853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908008\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg\" alt=\"\" width=\"1853\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg 1853w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1020x1409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1112x1536.jpg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1482x2048.jpg 1482w\" sizes=\"(max-width: 1853px) 100vw, 1853px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm on the cover of Đẹp magazine \u003ccite>(Courtesy Phương Tâm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm had an admirer, an officer who followed her from one venue to the next. He loved it when Tâm sang “Tenderly.” The officer told her it reminded him of her “enticing lips.” She kept her distance.\u003c/p>\n\u003cp>November 1963 signaled a significant change for South Vietnam. The president, Ngô Đình Diệm, was assassinated. The details of the event remain murky, but \u003ca href=\"https://www.mtholyoke.edu/acad/intrel/pentagon2/pent6.htm\">American involvement and military presence increased.\u003c/a> The nightclubs catered to a growing military clientele. One night that month, Tâm’s admirer brought along a young new military doctor, Hà Xuân Du. There was something different about the young doctor, Tâm recalls.\u003c/p>\n\u003cp>“He asked me for my address, and the day after, he came to my house,” she says.\u003c/p>\n\u003cp>They started dating, and “Tenderly” became their song. But Phương Tâm and Du’s marriage almost three years later — between a singer and the son of an elite family — was scandalous. Their parents didn’t come to their wedding.\u003c/p>\n\u003cp>“They don’t accept me, but … we were already in love,” says Tâm.\u003c/p>\n\u003ch2>A different life\u003c/h2>\n\u003cp>In 1966, as quickly as Phương Tâm ascended to fame, she left her singing career — without a goodbye tour or a last interview.\u003c/p>\n\u003cp>Tâm followed her husband to \u003ca href=\"https://www.usafpolice.org/danang.html\">Đà Nẵng Air Base, just over 100 miles south of the demilitarized zone\u003c/a> that separated North and South Vietnam. Between 1967 and 1968, the war — and the bombing — intensified. Tâm sheltered with her three children.\u003c/p>\n\u003cp>“The rockets would go … the sirens!” recalls Hannah, Tâm’s oldest daughter. “Whenever we would hear the sirens, we would go into the bunker.”\u003c/p>\n\u003cp>Hannah remembers hiding for days at a time in that oppressively hot single room with a refrigerator.\u003c/p>\n\u003cp>With the fall of Saigon in 1975, \u003ca href=\"https://media.defense.gov/2012/Aug/23/2001330098/-1/-1/0/Oper%20Frequent%20Wind.pdf\">the family evacuated on a cargo plane.\u003c/a> They eventually arrived in Southern California. There, Tâm found work — mostly random, repetitive piecework for the garment industry. She sewed, but not well.\u003c/p>\n\u003cp>“I only knew how to sew in a straight line,” Tâm says with a shrug and an impish laugh. She made $0.10 a garment cutting loose thread. Meanwhile, her husband studied to requalify to practice medicine.\u003c/p>\n\u003cp>“I’d come home every day and there’d be a burnt pot,” says Tâm. Du would try to boil a pot of water for coffee and get distracted either by studying or watching sports.\u003c/p>\n\u003cp>Life for Tâm revolved around the kids and, by 1980, supporting Du’s successful pediatrics practice in San José.\u003c/p>\n\u003cp>“It was always cooking, cleaning, going to work, disciplining us, making sure that we were well behaved,” recalls Hannah of that time in her family’s life.\u003c/p>\n\u003cp>Eventually the family acquired the trappings of Vietnamese immigrant success, right down to the white leather couch in the living room. The couple developed strong ties with people in the Vietnamese diaspora, with a special appreciation for music.\u003c/p>\n\u003cp>“When my then-boyfriend — now husband — came to visit my mom for the first time, he had to sing two songs on the karaoke machine: ‘I’ve Got You Under My Skin’ and ‘My Way,'” says Hannah.\u003c/p>\n\u003cp>Her parents graduated beyond simple karaoke, however. Their parties included a who’s who of Vietnamese pre-1975 musicians, including \u003ca href=\"https://en.wikipedia.org/wiki/Nguy%E1%BB%85n_%C3%81nh_9\">Nguyễn Ánh 9, who ‘d once backed Tâm on the guitar in Vietnam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11908015\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908015\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-%E2%80%9CTWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png\" alt=\"\" width=\"1920\" height=\"1942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-800x809.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1020x1032.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1519x1536.png 1519w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for “TWIST SURF BEGUINE ROCK.” Phương Tâm quickly learned and recorded songs in a single session. There were no second takes. \u003ccite>(Courtesy Cường Phạm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm’s past life as a singer was an open secret. She didn’t deny it — but she stuck to singing other people’s hits, not her own.\u003c/p>\n\u003cp>When her husband Googled her a few years ago, he found v\u003ca href=\"https://www.facebook.com/watch/?v=1408772159206973&ref=sharing\">ideos that purported to feature Phương Tâm\u003c/a>. “‘Oh, my God, what woman is doing this! Look at this! Who ever put this video up and use your name?'” Hannah remembers her father saying. For Du, there was only one Phương Tâm: his wife.\u003c/p>\n\u003cp>To make things more confusing, there was another singer with a similar name, Phương Hoài Tâm, also in San José. This woman ran a skin care salon while performing on the side.\u003c/p>\n\u003ch2>A new chapter\u003c/h2>\n\u003cp>“My mom and my dad were always a couple,” recalls Hannah. “Wherever they went, over to their friend’s house, it was never without the other.”\u003c/p>\n\u003cp>Then in 2019, Tâm’s husband Du died after a prolonged illness.\u003c/p>\n\u003cp>Vietnamese people often make \u003ca href=\"https://www.cdm.org/voyagetovietnam/altars.html\">an altar in their homes to honor the dead.\u003c/a> Commonly, the altar pictures are static: a face either in a formal pose, or a slightly brighter version of a passport photo.\u003c/p>\n\u003cp>But in Tâm’s home, her beloved is holding a microphone, singing.\u003c/p>\n\u003cp>Du’s death was a turning point for Hannah and Tâm. Hannah went searching for more information about her mom’s past life. She stumbled across compilations of Vietnamese wartime rock music, including the most successful album to date, called \u003ca href=\"https://www.sublimefrequencies.com/products/576864-saigon-rock-soul-vietnamese-classic-tracks-1968-1974\">“Saigon Rock and Soul: Vietnamese Classic Tracks 1968-1974.”\u003c/a>\u003c/p>\n\u003cp>The album attributed one song, “Magical Night,” to Phương Tâm. Hannah couldn’t be sure it was her mom’s voice. And when she showed Tâm the cover — \u003ca href=\"https://www.sublimefrequencies.com/products/576864-saigon-rock-soul-vietnamese-classic-tracks-1968-1974\">featuring a woman in a menswear jacket, cap and tinted oversized glasses smoking a cigarette\u003c/a> — Tâm’s reaction was swift.\u003c/p>\n\u003cp>“Oh, they are liar! I never smoke!” Tâm said, according to Hannah.\u003c/p>\n\u003cp>Hannah contacted \u003ca href=\"http://sharjahart.org/sharjah-art-foundation/people/gergis-mark\">Mark Gergis, the producer and audio archivist who compiled that album\u003c/a>. Gergis, who is originally from Oakland but now lives in London, has spent two decades focused on diasporic Middle Eastern and Southeast Asian music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although he owned one Phương Tâm album, he knew nothing of her backstory. Hannah and Gergis discovered that the version of “Magical Night” on “Saigon Rock and Soul” was actually by Connie Kim, misattributed to Phương Tâm.\u003c/p>\n\u003cp>So to set the record straight, Hannah’s idea was to make her own compilation of \u003cem>real\u003c/em> Phương Tâm songs.\u003c/p>\n\u003cp>“I really thought it was just going to be extracting songs from YouTube and putting it together,” says Hannah. “Mark said, ‘Oh, no, no, no, we cannot do that. We have to get the original recordings.’ And then I saw the humongous, impossible task in front of us. How are we going to be able to collect these records from 55 years ago?”\u003c/p>\n\u003cp>It wasn’t easy.\u003c/p>\n\u003cp>“These records were in poor condition, most of them having been ravaged by war and time. Who knows what they have been through,” says Gergis, speaking by phone from London.\u003c/p>\n\u003cp>“Restoration was quite a challenge and took significantly longer than any other restoration project I’ve been involved with.”\u003c/p>\n\u003cp>Hannah, Gergis and an international collective of music enthusiasts got to work — mostly over Zoom and FaceTime — and meticulously restored a lost musical history. When Hannah told her mom about her plans, Tâm was at first dismissive.\u003c/p>\n\u003cp>“She said, ‘Why do you have to do that?'” says Hannah. “‘You have a husband and a job.'” Who would buy the album anyway, Tâm asked her daughter.\u003c/p>\n\u003cp>But Hannah felt the urgency to memorialize her mother’s accomplishments while Tâm could still enjoy the attention. In her search, Hannah found fresh examples of other women singing Phương Tâm songs.\u003c/p>\n\u003cp>“I was so frustrated. I saw so many people’s dishonesty,” says Tâm. “They were taking my name and claiming my songs. I didn’t want to listen.”\u003c/p>\n\u003cp>She asked her daughter to get YouTube to change the video. Hannah told her: “No, the only way to change it is: We have to do it ourselves.”\u003c/p>\n\u003cp>Twenty-five of the rediscovered and remastered recordings crackle with energy on the new album “Magical Nights: Saigon, Surf, Twist and Soul 1964-1966.”\u003c/p>\n\u003cfigure id=\"attachment_11908011\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908011\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nights: Saigon Surf Twist and Soul 1964-1966 captures the short bright career of a born performer. \u003ccite>(Sublime Frequencies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are rich in verve and atmosphere, with a danceable rock sound.\u003c/p>\n\u003cp>The first time Tâm heard the newly restored songs, like “Remember the Night” from 1964, she cried.\u003c/p>\n\u003cp>She hadn’t heard some of those songs for over 50 years, and had almost forgotten them. But when Hannah found them, Tâm remembered.\u003c/p>\n\u003cp>She remembered who played the keyboard, who played guitar. She remembered the camaraderie of early morning meals after a night singing. She wished her husband Du, who had been with her at the peak of her career, could have heard the songs again, too.\u003c/p>\n\u003cp>The album was released on streaming services last fall, and the first CD press sold out. Sublime Frequencies has pressed more due to demand. A vinyl release, delayed due to the pandemic, is scheduled for later in spring 2022. Hannah had wanted to release all formats together, but Tâm felt a sense of urgency.\u003c/p>\n\u003cp>Hannah recalls her mother telling her in an email, “My friends are getting old, deaf and dying. Please release now.”\u003c/p>\n\u003cfigure id=\"attachment_11908012\" class=\"wp-caption alignnone\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908012\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg\" alt=\"\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1536x1027.jpg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Tâm and her daughter Hannah \u003ccite>(Courtesy Lê Mỷ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm still sings. She has a backup band of retired Vietnamese amateur musicians who play an underground circuit of parties around the Bay Area. Mostly she sings other people’s songs, but she makes a point now to mention her new album. Sometimes she passes around memorabilia.\u003c/p>\n\u003cp>The guests eat it up. They say that the music takes them back to a time before the worst of the war, when there was the excitement of discovering a world outside their small villages. Tâm, confident in a spangly top, encourages them to join her.\u003c/p>\n\u003cp>“\u003cem>This\u003c/em> was the same woman from the records. This was the same woman from that time,” says producer Gergis, of watching her perform. “This was someone filled with light and resilience, and who still had such a beautiful and powerful voice and desire to sing. Music is in her blood.”\u003c/p>\n\u003cp>“I didn’t think my mom was cool at all,” says Hannah. “And now she’s, like, hot!”\u003c/p>\n\u003cp>And at 77, Tâm is ready for her victory tour.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "In 1960s Saigon, Phương Tâm rode the wave of edgy modern music inspired by the California surf sound. Now, age 77, she's performing once again — in San José.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was 1945 in Quảng Bình, the thin north-central neck of Vietnam, and \u003ca href=\"https://apjjf.org/2011/9/5/Geoffrey-Gunn/3483/article.html\">famine ravaged the country\u003c/a>. A newborn baby wailed in a sugarcane field, announcing her arrival with a rawness that would later become her signature. Giving birth indoors was thought to be bad luck, so Nguyễn Thị Tâm — or Tâm — was born outside. A fortuneteller said she would be famous one day.\u003c/p>\n\u003cp>Still, by adolescence, Tâm didn’t seem destined for traditional greatness — which in Vietnam usually meant academic achievement. Her family moved to Hóc Môn, a district outside the southern capital of Saigon. Here, she failed to enter the prestigious Gia Long Girls’ High School.\u003c/p>\n\u003cp>But Tâm didn’t care; she had music.\u003c/p>\n\u003cp>By 19, under the stage name Phương Tâm, she shared album covers and marquees with Saigon’s most sought-after singers, musicians and composers.\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/W1rDLliHJGc'\n title='//www.youtube.com/embed/W1rDLliHJGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Phương Tâm peaked from 1964 to 1966, and then disappeared into obscurity for over 50 years.\u003c/p>\n\u003cp>She married a doctor and had three children, living a suburban life in San José. It wasn’t until recently, with the encouragement of her oldest daughter, Hannah Hà, did Phương Tâm at age 77 reclaim her identity as Vietnam’s first rock-and-roll queen.\u003c/p>\n\u003ch2>Growth of a star\u003c/h2>\n\u003cp>Tâm’s father kept the family’s single radio set on BBC News. So, as an adolescent, Tâm found her musical fix in the cacophony of her village courtyard. It was the late 1950s, and American pop music was beginning to influence Vietnamese tastes — which had previously included folk opera, French jazz and bolero. Tâm lingered by a neighbor’s window listening to songs like Connie Francis’s “Lipstick on your Collar,” and rapidly copied the beats and lyrics she didn’t understand.\u003c/p>\n\u003cp>At 16, Tâm won a singing competition and was accepted into Đoàn Văn nghệ Việt Nam, a program to create live entertainment for military personnel. It was good money, but eventually Tâm ditched the propaganda music — and high school.\u003c/p>\n\u003cp>She found mentors who shared her love of Western music. One well-known musician, Nguyễn Văn Xuân, took her on as a private student. He gave all his best students stage names, so Tâm became “Phương Tâm.” It meant “the direction of the heart.”\u003c/p>\n\u003cfigure id=\"attachment_11908007\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908007\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg\" alt=\"\" width=\"1920\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1536x1134.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Miss Vietnam pageant in 1965. Phương Tâm wore traditional áo dài while singing subversive songs. \u003ccite>(Courtesy Nguyễn Ánh 9)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her name change signaled her rise to fame. Phương Tâm headlined the nightclub circuit, and she collaborated with famed composers and musicians, including \u003ca href=\"https://vi.wikipedia.org/wiki/Kh%C3%A1nh_B%C4%83ng\">Khánh Băng, one of the first Vietnamese people to perform with an electric guitar\u003c/a>. The \u003ca href=\"https://vietcetera.com/en/jan-hagenkotter-and-saigon-supersound-volume-1\">major Saigon labels\u003c/a> — Sóng Nhạc, Continental and Việt Nam — recorded her songs.\u003c/p>\n\u003cp>Her style of singing wasn’t just “sexy-naive,” a common trope that continues to have appeal in Vietnam today, but also at times was downright loud and raucous. In spite (or because) of the subversive nature of the music she sang, Phương Tâm kept her clothing modest.\u003c/p>\n\u003cp>“At night I always wore áo dài, but always wore white or beige, not bright,” says Tâm, sitting in her living room in San José.\u003c/p>\n\u003cp>The áo dài was the wispy national dress of Vietnam, made famous by pictures of schoolgirls. But Phương Tâm wasn’t your average schoolgirl. In a music review from 1962, \u003ca href=\"https://vietnamlit.org/wiki/index.php?title=Mai_Thao\">famed Vietnamese writer Mai Thảo\u003c/a> wrote in “Kịch Ảnh” (“Drama”) magazine about the simmering power of this modestly dressed teen:\u003c/p>\n\u003cblockquote>\u003cp>“As she steps from the back and moves toward the microphone with glittering eyes her hands clapping to the beat — a new shape emerges. The figure is now drawn with burning flames, like a green fruit ripening before your eyes.”\u003c/p>\u003c/blockquote>\n\u003cp>Phương Tâm, like other performers, would chạy số — which literally translates as “run numbers.” The phrase described the high-speed nightclub runs that were common for performers at the time: 5 p.m. at Tân Sơn Nhất Air Base, 7 p.m. at An Đông, 8 p.m. at \u003ca href=\"http://taybui.blogspot.com/2015/10/nhac-saigon-ban-em-1963.html\">the Capriccio Bar\u003c/a> — then to \u003ca href=\"https://saigoneer.com/saigon-heritage/13814-old-saigon-building-of-the-week-the-glitz-and-glam-of-tu-do-nightclub\">Tự Do\u003c/a>. And so on, every hour, three songs per venue. At midnight, she finished with an hour-long set at the Olympia.\u003c/p>\n\u003cfigure id=\"attachment_11908008\" class=\"wp-caption alignnone\" style=\"max-width: 1853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908008\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg\" alt=\"\" width=\"1853\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg 1853w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-800x1105.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1020x1409.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1112x1536.jpg 1112w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1482x2048.jpg 1482w\" sizes=\"(max-width: 1853px) 100vw, 1853px\">\u003cfigcaption class=\"wp-caption-text\">Phương Tâm on the cover of Đẹp magazine \u003ccite>(Courtesy Phương Tâm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm had an admirer, an officer who followed her from one venue to the next. He loved it when Tâm sang “Tenderly.” The officer told her it reminded him of her “enticing lips.” She kept her distance.\u003c/p>\n\u003cp>November 1963 signaled a significant change for South Vietnam. The president, Ngô Đình Diệm, was assassinated. The details of the event remain murky, but \u003ca href=\"https://www.mtholyoke.edu/acad/intrel/pentagon2/pent6.htm\">American involvement and military presence increased.\u003c/a> The nightclubs catered to a growing military clientele. One night that month, Tâm’s admirer brought along a young new military doctor, Hà Xuân Du. There was something different about the young doctor, Tâm recalls.\u003c/p>\n\u003cp>“He asked me for my address, and the day after, he came to my house,” she says.\u003c/p>\n\u003cp>They started dating, and “Tenderly” became their song. But Phương Tâm and Du’s marriage almost three years later — between a singer and the son of an elite family — was scandalous. Their parents didn’t come to their wedding.\u003c/p>\n\u003cp>“They don’t accept me, but … we were already in love,” says Tâm.\u003c/p>\n\u003ch2>A different life\u003c/h2>\n\u003cp>In 1966, as quickly as Phương Tâm ascended to fame, she left her singing career — without a goodbye tour or a last interview.\u003c/p>\n\u003cp>Tâm followed her husband to \u003ca href=\"https://www.usafpolice.org/danang.html\">Đà Nẵng Air Base, just over 100 miles south of the demilitarized zone\u003c/a> that separated North and South Vietnam. Between 1967 and 1968, the war — and the bombing — intensified. Tâm sheltered with her three children.\u003c/p>\n\u003cp>“The rockets would go … the sirens!” recalls Hannah, Tâm’s oldest daughter. “Whenever we would hear the sirens, we would go into the bunker.”\u003c/p>\n\u003cp>Hannah remembers hiding for days at a time in that oppressively hot single room with a refrigerator.\u003c/p>\n\u003cp>With the fall of Saigon in 1975, \u003ca href=\"https://media.defense.gov/2012/Aug/23/2001330098/-1/-1/0/Oper%20Frequent%20Wind.pdf\">the family evacuated on a cargo plane.\u003c/a> They eventually arrived in Southern California. There, Tâm found work — mostly random, repetitive piecework for the garment industry. She sewed, but not well.\u003c/p>\n\u003cp>“I only knew how to sew in a straight line,” Tâm says with a shrug and an impish laugh. She made $0.10 a garment cutting loose thread. Meanwhile, her husband studied to requalify to practice medicine.\u003c/p>\n\u003cp>“I’d come home every day and there’d be a burnt pot,” says Tâm. Du would try to boil a pot of water for coffee and get distracted either by studying or watching sports.\u003c/p>\n\u003cp>Life for Tâm revolved around the kids and, by 1980, supporting Du’s successful pediatrics practice in San José.\u003c/p>\n\u003cp>“It was always cooking, cleaning, going to work, disciplining us, making sure that we were well behaved,” recalls Hannah of that time in her family’s life.\u003c/p>\n\u003cp>Eventually the family acquired the trappings of Vietnamese immigrant success, right down to the white leather couch in the living room. The couple developed strong ties with people in the Vietnamese diaspora, with a special appreciation for music.\u003c/p>\n\u003cp>“When my then-boyfriend — now husband — came to visit my mom for the first time, he had to sing two songs on the karaoke machine: ‘I’ve Got You Under My Skin’ and ‘My Way,'” says Hannah.\u003c/p>\n\u003cp>Her parents graduated beyond simple karaoke, however. Their parties included a who’s who of Vietnamese pre-1975 musicians, including \u003ca href=\"https://en.wikipedia.org/wiki/Nguy%E1%BB%85n_%C3%81nh_9\">Nguyễn Ánh 9, who ‘d once backed Tâm on the guitar in Vietnam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11908015\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908015\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-%E2%80%9CTWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png\" alt=\"\" width=\"1920\" height=\"1942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-800x809.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1020x1032.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-160x162.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1519x1536.png 1519w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The album cover for “TWIST SURF BEGUINE ROCK.” Phương Tâm quickly learned and recorded songs in a single session. There were no second takes. \u003ccite>(Courtesy Cường Phạm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm’s past life as a singer was an open secret. She didn’t deny it — but she stuck to singing other people’s hits, not her own.\u003c/p>\n\u003cp>When her husband Googled her a few years ago, he found v\u003ca href=\"https://www.facebook.com/watch/?v=1408772159206973&ref=sharing\">ideos that purported to feature Phương Tâm\u003c/a>. “‘Oh, my God, what woman is doing this! Look at this! Who ever put this video up and use your name?'” Hannah remembers her father saying. For Du, there was only one Phương Tâm: his wife.\u003c/p>\n\u003cp>To make things more confusing, there was another singer with a similar name, Phương Hoài Tâm, also in San José. This woman ran a skin care salon while performing on the side.\u003c/p>\n\u003ch2>A new chapter\u003c/h2>\n\u003cp>“My mom and my dad were always a couple,” recalls Hannah. “Wherever they went, over to their friend’s house, it was never without the other.”\u003c/p>\n\u003cp>Then in 2019, Tâm’s husband Du died after a prolonged illness.\u003c/p>\n\u003cp>Vietnamese people often make \u003ca href=\"https://www.cdm.org/voyagetovietnam/altars.html\">an altar in their homes to honor the dead.\u003c/a> Commonly, the altar pictures are static: a face either in a formal pose, or a slightly brighter version of a passport photo.\u003c/p>\n\u003cp>But in Tâm’s home, her beloved is holding a microphone, singing.\u003c/p>\n\u003cp>Du’s death was a turning point for Hannah and Tâm. Hannah went searching for more information about her mom’s past life. She stumbled across compilations of Vietnamese wartime rock music, including the most successful album to date, called \u003ca href=\"https://www.sublimefrequencies.com/products/576864-saigon-rock-soul-vietnamese-classic-tracks-1968-1974\">“Saigon Rock and Soul: Vietnamese Classic Tracks 1968-1974.”\u003c/a>\u003c/p>\n\u003cp>The album attributed one song, “Magical Night,” to Phương Tâm. Hannah couldn’t be sure it was her mom’s voice. And when she showed Tâm the cover — \u003ca href=\"https://www.sublimefrequencies.com/products/576864-saigon-rock-soul-vietnamese-classic-tracks-1968-1974\">featuring a woman in a menswear jacket, cap and tinted oversized glasses smoking a cigarette\u003c/a> — Tâm’s reaction was swift.\u003c/p>\n\u003cp>“Oh, they are liar! I never smoke!” Tâm said, according to Hannah.\u003c/p>\n\u003cp>Hannah contacted \u003ca href=\"http://sharjahart.org/sharjah-art-foundation/people/gergis-mark\">Mark Gergis, the producer and audio archivist who compiled that album\u003c/a>. Gergis, who is originally from Oakland but now lives in London, has spent two decades focused on diasporic Middle Eastern and Southeast Asian music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although he owned one Phương Tâm album, he knew nothing of her backstory. Hannah and Gergis discovered that the version of “Magical Night” on “Saigon Rock and Soul” was actually by Connie Kim, misattributed to Phương Tâm.\u003c/p>\n\u003cp>So to set the record straight, Hannah’s idea was to make her own compilation of \u003cem>real\u003c/em> Phương Tâm songs.\u003c/p>\n\u003cp>“I really thought it was just going to be extracting songs from YouTube and putting it together,” says Hannah. “Mark said, ‘Oh, no, no, no, we cannot do that. We have to get the original recordings.’ And then I saw the humongous, impossible task in front of us. How are we going to be able to collect these records from 55 years ago?”\u003c/p>\n\u003cp>It wasn’t easy.\u003c/p>\n\u003cp>“These records were in poor condition, most of them having been ravaged by war and time. Who knows what they have been through,” says Gergis, speaking by phone from London.\u003c/p>\n\u003cp>“Restoration was quite a challenge and took significantly longer than any other restoration project I’ve been involved with.”\u003c/p>\n\u003cp>Hannah, Gergis and an international collective of music enthusiasts got to work — mostly over Zoom and FaceTime — and meticulously restored a lost musical history. When Hannah told her mom about her plans, Tâm was at first dismissive.\u003c/p>\n\u003cp>“She said, ‘Why do you have to do that?'” says Hannah. “‘You have a husband and a job.'” Who would buy the album anyway, Tâm asked her daughter.\u003c/p>\n\u003cp>But Hannah felt the urgency to memorialize her mother’s accomplishments while Tâm could still enjoy the attention. In her search, Hannah found fresh examples of other women singing Phương Tâm songs.\u003c/p>\n\u003cp>“I was so frustrated. I saw so many people’s dishonesty,” says Tâm. “They were taking my name and claiming my songs. I didn’t want to listen.”\u003c/p>\n\u003cp>She asked her daughter to get YouTube to change the video. Hannah told her: “No, the only way to change it is: We have to do it ourselves.”\u003c/p>\n\u003cp>Twenty-five of the rediscovered and remastered recordings crackle with energy on the new album “Magical Nights: Saigon, Surf, Twist and Soul 1964-1966.”\u003c/p>\n\u003cfigure id=\"attachment_11908011\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908011\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg\" alt=\"\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magical Nights: Saigon Surf Twist and Soul 1964-1966 captures the short bright career of a born performer. \u003ccite>(Sublime Frequencies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The songs are rich in verve and atmosphere, with a danceable rock sound.\u003c/p>\n\u003cp>The first time Tâm heard the newly restored songs, like “Remember the Night” from 1964, she cried.\u003c/p>\n\u003cp>She hadn’t heard some of those songs for over 50 years, and had almost forgotten them. But when Hannah found them, Tâm remembered.\u003c/p>\n\u003cp>She remembered who played the keyboard, who played guitar. She remembered the camaraderie of early morning meals after a night singing. She wished her husband Du, who had been with her at the peak of her career, could have heard the songs again, too.\u003c/p>\n\u003cp>The album was released on streaming services last fall, and the first CD press sold out. Sublime Frequencies has pressed more due to demand. A vinyl release, delayed due to the pandemic, is scheduled for later in spring 2022. Hannah had wanted to release all formats together, but Tâm felt a sense of urgency.\u003c/p>\n\u003cp>Hannah recalls her mother telling her in an email, “My friends are getting old, deaf and dying. Please release now.”\u003c/p>\n\u003cfigure id=\"attachment_11908012\" class=\"wp-caption alignnone\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11908012\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg\" alt=\"\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1536x1027.jpg 1536w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Tâm and her daughter Hannah \u003ccite>(Courtesy Lê Mỷ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tâm still sings. She has a backup band of retired Vietnamese amateur musicians who play an underground circuit of parties around the Bay Area. Mostly she sings other people’s songs, but she makes a point now to mention her new album. Sometimes she passes around memorabilia.\u003c/p>\n\u003cp>The guests eat it up. They say that the music takes them back to a time before the worst of the war, when there was the excitement of discovering a world outside their small villages. Tâm, confident in a spangly top, encourages them to join her.\u003c/p>\n\u003cp>“\u003cem>This\u003c/em> was the same woman from the records. This was the same woman from that time,” says producer Gergis, of watching her perform. “This was someone filled with light and resilience, and who still had such a beautiful and powerful voice and desire to sing. Music is in her blood.”\u003c/p>\n\u003cp>“I didn’t think my mom was cool at all,” says Hannah. “And now she’s, like, hot!”\u003c/p>\n\u003cp>And at 77, Tâm is ready for her victory tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Legendary LA Jazz Vocalist Ernie Andrews Dies at 94",
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"content": "\u003cp>Los Angeles vocalist Ernie Andrews was one of jazz’s great ballad and blues men. A suave song stylist whose career spanned almost eight decades, he was one of the last direct links to the glory days of the Central Avenue scene in the 1940s, when LA boasted one of the nation’s most fecund and innovative Black music scenes. While Andrews never quite became a star, he was an indispensable figure in Southern California until his death on Feb. 21 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_11907743\" class=\"wp-caption alignright\" style=\"max-width: 371px\">\u003cimg class=\"wp-image-11907743\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg\" alt=\"\" width=\"371\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut.jpg 1920w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Andrews released the album 'How About Me' in 2006. \u003ccite>(Courtesy HighNote Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Philadelphia in 1927, Andrews spent several formative years as a teenager in New Orleans, where he started performing professionally. By the time he enrolled at Jefferson High (alongside classmates such as future tenor sax legend Dexter Gordon and trombonist/arranger Melba Liston), he was ready for the big time. After Andrews won a talent show at Central Avenue’s Lincoln Theatre, songwriter Joe Greene approached him about recording some of his material. Andrews wasn’t 18 yet when he scored a minor hit in 1945 with Greene’s “Soothe Me” (a song memorably revived by Shirley Horn in 1991).\u003c/p>\n\u003cp>Inspired by Billy Eckstine’s suave balladry and Jimmy Rushing’s Kansas City blues, Andrews had his own idiosyncratic sound from the beginning. Tall, lean and dapper, he infused even upbeat tunes with a melancholic air, but without a trace of self-pity. A master of dynamics, he could start a ballad with a supple purr and build to a fierce roar, then bring his volume down again without particularly calling attention to the shifts. He also honed a repertoire brimming with songs few other artists performed. While scatting wasn’t his forte, he could belt the blues with authority, or take a pop tune like James Taylor’s “Fire and Rain” and turn it into a jazz epic. Yet for much of his career he was overlooked by record labels and, sadly, under-documented.\u003c/p>\n\u003cp>https://youtu.be/hvis7fL7RCs\u003c/p>\n\u003cp>The confounding thing about Andrews isn’t that he was underappreciated. That’s pretty much the rule rather than the exception when it comes to male jazz singers. What’s so frustrating is that he seemed to come close to popular acclaim so many times. In hindsight, touring and recording as a member of trumpeter Harry James's band during his prime years from the late 1950s through the mid-'60s undermined Andrews’s ability to establish himself as a solo act. During this time before the British Invasion, jazz still occupied some prime cultural real estate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alto saxophone great Cannonball Adderley made the first attempt at reintroducing Andrews to jazz fans. He’d helped make vocalist Nancy Wilson a star in 1962 and tried the same thing with Andrews two years later with the album \"\u003ca href=\"https://www.allmusic.com/album/live-session%21-mw0000696378\">Live Session\u003c/a>,\" which describes the vocalist on the cover copy as “the exciting new voice,” blithely ignoring that he was already a well-traveled veteran with a hit two decades earlier. My favorite track is “\u003ca href=\"https://www.youtube.com/watch?v=S8Y78o7d3KA\">I’m Always Drunk in San Francisco\u003c/a>,” which could have done for Andrews what “I Left My Heart in San Francisco” did for Tony Bennett, but it never took off.\u003c/p>\n\u003cp>https://youtu.be/S8Y78o7d3KA\u003c/p>\n\u003cp>Guitar great Kenny Burrell featured Andrews on his high-profile \"\u003ca href=\"https://www.youtube.com/watch?v=fEFSeH3pD3E\">Ellington Is Forever\u003c/a>\" projects in the mid-1970s, another showcase that briefly raised the vocalist’s profile. At the same time, he also became the go-to vocalist for several big bands around Southern California, particularly the Capp-Pierce Juggernaut and later \u003ca href=\"https://www.youtube.com/watch?v=IbHmcIRptew\">Gene Harris and the Philip Morris Superband\u003c/a>, an all-star aggregation that toured the world underwritten by the tobacco company. The young lions took a swing at elevating Andrews when the Harper Brothers featured him on their 1992 album \"You Can Hide Inside the Music,\" which may have helped change his luck.\u003c/p>\n\u003cp>https://youtu.be/kK8O6Zuy-N0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Over the next 12 years, he recorded more consistently than ever before, making half a dozen excellent albums for Muse and HighNote between 1993 and 2005. The last valiant effort to document the ageless Andrews was in 2014 when he was 86 years old and the Clayton-Hamilton Jazz Orchestra recorded \"The LA Treasures Project: Live at Alvas Showroom.\" The album also featured the commanding jazz and blues vocalist Barbara Morrison. They both sound magnificent, with Andrews displaying his impeccable phrasing on the classic Sammy Cahn and Jule Styne ballad “\u003ca href=\"https://www.youtube.com/watch?v=DJ2Uv0VlEUc\">Time After Time\u003c/a>.” Andrews sounds like he’s a lion in winter gently growling about his devotion, embodying jazz’s imperative to sing what you’ve lived.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles vocalist Ernie Andrews was one of jazz’s great ballad and blues men. A suave song stylist whose career spanned almost eight decades, he was one of the last direct links to the glory days of the Central Avenue scene in the 1940s, when LA boasted one of the nation’s most fecund and innovative Black music scenes. While Andrews never quite became a star, he was an indispensable figure in Southern California until his death on Feb. 21 at the age of 94.\u003c/p>\n\u003cfigure id=\"attachment_11907743\" class=\"wp-caption alignright\" style=\"max-width: 371px\">\u003cimg class=\"wp-image-11907743\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg\" alt=\"\" width=\"371\" height=\"371\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54142_Ernie-Andrews-How-About-Me-HighNote-HCD-7151-qut.jpg 1920w\" sizes=\"(max-width: 371px) 100vw, 371px\">\u003cfigcaption class=\"wp-caption-text\">Ernie Andrews released the album 'How About Me' in 2006. \u003ccite>(Courtesy HighNote Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Philadelphia in 1927, Andrews spent several formative years as a teenager in New Orleans, where he started performing professionally. By the time he enrolled at Jefferson High (alongside classmates such as future tenor sax legend Dexter Gordon and trombonist/arranger Melba Liston), he was ready for the big time. After Andrews won a talent show at Central Avenue’s Lincoln Theatre, songwriter Joe Greene approached him about recording some of his material. Andrews wasn’t 18 yet when he scored a minor hit in 1945 with Greene’s “Soothe Me” (a song memorably revived by Shirley Horn in 1991).\u003c/p>\n\u003cp>Inspired by Billy Eckstine’s suave balladry and Jimmy Rushing’s Kansas City blues, Andrews had his own idiosyncratic sound from the beginning. Tall, lean and dapper, he infused even upbeat tunes with a melancholic air, but without a trace of self-pity. A master of dynamics, he could start a ballad with a supple purr and build to a fierce roar, then bring his volume down again without particularly calling attention to the shifts. He also honed a repertoire brimming with songs few other artists performed. While scatting wasn’t his forte, he could belt the blues with authority, or take a pop tune like James Taylor’s “Fire and Rain” and turn it into a jazz epic. Yet for much of his career he was overlooked by record labels and, sadly, under-documented.\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/hvis7fL7RCs'\n title='//www.youtube.com/embed/hvis7fL7RCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The confounding thing about Andrews isn’t that he was underappreciated. That’s pretty much the rule rather than the exception when it comes to male jazz singers. What’s so frustrating is that he seemed to come close to popular acclaim so many times. In hindsight, touring and recording as a member of trumpeter Harry James's band during his prime years from the late 1950s through the mid-'60s undermined Andrews’s ability to establish himself as a solo act. During this time before the British Invasion, jazz still occupied some prime cultural real estate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alto saxophone great Cannonball Adderley made the first attempt at reintroducing Andrews to jazz fans. He’d helped make vocalist Nancy Wilson a star in 1962 and tried the same thing with Andrews two years later with the album \"\u003ca href=\"https://www.allmusic.com/album/live-session%21-mw0000696378\">Live Session\u003c/a>,\" which describes the vocalist on the cover copy as “the exciting new voice,” blithely ignoring that he was already a well-traveled veteran with a hit two decades earlier. My favorite track is “\u003ca href=\"https://www.youtube.com/watch?v=S8Y78o7d3KA\">I’m Always Drunk in San Francisco\u003c/a>,” which could have done for Andrews what “I Left My Heart in San Francisco” did for Tony Bennett, but it never took off.\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/S8Y78o7d3KA'\n title='//www.youtube.com/embed/S8Y78o7d3KA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Guitar great Kenny Burrell featured Andrews on his high-profile \"\u003ca href=\"https://www.youtube.com/watch?v=fEFSeH3pD3E\">Ellington Is Forever\u003c/a>\" projects in the mid-1970s, another showcase that briefly raised the vocalist’s profile. At the same time, he also became the go-to vocalist for several big bands around Southern California, particularly the Capp-Pierce Juggernaut and later \u003ca href=\"https://www.youtube.com/watch?v=IbHmcIRptew\">Gene Harris and the Philip Morris Superband\u003c/a>, an all-star aggregation that toured the world underwritten by the tobacco company. The young lions took a swing at elevating Andrews when the Harper Brothers featured him on their 1992 album \"You Can Hide Inside the Music,\" which may have helped change his luck.\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/kK8O6Zuy-N0'\n title='//www.youtube.com/embed/kK8O6Zuy-N0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Over the next 12 years, he recorded more consistently than ever before, making half a dozen excellent albums for Muse and HighNote between 1993 and 2005. The last valiant effort to document the ageless Andrews was in 2014 when he was 86 years old and the Clayton-Hamilton Jazz Orchestra recorded \"The LA Treasures Project: Live at Alvas Showroom.\" The album also featured the commanding jazz and blues vocalist Barbara Morrison. They both sound magnificent, with Andrews displaying his impeccable phrasing on the classic Sammy Cahn and Jule Styne ballad “\u003ca href=\"https://www.youtube.com/watch?v=DJ2Uv0VlEUc\">Time After Time\u003c/a>.” Andrews sounds like he’s a lion in winter gently growling about his devotion, embodying jazz’s imperative to sing what you’ve lived.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In her new young adult novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>,” author \u003ca href=\"https://sabaatahir.com/\">Sabaa Tahir\u003c/a> tells a story of cultural identity and growing up through the eyes of two teenage best friends. Noor and Salahudin are both Pakistani American, living in the small fictional town of Juniper, in California’s Mojave Desert. Noor wants nothing more than to go away to college and leave behind their rural town.\u003c/p>\n\u003cfigure id=\"attachment_11906203\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11906203\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg\" alt=\"\" width=\"250\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg 1278w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>Tahir is the bestselling author of the young adult fantasy series “\u003ca href=\"https://www.goodreads.com/series/153986-an-ember-in-the-ashes\">An Ember in the Ashes\u003c/a>,” which features a young woman of color as the hero fighting back against an oppressive empire. In contrast to her fantasy novels, Tahir mines her own experiences in her most recent book. Like her main character, Salahudin, she is the child of Pakistani immigrants who grew up in a rural town in the Mojave Desert, in her parents’ 18-room motel.\u003c/p>\n\u003cp>Tahir recently spoke with The California Report Magazine’s Sasha Khokha.\u003c/p>\n\u003cp>\u003cem>(Excerpts of this interview have been edited for length and clarity.)\u003c/em>\u003c/p>\n\u003ch2>On being shaped by the experience of growing up in her family’s motel\u003c/h2>\n\u003cp>I think the thing that I remember the most are all the different types of people who would come through. Everything I learned, from how to curse, to the different ways that people expressed kindness. We had a tenant once who paid us with a bird because I think he didn’t have enough money to make rent. But he had all these birds that he loved, that he kept in the room. We had a tenant once who [damaged] the room, [making] a hole in the wall or something, and he left without saying anything about it. But my parents found money in the room, and they assumed that that was his way of saying, “Hey, sorry about this. I hope this will pay for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But we also had people who wouldn’t pay rent, who ruined the rooms, who called us names, who were abusive. It really was an experience of extremes. I was quiet, I loved reading. I was in my head a lot. And I think that there was so much more going on inside than I ever really expressed. So I would lose myself in books and reading and writing stories.\u003c/p>\n\u003cfigure id=\"attachment_11906170\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11906170\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg\" alt=\"A young Pakistani-American girls stands on the grass smiling at the camera. She is wearing a pink dress with a white collar, and her hair pulled back with a headband. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Sabaa Tahir as a child. \u003ccite>(Courtesy of Sabaa Tahir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On writing for young adults\u003c/h2>\n\u003cp>I feel like 14 to 22 is an age of such change and such growth. So much of story is about the arc, about the change and the growth within a character. So to me, it seems like a natural fit to write about young adults. I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope. Because as a young person myself, I really, really needed to see hope in the books that I read.[pullquote align=\"right\" size=\"medium\" citation=\"Sabaa Tahir\"]‘I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope.’[/pullquote]I think honesty is really important, showing the messy reality of these kids’ lives, both in the struggle but also in the beauty and in the humor — in allowing for a lack of resolution, or a resolution that is perhaps a little bit more ambiguous. Because the truth is that trauma doesn’t always leave us. We can heal from it. Sometimes we can shed it, but not always. I wanted to portray that realistically for young people because I don’t think young people are always taught how to deal with trauma. And yet young people go through immense amounts of trauma, whether adults want to admit it or not.\u003c/p>\n\u003ch2>On using music to express Noor’s emotions\u003c/h2>\n\u003cp>One of the songs that means so much to Noor is “\u003ca href=\"https://www.youtube.com/watch?v=8-r-V0uK4u0&ab_channel=SmashingPumpkinsVEVO\">Bullet with Butterfly Wings\u003c/a>” by [The] Smashing Pumpkins. And I think people who know the song will recognize the title of this book. It’s this ’90s anthem and it really encompasses this sense of rage that Noor feels that is buried very deep. Another song that Noor loves is by Masuma Anwar called “\u003ca href=\"https://www.youtube.com/watch?v=bEPenI-2WsA&ab_channel=GaaneShaane\">Tainu Ghul Gayaan\u003c/a>.” Anwar has this really deep voice and this incredible range.\u003c/p>\n\u003cp>Noor really struggles to express her feelings. When she speaks out loud, she ends up using short sentences, really having a hard time saying what she means. So one of the reasons why she loves Masuma Anwar so much is because this woman puts so much feeling into a single word.\u003c/p>\n\u003cp>Anna Leone’s song “Once” comes up on Noor’s playlist as Noor and Salahudin are driving together, and they’ve just shared some deep secrets with each other. This is a song that is all about regret and the past:\u003c/p>\n\u003cblockquote>\u003cp>I close my eyes and lean my head back. The road is smooth beneath the wheels. The window cool against the bruise on my cheek, and Anna Leone sings “Once” about what it means to move on from the past.\u003c/p>\n\u003cp>“Sometimes, Salahudin,” I say, “it feels like too much. I think about the shit we’ve read in school. Those books all about one problem. A kid who’s bullied. A kid who’s beaten. A kid who’s poor. And I think of us and how we won the shit-luck lottery. We have all the problems.”\u003c/p>\n\u003cp>“Nazar seh bachau.” He utters Auntie Misbah’s oath against the evil eye so fervently that I laugh.\u003c/p>\n\u003cp>\u003cem>Famine comes when you lament the flood.\u003c/em> I hear Auntie Misbah say in my head. \u003cem>It could always be worse.\u003c/em>\u003c/p>\n\u003cp>“Do you think our adulthoods will make up for everything we had to deal with as kids?” I ask him.\u003c/p>\n\u003cp>“Like, we get out of here and you go to med school and I become a writer and our lives will be amazing?”\u003c/p>\n\u003cp>“They don’t have to be amazing. Just not…” My face throbs, “Not this.”\u003c/p>\n\u003cp>“You’re going to escape this place, Noor.” He looks over at me. “You’re going to become a doctor. Your adulthood is going to make up for all of it.”\u003c/p>\u003c/blockquote>\n\u003cp>https://youtu.be/sNp5WDG7NlE\u003c/p>\n\u003ch2>On what is bringing her joy right now\u003c/h2>\n\u003cp>I think there’s so much wonderful art being created. There are so many wonderful books out in the world right now. There’s so much fantastic music that’s being created.\u003c/p>\n\u003cp>I also take great joy from the young people in my own life. I’ve been so amazed by my kids and my nieces and nephews. Their positivity despite everything they’ve gone through in the past two years. How laughter is something that is just a part of their daily, hourly, a part of their life. There are times when I’m stressing over something, and in the background, I will hear my kids just busting up over something ridiculous. And it’s just this wonderful reminder to get out of my head and to put away some of these worries and to just let myself laugh.\u003c/p>\n\u003cp>That’s also a part of “All My Rage,” that there is so much hope there. There is humor. There is light in this story of some really difficult things, because that is often how we get through the most difficult parts of our life, with humor and friendship and hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sabaa Tahir’s novel “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>” comes out on March 1. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In her new young adult novel, “\u003ca href=\"https://www.penguinrandomhouse.com/books/625057/all-my-rage-by-sabaa-tahir/\">All My Rage\u003c/a>,” author \u003ca href=\"https://sabaatahir.com/\">Sabaa Tahir\u003c/a> tells a story of cultural identity and growing up through the eyes of two teenage best friends. Noor and Salahudin are both Pakistani American, living in the small fictional town of Juniper, in California’s Mojave Desert. Noor wants nothing more than to go away to college and leave behind their rural town.\u003c/p>\n\u003cfigure id=\"attachment_11906203\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11906203\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg\" alt=\"\" width=\"250\" height=\"378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-800x1209.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1020x1542.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER-1016x1536.jpg 1016w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/All-My-Rage-COVER.jpg 1278w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtesy of Penguin Random House\u003c/figcaption>\u003c/figure>\n\u003cp>Tahir is the bestselling author of the young adult fantasy series “\u003ca href=\"https://www.goodreads.com/series/153986-an-ember-in-the-ashes\">An Ember in the Ashes\u003c/a>,” which features a young woman of color as the hero fighting back against an oppressive empire. In contrast to her fantasy novels, Tahir mines her own experiences in her most recent book. Like her main character, Salahudin, she is the child of Pakistani immigrants who grew up in a rural town in the Mojave Desert, in her parents’ 18-room motel.\u003c/p>\n\u003cp>Tahir recently spoke with The California Report Magazine’s Sasha Khokha.\u003c/p>\n\u003cp>\u003cem>(Excerpts of this interview have been edited for length and clarity.)\u003c/em>\u003c/p>\n\u003ch2>On being shaped by the experience of growing up in her family’s motel\u003c/h2>\n\u003cp>I think the thing that I remember the most are all the different types of people who would come through. Everything I learned, from how to curse, to the different ways that people expressed kindness. We had a tenant once who paid us with a bird because I think he didn’t have enough money to make rent. But he had all these birds that he loved, that he kept in the room. We had a tenant once who [damaged] the room, [making] a hole in the wall or something, and he left without saying anything about it. But my parents found money in the room, and they assumed that that was his way of saying, “Hey, sorry about this. I hope this will pay for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But we also had people who wouldn’t pay rent, who ruined the rooms, who called us names, who were abusive. It really was an experience of extremes. I was quiet, I loved reading. I was in my head a lot. And I think that there was so much more going on inside than I ever really expressed. So I would lose myself in books and reading and writing stories.\u003c/p>\n\u003cfigure id=\"attachment_11906170\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11906170\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg\" alt=\"A young Pakistani-American girls stands on the grass smiling at the camera. She is wearing a pink dress with a white collar, and her hair pulled back with a headband. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/02/Little-Sabaa-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author Sabaa Tahir as a child. \u003ccite>(Courtesy of Sabaa Tahir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On writing for young adults\u003c/h2>\n\u003cp>I feel like 14 to 22 is an age of such change and such growth. So much of story is about the arc, about the change and the growth within a character. So to me, it seems like a natural fit to write about young adults. I love writing for children who are at a vulnerable time in their life and to write stories that are, in my mind, realistic but that also offer hope. Because as a young person myself, I really, really needed to see hope in the books that I read.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I think honesty is really important, showing the messy reality of these kids’ lives, both in the struggle but also in the beauty and in the humor — in allowing for a lack of resolution, or a resolution that is perhaps a little bit more ambiguous. Because the truth is that trauma doesn’t always leave us. We can heal from it. Sometimes we can shed it, but not always. I wanted to portray that realistically for young people because I don’t think young people are always taught how to deal with trauma. And yet young people go through immense amounts of trauma, whether adults want to admit it or not.\u003c/p>\n\u003ch2>On using music to express Noor’s emotions\u003c/h2>\n\u003cp>One of the songs that means so much to Noor is “\u003ca href=\"https://www.youtube.com/watch?v=8-r-V0uK4u0&ab_channel=SmashingPumpkinsVEVO\">Bullet with Butterfly Wings\u003c/a>” by [The] Smashing Pumpkins. And I think people who know the song will recognize the title of this book. It’s this ’90s anthem and it really encompasses this sense of rage that Noor feels that is buried very deep. Another song that Noor loves is by Masuma Anwar called “\u003ca href=\"https://www.youtube.com/watch?v=bEPenI-2WsA&ab_channel=GaaneShaane\">Tainu Ghul Gayaan\u003c/a>.” Anwar has this really deep voice and this incredible range.\u003c/p>\n\u003cp>Noor really struggles to express her feelings. When she speaks out loud, she ends up using short sentences, really having a hard time saying what she means. So one of the reasons why she loves Masuma Anwar so much is because this woman puts so much feeling into a single word.\u003c/p>\n\u003cp>Anna Leone’s song “Once” comes up on Noor’s playlist as Noor and Salahudin are driving together, and they’ve just shared some deep secrets with each other. This is a song that is all about regret and the past:\u003c/p>\n\u003cblockquote>\u003cp>I close my eyes and lean my head back. The road is smooth beneath the wheels. The window cool against the bruise on my cheek, and Anna Leone sings “Once” about what it means to move on from the past.\u003c/p>\n\u003cp>“Sometimes, Salahudin,” I say, “it feels like too much. I think about the shit we’ve read in school. Those books all about one problem. A kid who’s bullied. A kid who’s beaten. A kid who’s poor. And I think of us and how we won the shit-luck lottery. We have all the problems.”\u003c/p>\n\u003cp>“Nazar seh bachau.” He utters Auntie Misbah’s oath against the evil eye so fervently that I laugh.\u003c/p>\n\u003cp>\u003cem>Famine comes when you lament the flood.\u003c/em> I hear Auntie Misbah say in my head. \u003cem>It could always be worse.\u003c/em>\u003c/p>\n\u003cp>“Do you think our adulthoods will make up for everything we had to deal with as kids?” I ask him.\u003c/p>\n\u003cp>“Like, we get out of here and you go to med school and I become a writer and our lives will be amazing?”\u003c/p>\n\u003cp>“They don’t have to be amazing. Just not…” My face throbs, “Not this.”\u003c/p>\n\u003cp>“You’re going to escape this place, Noor.” He looks over at me. “You’re going to become a doctor. Your adulthood is going to make up for all of it.”\u003c/p>\u003c/blockquote>\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/sNp5WDG7NlE'\n title='//www.youtube.com/embed/sNp5WDG7NlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>On what is bringing her joy right now\u003c/h2>\n\u003cp>I think there’s so much wonderful art being created. There are so many wonderful books out in the world right now. There’s so much fantastic music that’s being created.\u003c/p>\n\u003cp>I also take great joy from the young people in my own life. I’ve been so amazed by my kids and my nieces and nephews. Their positivity despite everything they’ve gone through in the past two years. How laughter is something that is just a part of their daily, hourly, a part of their life. There are times when I’m stressing over something, and in the background, I will hear my kids just busting up over something ridiculous. And it’s just this wonderful reminder to get out of my head and to put away some of these worries and to just let myself laugh.\u003c/p>\n\u003cp>That’s also a part of “All My Rage,” that there is so much hope there. There is humor. There is light in this story of some really difficult things, because that is often how we get through the most difficult parts of our life, with humor and friendship and hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A young Chalino Sánchez, clad in Western wear and a cowboy hat tilted to one side, could be found selling tapes of his corridos at swap meets or entertaining guests at quinceañeras and baptism parties throughout Southern California in the 1980s.\u003c/p>\n\u003cp>He was just another Mexican immigrant hustling to survive. But within a few years he became a bestselling singer whose music flowed from California to Mexico, mesmerizing fans with his songs about outlaws and drug traffickers.\u003c/p>\n\u003cp>His rise to superstardom, however, was cut short by his still unsolved murder in 1992. Sánchez’s remarkable story takes on new life in \u003ca href=\"https://www.futuromediagroup.org/chalinosanchez/\">Idolo: The Ballad of Chalino Sánchez\u003c/a>, an eight-part podcast co-produced by Futuro Media and Sonoro that dropped onto streaming platforms on Feb. 1.\u003c/p>\n\u003cp>Sánchez is considered the king of narcocorridos, a musical genre that some critics say glamorizes the crime, violence and misogyny that has plagued Mexico for decades.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Cati V. de los Ríos, assistant professor, UC Berkeley Graduate School of Education\"]‘Corridos remind you of what your abuelitos listened to, what your parents or your tíos and tías listened to. And, it is a form of literacy. It’s a form of reading and writing.’[/pullquote]Still, something about the raw sound of his voice, his rags-to-riches story and his swagger continue to capture fans. You’ve probably heard his tunes even if you only casually listen to Mexican music. Thirty years after his death, the deeply reported Idolo takes a personal look at the singer who was only 31 when he was found shot to death in an irrigation canal the morning after a concert in his home state of Sinaloa.\u003c/p>\n\u003cp>The podcast comes in two versions, with host Erick Galindo telling the story in English, from California, and host Alejandro Mendoza telling it from Mexico, in Spanish.\u003c/p>\n\u003cp>“I’ve been trying to tell this story professionally in mainstream media for like 10 years,” said Galindo, a writer, producer and host for LAist Studios. “[Sánchez] represented so much across cultures. He gave recent immigrants something nostalgic from their ranchos back home, and at the same time helped their children connect with their parents’ culture.”\u003c/p>\n\u003cp>The history of corridos in Mexico goes back centuries, but the genre has evolved, according to Jorge Herrera, an ethnomusicologist and expert on Mexican music who teaches at California State University, Fullerton. In the past, a corrido would summarize or use figurative language to describe crimes or violence, whereas Sánchez used graphic details in his tales of valientes, or brave men, often desperados trying to avoid capture.\u003c/p>\n\u003cfigure id=\"attachment_11904546\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904546\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg\" alt=\"A young man with a beard wearing a 'Sinaloa' baseball cap.\" width=\"960\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2-160x200.jpg 160w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erick Galindo, a Southern California journalist, reported, produced and hosted the English version of the Idolo podcast through his company, Sin Miedo Productions. \u003ccite>(Courtesy of Oscar Rodriguez Zapata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Generations of young Mexican Americans have found “a piece of their dignity in his voice, a piece of their story and their family story in his songs,” said Cati V. de los Ríos, an assistant professor at the UC Berkeley Graduate School of Education, who has researched how students of Mexican descent relate to corridos.\u003c/p>\n\u003cp>“Corridos remind you of what your abuelitos listened to, what your parents or your tíos and tías listened to,” she said. “And, it is a form of literacy. It’s a form of reading and writing. It’s through corridos that a lot of young people learn allegory, hyperboles, similes and metaphors.”\u003c/p>\n\u003cp>Galindo, whose parents are from Sinaloa, was focused on telling Sánchez’s story in a way that would appeal to other Mexican Americans who also grew up idolizing the singer. The podcast also probes some of the unanswered questions surrounding the singer’s mysterious death.\u003c/p>\n\u003cp>“Everybody can find something that they like in this story,” said Jasmine Romero, head of development at Sonoro. “It’s a music story. It’s a true-crime story. It’s a murder mystery. It’s got all of those different elements that make it appealing to all kinds of people.”\u003c/p>\n\u003cp>Sánchez’s songs, which have hundreds of millions of streams on online music platforms, continue to bump from home stereos. He is often compared to hip-hop artists whose music chronicles the stories of struggling people resorting to crime to get by.\u003c/p>\n\u003cfigure id=\"attachment_11904545\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904545\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg\" alt=\"Anman wearing a hats sits cross-legged on a couch.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alejandro Mendoza reported from Mexico and hosted the Spanish version of the Idolo podcast. \u003ccite>(Felipe David Campos/Sonoro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Chalino is Mexican, but then goes to LA and is so influential and iconic on both sides of the border,” Romero said. “His career took off because of mixtapes that came out of swap meets in LA. That is, in essence, how he got discovered and how he blew up. I think people underestimate the influence of word-of-mouth in the Mexican American community.”\u003c/p>\n\u003cp>The podcast delves into how Sánchez became a successful performer despite not being a trained singer, or even a particularly talented one.\u003c/p>\n\u003cp>“Chalino couldn’t have been famous in Mexico,” said Galindo, whose independent production company, Sin Miedo Productions, also co-produced Idolo. “There’s too many great singers in Mexico. There’s too many people who already represent what he represented for millions of immigrants in Los Angeles and in the Bay Area and in Central California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what set Sánchez apart was a singing style he himself referred to as “barking,” and that Galindo describes as “raw and rugged.”\u003c/p>\n\u003cp>“His fans felt like outsiders,” said Galindo. “It’s the idea that you’re in this country, and you don’t feel like you belong. And here’s a guy who definitely does not sound like he belongs on stage. And he’s doing it anyway.”\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13863441,arts_13900272,arts_13900041\"]Sánchez’s first corrido was about his brother, who immigrated with him to California, and was later killed back in Mexico. The song, “Armando Sánchez,” offers details about the slaying, describing a valiant man who was shot seven times on Dec. 5 at the Santa Rita Hotel in Tijuana by a coward who didn’t give him the chance to react. (The song doesn’t reveal the year of his brother’s death.) Sánchez’s penchant for specificity and paying homage were trademarks of his compositions. (\u003ca href=\"https://www.latinousa.org/2017/11/01/10-best-corridos-chalino-sanchez/\">Check out this primer\u003c/a> on some of his most well-known corridos.)\u003c/p>\n\u003cp>As Idolo details, Sánchez spent time in La Mesa prison in Tijuana following his brother’s death. It was there that he honed his songwriting and storytelling skills, earning money by composing tunes for fellow inmates who wanted to be immortalized in a song.\u003c/p>\n\u003cp>The Idolo production team decided a podcast about Sánchez needed its own corrido, so a group of musicians and vocalists were assembled to evoke Sánchez’s style. The verses include the refrain, “Ni las ballas pudieron matarlo/Su legado aún sigue vivo tanto aquí como en el otro lado” (“Not even the bullets could kill him/His legacy lives on here just like on the other side”).\u003c/p>\n\u003cp>The podcast digs into the question of whether Sánchez normalized narco culture. Sánchez weaved tales of narco activity, but his songs preceded an explosion of cartel violence in Mexico that has spurred the murder of tens of thousands of people in the last decade alone. The violence has become part of people’s everyday lives, especially in places like Sinaloa, where Sánchez came from.\u003c/p>\n\u003cp>“Musicians are singing about what’s going on in Mexico, and you cannot blame that on a corrido,” Herrera, the ethnomusicologist, said. “The narco war, the drugs — all that came first and the music is just a reflection of what’s happening.”\u003c/p>\n\u003cp>Galindo said his goal was to discuss Sánchez in all his complexity.\u003c/p>\n\u003cp>“He told stories of complicated men, bad guys, sometimes good guys, but oftentimes criminals and violent men,” he said. “But he did tell it in a way that gave them context and dignity. And hopefully, we did that for him.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A young Chalino Sánchez, clad in Western wear and a cowboy hat tilted to one side, could be found selling tapes of his corridos at swap meets or entertaining guests at quinceañeras and baptism parties throughout Southern California in the 1980s.\u003c/p>\n\u003cp>He was just another Mexican immigrant hustling to survive. But within a few years he became a bestselling singer whose music flowed from California to Mexico, mesmerizing fans with his songs about outlaws and drug traffickers.\u003c/p>\n\u003cp>His rise to superstardom, however, was cut short by his still unsolved murder in 1992. Sánchez’s remarkable story takes on new life in \u003ca href=\"https://www.futuromediagroup.org/chalinosanchez/\">Idolo: The Ballad of Chalino Sánchez\u003c/a>, an eight-part podcast co-produced by Futuro Media and Sonoro that dropped onto streaming platforms on Feb. 1.\u003c/p>\n\u003cp>Sánchez is considered the king of narcocorridos, a musical genre that some critics say glamorizes the crime, violence and misogyny that has plagued Mexico for decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, something about the raw sound of his voice, his rags-to-riches story and his swagger continue to capture fans. You’ve probably heard his tunes even if you only casually listen to Mexican music. Thirty years after his death, the deeply reported Idolo takes a personal look at the singer who was only 31 when he was found shot to death in an irrigation canal the morning after a concert in his home state of Sinaloa.\u003c/p>\n\u003cp>The podcast comes in two versions, with host Erick Galindo telling the story in English, from California, and host Alejandro Mendoza telling it from Mexico, in Spanish.\u003c/p>\n\u003cp>“I’ve been trying to tell this story professionally in mainstream media for like 10 years,” said Galindo, a writer, producer and host for LAist Studios. “[Sánchez] represented so much across cultures. He gave recent immigrants something nostalgic from their ranchos back home, and at the same time helped their children connect with their parents’ culture.”\u003c/p>\n\u003cp>The history of corridos in Mexico goes back centuries, but the genre has evolved, according to Jorge Herrera, an ethnomusicologist and expert on Mexican music who teaches at California State University, Fullerton. In the past, a corrido would summarize or use figurative language to describe crimes or violence, whereas Sánchez used graphic details in his tales of valientes, or brave men, often desperados trying to avoid capture.\u003c/p>\n\u003cfigure id=\"attachment_11904546\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904546\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg\" alt=\"A young man with a beard wearing a 'Sinaloa' baseball cap.\" width=\"960\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Galindo-Headshot_By-Oscar-Rodriguez-Zapata-courtesy-of-Sin-Miedo-Productions-2-160x200.jpg 160w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Erick Galindo, a Southern California journalist, reported, produced and hosted the English version of the Idolo podcast through his company, Sin Miedo Productions. \u003ccite>(Courtesy of Oscar Rodriguez Zapata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Generations of young Mexican Americans have found “a piece of their dignity in his voice, a piece of their story and their family story in his songs,” said Cati V. de los Ríos, an assistant professor at the UC Berkeley Graduate School of Education, who has researched how students of Mexican descent relate to corridos.\u003c/p>\n\u003cp>“Corridos remind you of what your abuelitos listened to, what your parents or your tíos and tías listened to,” she said. “And, it is a form of literacy. It’s a form of reading and writing. It’s through corridos that a lot of young people learn allegory, hyperboles, similes and metaphors.”\u003c/p>\n\u003cp>Galindo, whose parents are from Sinaloa, was focused on telling Sánchez’s story in a way that would appeal to other Mexican Americans who also grew up idolizing the singer. The podcast also probes some of the unanswered questions surrounding the singer’s mysterious death.\u003c/p>\n\u003cp>“Everybody can find something that they like in this story,” said Jasmine Romero, head of development at Sonoro. “It’s a music story. It’s a true-crime story. It’s a murder mystery. It’s got all of those different elements that make it appealing to all kinds of people.”\u003c/p>\n\u003cp>Sánchez’s songs, which have hundreds of millions of streams on online music platforms, continue to bump from home stereos. He is often compared to hip-hop artists whose music chronicles the stories of struggling people resorting to crime to get by.\u003c/p>\n\u003cfigure id=\"attachment_11904545\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11904545\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg\" alt=\"Anman wearing a hats sits cross-legged on a couch.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/02/Alejandro_Chalino-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alejandro Mendoza reported from Mexico and hosted the Spanish version of the Idolo podcast. \u003ccite>(Felipe David Campos/Sonoro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Chalino is Mexican, but then goes to LA and is so influential and iconic on both sides of the border,” Romero said. “His career took off because of mixtapes that came out of swap meets in LA. That is, in essence, how he got discovered and how he blew up. I think people underestimate the influence of word-of-mouth in the Mexican American community.”\u003c/p>\n\u003cp>The podcast delves into how Sánchez became a successful performer despite not being a trained singer, or even a particularly talented one.\u003c/p>\n\u003cp>“Chalino couldn’t have been famous in Mexico,” said Galindo, whose independent production company, Sin Miedo Productions, also co-produced Idolo. “There’s too many great singers in Mexico. There’s too many people who already represent what he represented for millions of immigrants in Los Angeles and in the Bay Area and in Central California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sánchez’s first corrido was about his brother, who immigrated with him to California, and was later killed back in Mexico. The song, “Armando Sánchez,” offers details about the slaying, describing a valiant man who was shot seven times on Dec. 5 at the Santa Rita Hotel in Tijuana by a coward who didn’t give him the chance to react. (The song doesn’t reveal the year of his brother’s death.) Sánchez’s penchant for specificity and paying homage were trademarks of his compositions. (\u003ca href=\"https://www.latinousa.org/2017/11/01/10-best-corridos-chalino-sanchez/\">Check out this primer\u003c/a> on some of his most well-known corridos.)\u003c/p>\n\u003cp>As Idolo details, Sánchez spent time in La Mesa prison in Tijuana following his brother’s death. It was there that he honed his songwriting and storytelling skills, earning money by composing tunes for fellow inmates who wanted to be immortalized in a song.\u003c/p>\n\u003cp>The Idolo production team decided a podcast about Sánchez needed its own corrido, so a group of musicians and vocalists were assembled to evoke Sánchez’s style. The verses include the refrain, “Ni las ballas pudieron matarlo/Su legado aún sigue vivo tanto aquí como en el otro lado” (“Not even the bullets could kill him/His legacy lives on here just like on the other side”).\u003c/p>\n\u003cp>The podcast digs into the question of whether Sánchez normalized narco culture. Sánchez weaved tales of narco activity, but his songs preceded an explosion of cartel violence in Mexico that has spurred the murder of tens of thousands of people in the last decade alone. The violence has become part of people’s everyday lives, especially in places like Sinaloa, where Sánchez came from.\u003c/p>\n\u003cp>“Musicians are singing about what’s going on in Mexico, and you cannot blame that on a corrido,” Herrera, the ethnomusicologist, said. “The narco war, the drugs — all that came first and the music is just a reflection of what’s happening.”\u003c/p>\n\u003cp>Galindo said his goal was to discuss Sánchez in all his complexity.\u003c/p>\n\u003cp>“He told stories of complicated men, bad guys, sometimes good guys, but oftentimes criminals and violent men,” he said. “But he did tell it in a way that gave them context and dignity. And hopefully, we did that for him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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