Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'
Phương Tâm, Sixties Star of Vietnam Surf Rock, Reclaims Her Legacy at 77
You've Heard Experimental Sounds From Mills College (Even If You Don't Realize It)
In Studio With John Doe: Songs From the Reagan Era Still Resonate
After 50 Years in L.A. Clubs, Singer Troy Walker Still Going Strong
How the San Francisco Symphony Musicians and Management Struck a Deal
Negotiations Resume with Striking San Francisco Symphony Musicians
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KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/cd1a94b071427a71ecfcbc115c6b0efe?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/cd1a94b071427a71ecfcbc115c6b0efe?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/lairdharrison"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal 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FM","link":"/"}},"news_11943512":{"type":"posts","id":"news_11943512","meta":{"index":"posts_1591205157","site":"news","id":"11943512","score":null,"sort":[1678975300000]},"guestAuthors":[],"slug":"oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'","publishDate":1678975300,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Guap, rapper and musician\"]'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'[/pullquote]\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label=\"More from The California Report’s ‘Mixed’ series\" tag=\"mixed\"]\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XB7siF0VKjY\u003c/p>\n\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1DaovaJgytE\u003c/p>\n\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","status":"publish","parent":0,"modified":1679431442,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":18,"wordCount":1218},"headData":{"title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo' | KQED","description":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC1054402465.mp3?updated=1678903586","nprByline":"\u003ca href=\"https://www.kqed.org/author/jessicakariisa\">Jessica Kariisa\u003c/a> ","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guap, rapper and musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More from The California Reports ‘Mixed series ","tag":"mixed"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\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/XB7siF0VKjY'\n title='//www.youtube.com/embed/XB7siF0VKjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\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/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"7528","src":"https://modules.wearehearken.com/kqed/embed/7528.js","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","authors":["byline_news_11943512"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_21334","news_30494","news_22973","news_27626","news_18477","news_32533","news_28093","news_1425","news_4142","news_18","news_30475","news_2318"],"featImg":"news_11943517","label":"news_26731"},"news_11907898":{"type":"posts","id":"news_11907898","meta":{"index":"posts_1591205157","site":"news","id":"11907898","score":null,"sort":[1647050175000]},"guestAuthors":[],"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":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpg 160w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg 1853w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-800x1105.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1020x1409.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1112x1536.jpg 1112w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-800x809.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1020x1032.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-160x162.png 160w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpg 160w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg 1616w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpg 160w, https://ww2.kqed.org/app/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","blocks":[],"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.","status":"publish","parent":0,"modified":1647357297,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":68,"wordCount":2702},"headData":{"title":"Phương Tâm, Sixties Star of Vietnam Surf Rock, Reclaims Her Legacy at 77 | KQED","description":"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.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11907898 https://ww2.kqed.org/news/?p=11907898","disqusUrl":"https://ww2.kqed.org/news/2022/03/11/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77/","disqusTitle":"Phương Tâm, Sixties Star of Vietnam Surf Rock, Reclaims Her Legacy at 77","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/0ae9c0b4-bbf5-4eea-9d11-ae55013659dc/audio.mp3","nprByline":"\u003ca href=\"https://twitter.com/christinenguyen\">Christine Nguyen\u003c/a>","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77","audioTrackLength":null,"parsedContent":[{"type":"contentString","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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-800x591.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-1020x753.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54217_Tam-in-ao-dai-band-at-Miss-Viet-Nam-pageant-1965-qut-160x118.jpg 160w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-scaled.jpg 1853w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-800x1105.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1020x1409.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-160x221.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54222_Phuong-Tam-wearing-pink-Dep-Magazine-cover-qut-1112x1536.jpg 1112w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS.png 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-800x809.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-1020x1032.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/ALBUM-COVER-“TWIST-SURF-BEGUINE-ROCK-1-USE-THIS-160x162.png 160w, https://ww2.kqed.org/app/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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54223_Magical-Nights-Album-Cover-qut-160x160.jpg 160w, https://ww2.kqed.org/app/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 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://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut.jpg 1616w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-800x535.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-1020x682.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/03/RS54219_Hannah-and-Tam-Photo-Courtesy-Le-My-qut-160x107.jpg 160w, https://ww2.kqed.org/app/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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11907898/phuong-tam-sixties-star-of-vietnam-surf-rock-reclaims-her-legacy-at-77","authors":["byline_news_11907898"],"programs":["news_72","news_26731"],"categories":["news_8"],"tags":["news_1425","news_4142","news_29092","news_235"],"featImg":"news_11908017","label":"news_26731"},"news_11879024":{"type":"posts","id":"news_11879024","meta":{"index":"posts_1591205157","site":"news","id":"11879024","score":null,"sort":[1624529131000]},"guestAuthors":[],"slug":"youve-heard-experimental-sounds-from-mills-college-even-if-you-dont-realize-it","title":"You've Heard Experimental Sounds From Mills College (Even If You Don't Realize It)","publishDate":1624529131,"format":"standard","headTitle":"You’ve Heard Experimental Sounds From Mills College (Even If You Don’t Realize It) | KQED","labelTerm":{},"content":"\u003cp>Right in the middle of Oakland, a densely populated large urban city, sits Mills College. Originally a finishing school, the oldest women’s college on the West Coast moved to its current location in 1875. It sports architecture from notables like Bernard Maybeck and Julia Morgan and over time has grown into an identity rooted in inclusivity, social activism and female leadership. But many people don’t even know it’s there.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Bay Curious listener Sara Russell describes Mills as “an oasis of nature, architecture, art, history, activism, social impact and education.” She wants to know more about the school’s music program, which has produced dozens of famous musicians, including jazz legend Dave Brubeck and singer-songwriter Joanna Newsom.\u003c/p>\n\u003ch3>A Music Program of Possibility\u003c/h3>\n\u003cp>“The music program at Mills is \u003ca href=\"https://daily.bandcamp.com/features/mills-college-list\">legendary,” \u003c/a>says \u003ca href=\"https://www.kqed.org/author/gmeline\">Gabe Meline\u003c/a>, KQED’s Arts senior editor. “Some big names came out of there.”\u003c/p>\n\u003cp>People like Dave Brubeck, Roscoe Mitchell, Anthony Braxton, Steve Reich, Lou Harrison and Terry Riley all graduated from or taught at Mills. Meline says for most people these aren’t household names, but in certain circles they are revered for pushing the definition of jazz and for pioneering minimalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gcl6dS4_HnU\u003c/p>\n\u003cp>“I mean, I think the best word to sum up Mills’ approach to teaching music is possibility,” Meline said. “Students were just encouraged to do whatever to explore their imaginations.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Mills’ Center for Contemporary Music\u003c/a> is particularly famous for electronic music. Graduates include composers like \u003ca href=\"https://paulineoliveros.us/\">Pauline Oliveros\u003c/a>, \u003ca href=\"https://www.hollyherndon.com/\">Holly Herndon\u003c/a> and \u003ca href=\"https://sites.google.com/site/maggipayne/\">Maggi Payne\u003c/a> — a co-director of the center for 26 years.\u003c/p>\n\u003cp>“They developed modern electronic composition in a way that is revered in serious music circles all around the world,” Meline said.\u003c/p>\n\u003ch3>The Experimental Makes Its Way Into the Mainstream\u003c/h3>\n\u003cp>Decades later, as music production has migrated onto laptops, Meline hears echoes of the work done by Mills graduates in artists like Radiohead, Wilco, Tame Impala, Playboi Carti, Kanye West and even Justin Bieber.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nntGTK2Fhb0\u003c/p>\n\u003cp>“There was a big hit song a few years ago by Justin Bieber, “Where Are You Now?,” that had this squeaky little kind of dolphin sound,” Meline said. “And that sound could be traced back absolutely to people pushing and pulling tape through old tape players at Mills.”\u003c/p>\n\u003cp>Mills composers were a little too experimental for many mainstream listeners of their time, but music has progressed since they were first experimenting in the ’50s. Each generation builds on the work of the one before, and over time sounds that seemed completely new have become commonplace.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svwJTnZOaco\u003c/p>\n\u003ch3>An Uncertain Future\u003c/h3>\n\u003cp>Now the Mills music program is in jeopardy along with the rest of the college. Like many niche liberal arts schools, Mills has been struggling financially for years.\u003c/p>\n\u003cp>“We were shocked in 2019 when we learned that \u003ca href=\"https://www.kqed.org/arts/13871311/mills-college-to-sell-shakespeare-first-folio-mozart-manuscript-amid-budget-woes\">Mills was selling a Shakespeare “First Folio\u003c/a>,” which is essentially the first collected edition of Shakespeare’s plays,” Meline said. “It’s from 1623. They sold one at Christie’s for $10 million, which was a big sign that something was seriously amiss financially and that Mills needed money.”\u003c/p>\n\u003cp>Mills College President Elizabeth Hillman announced in \u003ca href=\"https://www.kqed.org/news/11865408/mills-college-to-stop-offering-degrees-cites-low-enrollment-financial-woes\">March 2021\u003c/a> that Mills College would stop admitting new students after the fall semester, and would likely stop granting degrees in 2023. Then, in June, she announced that the college is \u003ca href=\"https://www.mills.edu/announcement/index.php\">in negotiations with Northeastern University\u003c/a> to become a satellite campus.\u003c/p>\n\u003cfigure id=\"attachment_11879052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879052\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mills College President Elizabeth Hillman at the campus in Oakland on March 24, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that all of this stuff is going on behind the scenes and the key core constituencies are not being consulted,” said David Bernstein, faculty chair of the music department after the original closure announcement. He and other faculty members have been fighting to be included in conversations about the college’s future.\u003c/p>\n\u003cp>Much of the \u003ca href=\"https://www.nytimes.com/2021/03/30/arts/music/mills-college-music.html\">press coverage about the music department\u003c/a> has focused on its archive, which he says includes an incredible collection of artifacts documenting the pioneering musical history of Mills students and famous composers who have come together to play on campus.\u003c/p>\n\u003cp>“It’s a documentation of the experimental music tradition at Mills College,” Bernstein said. “All kinds of incredible treasures. It’s a documentation of artistic activity at an institution that was a cauldron for all of these innovative ideas and different people working with one another.”\u003c/p>\n\u003cp>Bernstein understands how impressive the archive is — he’s used it in his research. But he’s more concerned about preserving the future of the program.\u003c/p>\n\u003cp>“There’s so much more institutionally that towers above the importance of the archive,” he said. “Yes, it has cultural significance, but actually the department itself is much more important than the archives. I don’t know that there are many places in the world that do what we do.”\u003c/p>\n\u003cp>He has been working to marshal the music program’s illustrious alumni to defend the Center for Contemporary Music and the department as a whole. He hopes that with more of the stakeholders involved, the Mills community can find a solution that allows the historic college to continue to exist in some form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n","blocks":[],"excerpt":"While the fate of Mills College in Oakland is up in the air, many wonder what will happen its music program, which has produced many influential musicians.","status":"publish","parent":0,"modified":1700588239,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":23,"wordCount":921},"headData":{"title":"You've Heard Experimental Sounds From Mills College (Even If You Don't Realize It) | KQED","description":"While the fate of Mills College in Oakland is up in the air, many wonder what will happen its music program, which has produced many influential musicians.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC7395407184.mp3?updated=1624467917","path":"/news/11879024/youve-heard-experimental-sounds-from-mills-college-even-if-you-dont-realize-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right in the middle of Oakland, a densely populated large urban city, sits Mills College. Originally a finishing school, the oldest women’s college on the West Coast moved to its current location in 1875. It sports architecture from notables like Bernard Maybeck and Julia Morgan and over time has grown into an identity rooted in inclusivity, social activism and female leadership. But many people don’t even know it’s there.\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\" />\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>Bay Curious listener Sara Russell describes Mills as “an oasis of nature, architecture, art, history, activism, social impact and education.” She wants to know more about the school’s music program, which has produced dozens of famous musicians, including jazz legend Dave Brubeck and singer-songwriter Joanna Newsom.\u003c/p>\n\u003ch3>A Music Program of Possibility\u003c/h3>\n\u003cp>“The music program at Mills is \u003ca href=\"https://daily.bandcamp.com/features/mills-college-list\">legendary,” \u003c/a>says \u003ca href=\"https://www.kqed.org/author/gmeline\">Gabe Meline\u003c/a>, KQED’s Arts senior editor. “Some big names came out of there.”\u003c/p>\n\u003cp>People like Dave Brubeck, Roscoe Mitchell, Anthony Braxton, Steve Reich, Lou Harrison and Terry Riley all graduated from or taught at Mills. Meline says for most people these aren’t household names, but in certain circles they are revered for pushing the definition of jazz and for pioneering minimalism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gcl6dS4_HnU'\n title='//www.youtube.com/embed/Gcl6dS4_HnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I mean, I think the best word to sum up Mills’ approach to teaching music is possibility,” Meline said. “Students were just encouraged to do whatever to explore their imaginations.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Mills’ Center for Contemporary Music\u003c/a> is particularly famous for electronic music. Graduates include composers like \u003ca href=\"https://paulineoliveros.us/\">Pauline Oliveros\u003c/a>, \u003ca href=\"https://www.hollyherndon.com/\">Holly Herndon\u003c/a> and \u003ca href=\"https://sites.google.com/site/maggipayne/\">Maggi Payne\u003c/a> — a co-director of the center for 26 years.\u003c/p>\n\u003cp>“They developed modern electronic composition in a way that is revered in serious music circles all around the world,” Meline said.\u003c/p>\n\u003ch3>The Experimental Makes Its Way Into the Mainstream\u003c/h3>\n\u003cp>Decades later, as music production has migrated onto laptops, Meline hears echoes of the work done by Mills graduates in artists like Radiohead, Wilco, Tame Impala, Playboi Carti, Kanye West and even Justin Bieber.\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/nntGTK2Fhb0'\n title='//www.youtube.com/embed/nntGTK2Fhb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There was a big hit song a few years ago by Justin Bieber, “Where Are You Now?,” that had this squeaky little kind of dolphin sound,” Meline said. “And that sound could be traced back absolutely to people pushing and pulling tape through old tape players at Mills.”\u003c/p>\n\u003cp>Mills composers were a little too experimental for many mainstream listeners of their time, but music has progressed since they were first experimenting in the ’50s. Each generation builds on the work of the one before, and over time sounds that seemed completely new have become commonplace.\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/svwJTnZOaco'\n title='//www.youtube.com/embed/svwJTnZOaco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>An Uncertain Future\u003c/h3>\n\u003cp>Now the Mills music program is in jeopardy along with the rest of the college. Like many niche liberal arts schools, Mills has been struggling financially for years.\u003c/p>\n\u003cp>“We were shocked in 2019 when we learned that \u003ca href=\"https://www.kqed.org/arts/13871311/mills-college-to-sell-shakespeare-first-folio-mozart-manuscript-amid-budget-woes\">Mills was selling a Shakespeare “First Folio\u003c/a>,” which is essentially the first collected edition of Shakespeare’s plays,” Meline said. “It’s from 1623. They sold one at Christie’s for $10 million, which was a big sign that something was seriously amiss financially and that Mills needed money.”\u003c/p>\n\u003cp>Mills College President Elizabeth Hillman announced in \u003ca href=\"https://www.kqed.org/news/11865408/mills-college-to-stop-offering-degrees-cites-low-enrollment-financial-woes\">March 2021\u003c/a> that Mills College would stop admitting new students after the fall semester, and would likely stop granting degrees in 2023. Then, in June, she announced that the college is \u003ca href=\"https://www.mills.edu/announcement/index.php\">in negotiations with Northeastern University\u003c/a> to become a satellite campus.\u003c/p>\n\u003cfigure id=\"attachment_11879052\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11879052\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2021/06/RS48239_001_Oakland_MillsCollege_03242021-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mills College President Elizabeth Hillman at the campus in Oakland on March 24, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that all of this stuff is going on behind the scenes and the key core constituencies are not being consulted,” said David Bernstein, faculty chair of the music department after the original closure announcement. He and other faculty members have been fighting to be included in conversations about the college’s future.\u003c/p>\n\u003cp>Much of the \u003ca href=\"https://www.nytimes.com/2021/03/30/arts/music/mills-college-music.html\">press coverage about the music department\u003c/a> has focused on its archive, which he says includes an incredible collection of artifacts documenting the pioneering musical history of Mills students and famous composers who have come together to play on campus.\u003c/p>\n\u003cp>“It’s a documentation of the experimental music tradition at Mills College,” Bernstein said. “All kinds of incredible treasures. It’s a documentation of artistic activity at an institution that was a cauldron for all of these innovative ideas and different people working with one another.”\u003c/p>\n\u003cp>Bernstein understands how impressive the archive is — he’s used it in his research. But he’s more concerned about preserving the future of the program.\u003c/p>\n\u003cp>“There’s so much more institutionally that towers above the importance of the archive,” he said. “Yes, it has cultural significance, but actually the department itself is much more important than the archives. I don’t know that there are many places in the world that do what we do.”\u003c/p>\n\u003cp>He has been working to marshal the music program’s illustrious alumni to defend the Center for Contemporary Music and the department as a whole. He hopes that with more of the stakeholders involved, the Mills community can find a solution that allows the historic college to continue to exist in some form.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11879024/youve-heard-experimental-sounds-from-mills-college-even-if-you-dont-realize-it","authors":["234"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_28250","news_8","news_33520"],"tags":["news_6200","news_4142"],"featImg":"news_11879049","label":"source_news_11879024"},"news_11223437":{"type":"posts","id":"news_11223437","meta":{"index":"posts_1591205157","site":"news","id":"11223437","score":null,"sort":[1483574418000]},"guestAuthors":[],"slug":"in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate","title":"In Studio With John Doe: Songs From the Reagan Era Still Resonate","publishDate":1483574418,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">\"Under The Big Black Sun: A Personal History of L.A. Punk.\"\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/300829667\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There's this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">\"The Westerner.\"\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote \"Dances with Wolves.\" He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like \"what’s over the next hill?\" For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, \"A Little Help,\" about farmworkers.\u003c/b>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2xHsn5ipt2o\u003c/p>\n\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years -- AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YbEhts7g-4U\u003c/p>\n\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on \"Under the Big Black Sun\"] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early '80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/300826100\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.'","status":"publish","parent":0,"modified":1483571386,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1012},"headData":{"title":"In Studio With John Doe: Songs From the Reagan Era Still Resonate | KQED","description":"'I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11223437 http://ww2.kqed.org/news/?p=11223437","disqusUrl":"https://ww2.kqed.org/news/2017/01/04/in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate/","disqusTitle":"In Studio With John Doe: Songs From the Reagan Era Still Resonate","path":"/news/11223437/in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>To describe John Doe, you need a list of titles: musician, songwriter, actor, poet, author and now Grammy nominee. He and co-author Tom DeSavia were recently nominated for a spoken word Grammy for their book, \u003c/i>\u003ca href=\"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/\">\"Under The Big Black Sun: A Personal History of L.A. Punk.\"\u003c/a>\u003ci> The punk scene is where John Doe made his mark with the Los Angeles band X, which is celebrating its 40-year anniversary. He joined The California Report Magazine’s host, Sasha Khokha, in studio, with his guitar.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/300829667&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/300829667'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>I love the description in your book of landing in L.A. in 1976 and smelling the fumes at LAX. I grew up right next to LAX, so I know that smell. It feels like you’re home. There's this mythical notion of California and the West. It sounds like you still believe in the California Dream.\u003c/b>\u003c/p>\n\u003cp>I do. I think it has a lot to do with the horizon. When you can see a long distance. Growing up on the East Coast, like if you went to the Appalachians, you could see maybe 50 miles if you found a good spot. Here, you can see 200 miles. It’s open. Joshua Tree gives you a different feeling. Going up to the Redwoods, going up to Lake Tahoe, yeah, I still hold onto that.\u003c/p>\n\u003cp>\u003cb>That’s a big theme in your new album, \u003ca href=\"http://www.theejohndoe.com/music/\">\"The Westerner.\"\u003c/a> You talk about standing on the edge of the ocean, or the Arizona desert. You get the sense of that vast expanse.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11252176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/WesternerDoe-800x804.jpg\" alt=\"westernerdoe\" width=\"800\" height=\"804\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-160x161.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-240x241.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-375x377.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-520x523.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/WesternerDoe-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A lot of the songs were inspired by my friend Michael Blake, who wrote \"Dances with Wolves.\" He did have a life that was challenging, cancer battles, and all these things. But he always had this optimism. It was always like \"what’s over the next hill?\" For that reason, and also to be close to him, we recorded him in Tucson, which has that open space, and has that distance, reverb and economy that you get out of the West and open space.\u003c/p>\n\u003cp>\u003cb>You’ve lived all over California: L.A., the Bay Area and even a stint in the Central Valley. I was really touched by your song, \"A Little Help,\" about farmworkers.\u003c/b>\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/2xHsn5ipt2o'\n title='//www.youtube.com/embed/2xHsn5ipt2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe I’m Pollyanna, but I see a nobility, and I wish that people realized that every piece of fruit that they eat was touched by a human hand. I wish that people did more hard work in the sun. I think they’d have a different point of view. The song is also about two different ways of getting something done, which is to wrench into place, and to grab it and kill it and make it happen. Or just thinking of something, manifesting and letting something happen.\u003c/p>\n\u003cp>\u003cb>So is there a moment where you say, hey, I want to write a song like this? I want to write a song about people working the land?\u003c/b>\u003c/p>\n\u003cp>No, there’s a moment where I see an image, and it sticks with me. But I don’t go about it as an assignment. It’s a little more mysterious. I just take stuff, and play with some chords. I’ve been trying to do things more intuitively, just let it come out when there’s a good moment.\u003c/p>\n\u003cfigure id=\"attachment_11221917\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11221917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg\" alt=\"Musician John Doe (Photo: Jim Herrington)\" width=\"800\" height=\"1291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-800x1291.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-160x258.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1020x1646.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-1180x1905.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-960x1550.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-240x387.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-375x605.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/12/RS23344_john_doe2-qut-520x839.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musician John Doe (Photo: Jim Herrington)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You’re also very well known for your 40-year legacy with X. Forty years, and you guys are still on the road.\u003c/b>\u003c/p>\n\u003cp>It’s a point at which you can be grateful. Even though you may have had disagreements with band members in the past, we’re all so happy to be playing. We’re playing a different kind of show, some deeper cuts. It’s more like a concert than just a punk rock show.\u003c/p>\n\u003cp>\u003cb>I grew up in L.A. at a time when punk and artists were responding to the Reagan years -- AIDS and the first wave of Central American refugees. I wonder how you think about those songs taking on a new life now that California is heading in a different political direction than the rest of the country.\u003c/b>\u003c/p>\n\u003cp>Luckily, we didn’t use the name Reagan in any of our songs. We’re playing “I Must Not Think Bad Thoughts” a lot lately. And “The New World” is still relevant. From the point of view of a hobo, a bum, who wanted to get into his bar at 6 a.m. It was closed, there was some election, some president. He doesn’t even know the president’s name, it’s just “what’s his name.” And then in the second verse, we start talking about the decline of Midwest manufacturing. It’s like, hello, that was written in 1983!\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/YbEhts7g-4U'\n title='//www.youtube.com/embed/YbEhts7g-4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>So what’s next for John Doe in 2017?\u003c/b>\u003c/p>\n\u003cp>X is going to be touring a lot, ‘cuz it’s our 40th anniversary. I’m going to work on another book, an actual memoir. [Working on \"Under the Big Black Sun\"] was a pretty good experience. We’re really fortunate that [on the audiobook] everybody read their own chapters. In 20 years, that’s going to be kind of a cool document, to hear those voices talking from the early '80s. It’ll be a pretty good year, I’m pretty sure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/300826100&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/300826100'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for brevity and clarity. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11223437/in-studio-with-john-doe-songs-from-the-reagan-era-still-resonate","authors":["254"],"programs":["news_72"],"categories":["news_223"],"tags":["news_4","news_4142","news_20316","news_17286"],"featImg":"news_11221933","label":"news_72"},"news_10892969":{"type":"posts","id":"news_10892969","meta":{"index":"posts_1591205157","site":"news","id":"10892969","score":null,"sort":[1458057941000]},"guestAuthors":[],"slug":"after-50-years-in-l-a-clubs-singer-troy-walker-still-going-strong","title":"After 50 Years in L.A. Clubs, Singer Troy Walker Still Going Strong","publishDate":1458057941,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>It's the early '60s. It’s a Saturday night on the pre-hippie Sunset Strip. It’s a swinging scene, men in sharp suits, women in cocktail dresses. Everybody smokes. In a lounge called The Interlude, they’re squeezing in to see Troy Walker.\u003c/p>\n\u003cp>\"I’d never imagined myself even having that much talent,” admits Walker. “I was just a singer and I liked showing off.”\u003c/p>\n\u003cp>That inclination paid off for Walker, who was raised in Arizona. As a young boy, he first realized his divine gift of song during a Christmas worship service in his hometown of Phoenix.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Mommy wanted a girl, Daddy wanted a boy, now they’re both happy. I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.'\u003ccite>Troy Walker\u003c/cite>\u003c/aside>\n\u003cp>“I remember on a Christmas cantata in church, our choir director Mr. Beasley had me sing ‘O Holy Night,’” Walker says. “I had a very high soprano voice. I sang it and I looked at my mother and she was crying and Mr. Beasley stood up and said, ‘God has sent us an angel.'\"\u003c/p>\n\u003cp>He moved to Hollywood in 1958, “just to come out to Hollywood. I understood I could be a little freer, especially in my personal life, so I came out to Hollywood to see if that could happen.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"I walked into a bar on Hollywood Boulevard, and the young man behind the piano asked me if I could sing. I’d sing in school, so I said, ‘Yep,’ and he gave me the microphone and I sang a song. I was only 19. And the owner came over and asked me if I could come in every night and sing a couple songs and he’d give me 10 bucks.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/251447759\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“At the time I was downright broke, and I asked if I could get an advance because my rent was due. At that time it was nine bucks a week. He said, ‘Don’t try and con me, kid.’ I told him I’d be back the next night. That’s how it started, and it’s been that way ever since.”\u003c/p>\n\u003cp>Walker was, to put it mildly, a very pretty boy, something that he learned to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right.’ It just worked for me,” he says. “‘Mommy wanted a girl, Daddy wanted a boy, now they’re both happy.’ I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.”\u003c/p>\n\u003cp>Flamboyant young Walker developed a set of current hits and standards recorded by artists he admired like Judy Garland, Johnny Ray and Johnny Mathis. His chops were formidable; his ability to sell a song and give his all to the crowd was immense. He released his first album in 1962. His second -- and last -- record came out two years later, and while neither took off, his reputation as a must-see live act flourished.\u003c/p>\n\u003cfigure id=\"attachment_10896794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896794 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg\" alt=\"Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'" he says.\" width=\"800\" height=\"942\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-400x471.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-1180x1390.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-960x1131.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'\" he says. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was on fire, packing rooms and drawing names like Ricky Nelson, Natalie Wood, Ronald Reagan and Elvis himself. He shared the stage with everyone from Ella Fitzgerald to Pat Collins the Hip Hypnotist. He joked, he trash talked, he worked risque but never mean.\u003c/p>\n\u003cp>He was a dazzling, flamboyant attraction, meaning he was as openly gay as an act could be in those closeted times. But it wasn’t really camp, it was just who he was. And that was something that may have hindered his professional growth.\u003c/p>\n\u003cp>“I often wondered why the big [career] push wasn’t made and I just kind of decided, well, nobody wanted at that time to affiliate themselves with a somewhat effete, somewhat maybe feminine man. It was that age.”\u003c/p>\n\u003cp>Walker survived, playing all manner of nightspots. For years he was an attraction at the legendary Palomino Club in North Hollywood. “I became the headliner at the Palomino,” he states. “[Owner] Tommy Thomas called me and asked me to come and I said, ‘They’ll stone me,’ 'cause it was very country. But I wound up there for 17 years every Tuesday night.”\u003c/p>\n\u003cp>And so it was that five years ago he began singing at Cody Bryant’s Viva Cantina, a Mexican restaurant in Burbank that’s become the singer’s monthly gig, backed by guitarist Bryant’s house band for the last five years.\u003c/p>\n\u003cp>“So who does he draw?” asks Bryant. “For some people it’s a freak show, [there’s] some intelligentsia, some hipsters. He cuts a funny path across a lot of personality types. But he’s infinitely human, and that’s what translates to everybody.”\u003c/p>\n\u003cp>That includes people like Jan Damiano, who go way back with Walker.\u003c/p>\n\u003cp>“He taught me to do the twist on Sunset Strip at the Interlude,” she says after a recent Walker set at the Cantina. “My husband and I went there and we learned the twist, and we were twisting everywhere, Miami and everywhere, but I learned from him. It’s a long time ago! He loves his audience. And that’s why people come back.”\u003c/p>\n\u003cfigure id=\"attachment_10896853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad.jpg\">\u003cimg class=\"wp-image-10896853 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad-800x477.jpg\" alt=\"An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\" width=\"800\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad-400x239.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\u003c/figcaption>\u003c/figure>\n\u003cp>“I let them know I was there for them,” says Walker of his audience. “A lot of performers don’t project that. They don’t have that thing about letting them know you really are grateful they’re there, and that’s a feeling you have to have to be a good performer.”\u003c/p>\n\u003cp>Tom Kenny, the actor/comedian and voice of SpongeBob SquarePants, has been a Walker follower for years, catching him whenever he can. Like snowflakes and fingerprints, Walker’s sets are never the same.\u003c/p>\n\u003cp>“You really never know what you’re going to get with Troy,” offers Kenny. “A lot of it seems to depend on what mood he’s in and what he’s going through and what songs are resonating with him on a given night, so the shows are kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between. What’s not to like?”\u003c/p>\n\u003cp>Walker uses no set list, but moves from song to song seemingly on a whim, rarely finishing anything. You might hear a chorus, a couple verses, and then it’s on to something else.\u003c/p>\n\u003cp>“The music follows him,” says Damiano. “He goes where he wants, he segues on a word. He sails. He floats.”\u003c/p>\n\u003cp>“You have to kind of guess,” offers Bryant. “You have to listen, you have to make your ears go out 3 feet on the side of your head to figure out where in the hell he’s going to go. And to make him look good. You want him to look good.”\u003c/p>\n\u003cfigure id=\"attachment_10896846\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896846 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TomKenny-800x567.jpg\" alt='Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\"' width=\"800\" height=\"567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-800x567.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-1180x836.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-960x681.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years, calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\" \u003ccite>(Brad Barket/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And really, that’s the thing. Everybody’s rooting for Troy. He’s lovable. He’s impish. He’s a pussycat who’s had a lot of lives but no grand strategy for success. His 50-year career vision has never extended beyond the last set of the night.\u003c/p>\n\u003cp>“I can’t say that I had a real plan,” Walker admits. “I just came to Hollywood and people asked me what I did and I said, ‘I’m a singer.’”\u003c/p>\n\u003cp>And he does it all for the nice people out there in the dark who have been filling the seats—or most of them—for this unique act that never ends.\u003c/p>\n\u003cp>“They give a meaning to my life,” Walker says of his loyal followers. “They want me, even if nobody else does, and I guess that’s the way I qualify what I do. People have no idea, they lay things out like ego and selfishness, but it’s not that at all. If every night you get 20 or 30 minutes of this [he claps] and standing ovations periodically, and you say, “Wow. I’m worth something.' ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On this Wednesday night in Burbank, for a handful of hipsters, drinkers and gray-haired women he’s turned briefly back into 25-year-olds, he’s worth a lot.\u003c/p>\n\n","blocks":[],"excerpt":"The gender-bending artist moved to Hollywood in 1958, packed rooms and drew names like Natalie Wood, Ronald Reagan and Elvis himself -- and he's still at it.","status":"publish","parent":0,"modified":1458087418,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1615},"headData":{"title":"After 50 Years in L.A. Clubs, Singer Troy Walker Still Going Strong | KQED","description":"The gender-bending artist moved to Hollywood in 1958, packed rooms and drew names like Natalie Wood, Ronald Reagan and Elvis himself -- and he's still at it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10892969 http://ww2.kqed.org/news/?p=10892969","disqusUrl":"https://ww2.kqed.org/news/2016/03/15/after-50-years-in-l-a-clubs-singer-troy-walker-still-going-strong/","disqusTitle":"After 50 Years in L.A. Clubs, Singer Troy Walker Still Going Strong","nprByline":"Peter Gilstrap","path":"/news/10892969/after-50-years-in-l-a-clubs-singer-troy-walker-still-going-strong","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's the early '60s. It’s a Saturday night on the pre-hippie Sunset Strip. It’s a swinging scene, men in sharp suits, women in cocktail dresses. Everybody smokes. In a lounge called The Interlude, they’re squeezing in to see Troy Walker.\u003c/p>\n\u003cp>\"I’d never imagined myself even having that much talent,” admits Walker. “I was just a singer and I liked showing off.”\u003c/p>\n\u003cp>That inclination paid off for Walker, who was raised in Arizona. As a young boy, he first realized his divine gift of song during a Christmas worship service in his hometown of Phoenix.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Mommy wanted a girl, Daddy wanted a boy, now they’re both happy. I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.'\u003ccite>Troy Walker\u003c/cite>\u003c/aside>\n\u003cp>“I remember on a Christmas cantata in church, our choir director Mr. Beasley had me sing ‘O Holy Night,’” Walker says. “I had a very high soprano voice. I sang it and I looked at my mother and she was crying and Mr. Beasley stood up and said, ‘God has sent us an angel.'\"\u003c/p>\n\u003cp>He moved to Hollywood in 1958, “just to come out to Hollywood. I understood I could be a little freer, especially in my personal life, so I came out to Hollywood to see if that could happen.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I walked into a bar on Hollywood Boulevard, and the young man behind the piano asked me if I could sing. I’d sing in school, so I said, ‘Yep,’ and he gave me the microphone and I sang a song. I was only 19. And the owner came over and asked me if I could come in every night and sing a couple songs and he’d give me 10 bucks.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/251447759&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/251447759'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“At the time I was downright broke, and I asked if I could get an advance because my rent was due. At that time it was nine bucks a week. He said, ‘Don’t try and con me, kid.’ I told him I’d be back the next night. That’s how it started, and it’s been that way ever since.”\u003c/p>\n\u003cp>Walker was, to put it mildly, a very pretty boy, something that he learned to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right.’ It just worked for me,” he says. “‘Mommy wanted a girl, Daddy wanted a boy, now they’re both happy.’ I played with it rather than let it bring me down. And it worked fine because I was never out of work, never have been.”\u003c/p>\n\u003cp>Flamboyant young Walker developed a set of current hits and standards recorded by artists he admired like Judy Garland, Johnny Ray and Johnny Mathis. His chops were formidable; his ability to sell a song and give his all to the crowd was immense. He released his first album in 1962. His second -- and last -- record came out two years later, and while neither took off, his reputation as a must-see live act flourished.\u003c/p>\n\u003cfigure id=\"attachment_10896794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896794 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg\" alt=\"Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'" he says.\" width=\"800\" height=\"942\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-800x942.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-400x471.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-1180x1390.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalker2-960x1131.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Troy Walker was a very pretty boy, something he learned early on to use to his advantage onstage. “My first line was, ‘My name’s Troy Walker and whatever you’re thinking, you’re right,'\" he says. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was on fire, packing rooms and drawing names like Ricky Nelson, Natalie Wood, Ronald Reagan and Elvis himself. He shared the stage with everyone from Ella Fitzgerald to Pat Collins the Hip Hypnotist. He joked, he trash talked, he worked risque but never mean.\u003c/p>\n\u003cp>He was a dazzling, flamboyant attraction, meaning he was as openly gay as an act could be in those closeted times. But it wasn’t really camp, it was just who he was. And that was something that may have hindered his professional growth.\u003c/p>\n\u003cp>“I often wondered why the big [career] push wasn’t made and I just kind of decided, well, nobody wanted at that time to affiliate themselves with a somewhat effete, somewhat maybe feminine man. It was that age.”\u003c/p>\n\u003cp>Walker survived, playing all manner of nightspots. For years he was an attraction at the legendary Palomino Club in North Hollywood. “I became the headliner at the Palomino,” he states. “[Owner] Tommy Thomas called me and asked me to come and I said, ‘They’ll stone me,’ 'cause it was very country. But I wound up there for 17 years every Tuesday night.”\u003c/p>\n\u003cp>And so it was that five years ago he began singing at Cody Bryant’s Viva Cantina, a Mexican restaurant in Burbank that’s become the singer’s monthly gig, backed by guitarist Bryant’s house band for the last five years.\u003c/p>\n\u003cp>“So who does he draw?” asks Bryant. “For some people it’s a freak show, [there’s] some intelligentsia, some hipsters. He cuts a funny path across a lot of personality types. But he’s infinitely human, and that’s what translates to everybody.”\u003c/p>\n\u003cp>That includes people like Jan Damiano, who go way back with Walker.\u003c/p>\n\u003cp>“He taught me to do the twist on Sunset Strip at the Interlude,” she says after a recent Walker set at the Cantina. “My husband and I went there and we learned the twist, and we were twisting everywhere, Miami and everywhere, but I learned from him. It’s a long time ago! He loves his audience. And that’s why people come back.”\u003c/p>\n\u003cfigure id=\"attachment_10896853\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad.jpg\">\u003cimg class=\"wp-image-10896853 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TroyWalkerad-800x477.jpg\" alt=\"An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\" width=\"800\" height=\"477\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TroyWalkerad-400x239.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An advertisement for a 1981 Troy Walker performance well encapsulates the singer's approach to gender normativity.\u003c/figcaption>\u003c/figure>\n\u003cp>“I let them know I was there for them,” says Walker of his audience. “A lot of performers don’t project that. They don’t have that thing about letting them know you really are grateful they’re there, and that’s a feeling you have to have to be a good performer.”\u003c/p>\n\u003cp>Tom Kenny, the actor/comedian and voice of SpongeBob SquarePants, has been a Walker follower for years, catching him whenever he can. Like snowflakes and fingerprints, Walker’s sets are never the same.\u003c/p>\n\u003cp>“You really never know what you’re going to get with Troy,” offers Kenny. “A lot of it seems to depend on what mood he’s in and what he’s going through and what songs are resonating with him on a given night, so the shows are kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between. What’s not to like?”\u003c/p>\n\u003cp>Walker uses no set list, but moves from song to song seemingly on a whim, rarely finishing anything. You might hear a chorus, a couple verses, and then it’s on to something else.\u003c/p>\n\u003cp>“The music follows him,” says Damiano. “He goes where he wants, he segues on a word. He sails. He floats.”\u003c/p>\n\u003cp>“You have to kind of guess,” offers Bryant. “You have to listen, you have to make your ears go out 3 feet on the side of your head to figure out where in the hell he’s going to go. And to make him look good. You want him to look good.”\u003c/p>\n\u003cfigure id=\"attachment_10896846\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10896846 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/TomKenny-800x567.jpg\" alt='Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\"' width=\"800\" height=\"567\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-800x567.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-400x284.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-1180x836.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/TomKenny-960x681.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Tom Kenny, voice of SpongeBob SquarePants, has been a Troy Walker fan for years, calling his shows \"kind of like a really long medley mash-up of the American songbook, with dirty jokes peppered in between.\" \u003ccite>(Brad Barket/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And really, that’s the thing. Everybody’s rooting for Troy. He’s lovable. He’s impish. He’s a pussycat who’s had a lot of lives but no grand strategy for success. His 50-year career vision has never extended beyond the last set of the night.\u003c/p>\n\u003cp>“I can’t say that I had a real plan,” Walker admits. “I just came to Hollywood and people asked me what I did and I said, ‘I’m a singer.’”\u003c/p>\n\u003cp>And he does it all for the nice people out there in the dark who have been filling the seats—or most of them—for this unique act that never ends.\u003c/p>\n\u003cp>“They give a meaning to my life,” Walker says of his loyal followers. “They want me, even if nobody else does, and I guess that’s the way I qualify what I do. People have no idea, they lay things out like ego and selfishness, but it’s not that at all. If every night you get 20 or 30 minutes of this [he claps] and standing ovations periodically, and you say, “Wow. I’m worth something.' ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On this Wednesday night in Burbank, for a handful of hipsters, drinkers and gray-haired women he’s turned briefly back into 25-year-olds, he’s worth a lot.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10892969/after-50-years-in-l-a-clubs-singer-troy-walker-still-going-strong","authors":["byline_news_10892969"],"programs":["news_72"],"categories":["news_223"],"tags":["news_160","news_82","news_4","news_1425","news_4142","news_17286"],"featImg":"news_10896711","label":"news_72"},"news_92967":{"type":"posts","id":"news_92967","meta":{"index":"posts_1591205157","site":"news","id":"92967","score":null,"sort":[1364774430000]},"guestAuthors":[],"slug":"san-francisco-symphony-tentative-deal-to-end-strike","title":"How the San Francisco Symphony Musicians and Management Struck a Deal","publishDate":1364774430,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>San Francisco Symphony musicians and management were very nearly singing an \u003ca href=\"http://www.ca-in-sapporo.com/interests/beethoven.html\">\"Ode to Joy\"\u003c/a> on Monday after reaching an agreement to resume concerts.\u003c/p>\n\u003cfigure id=\"attachment_92985\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2013/03/31/san-francisco-symphony-tentative-deal-to-end-strike/san-francisco-symphony-musicians-on-strike/\" rel=\"attachment wp-att-92985\">\u003cimg class=\"size-medium wp-image-92985\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/san-francisco-symphony-musicians-on-strike-300x200.jpg\" alt=\"San Francisco Symphony musicians marched on a picket line on March 21. (Deborah Svoboda/KQED)\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony musicians marched on a picket line on March 21. (Deborah Svoboda/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The two parties announced Sunday they had drawn up a tentative new contract after a strike that silenced the orchestra for 2½ weeks.\u003c/p>\n\u003cp>The musicians have to ratify the proposed contract, and so does the Symphony's Board of Governors. But the musicians voted to return to the symphony hall while looking it over.\u003c/p>\n\u003cp>Both sides said their mood was jubilant as they anticipated the first post-strike music, a Tuesday morning concert for children in elementary school as part of the Symphony's \"\u003ca href=\"https://www.sfsymphony.org/Youth-Family/Music-in-SF-Public-Schools/Adventures-in-Music.aspx\">Adventures in Music\u003c/a>.\"\u003c/p>\n\u003cp>\"I will characterize it right now as a sense of celebration. We're looking forward to it very much,\" the Symphony's executive director, Brent Assink, told KQED's Paul Lancour.\u003c!--more-->\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"We're feeling positive for the future,\" David Gaudry, a violist who chairs the musicians' negotiating committee, said to KQED's Polly Stryker.\u003c/p>\n\u003cp>The committee has recommended the musicians ratify the contract, but the vote can't take place until 48 hours after musicians get corrected copies of the proposed contract, said Gaudry.\u003c/p>\n\u003cp>The strike stopped an East Coast tour and silenced several programs at Davies Symphony Hall. The musicians were angry about an offer that included wage freezes, cuts in health care benefits and pension changes. Symphony management said its musicians were already among the highest paid in the country.\u003c/p>\n\u003cp>Just a week ago, the two sides sounded pretty tense. What changed?\u003c/p>\n\u003cp>\"We found over the course of the last weekend the mood of the two parties working together seemed to take a turn for the better,\" Gaudry said. \"And it made for a more collaborative, problem-solving pair of sessions Friday and Saturday, and I think that's really what allowed us to go forward and reach an agreement.\"\u003c/p>\n\u003cp>The negotiations got a lift from a skilled mediator, he said.\u003c/p>\n\u003cp>Neither side was willing to discuss the details of the deal, but Gaudry said both sides gave ground. \"We talked a lot about medical insurance. We talked about wages. We talked about retirement security as well as some non-financial issues related to the normal day-to-day things that come up in a workplace. I would say there was fair movement on both sides.\"\u003c/p>\n\u003cp>He added that he is itching to open his viola case after days spent locked in a negotiating room or glued to a computer screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Symphony posted more information about \u003ca href=\"http://www.sfsymphony.org/Plan-Your-Visit/Ticketholder-Information-During-Work-Stoppage\">rescheduled concerts\u003c/a> for ticket holders.\u003cbr>\nHere's the Symphony's press release, issued about 4 p.m. Sunday:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>SAN FRANCISCO SYMPHONY MUSICIANS AND ADMINISTRATION REACH TENTATIVE AGREEMENT FOR NEW 26-MONTH CONTRACT\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Concerts will resume Tuesday, April 2 with free performance for SF schoolchildren\u003cbr>\nAll concerts this week to go on as scheduled\u003c/em>\u003c/p>\n\u003cp>SAN FRANCISCO, March 31, 2013 – San Francisco Symphony (SFS) administration and musicians, as represented by Musicians Union of San Francisco, Local No. 6, American Federation of Musicians, have reached a tentative agreement for a new 26-month contract, subject to ratification by the full Orchestra and approval by the Board of Governors. No details of the agreement will be discussed or released until the new contract is ratified in the next several days.\u003c/p>\n\u003cp>SFS musicians will return to the stage of Davies Symphony Hall Tuesday April 2 at 11:30 am in the first of a weeklong series of free concerts for San Francisco’s elementary schoolchildren. The entire week of concerts for 1st and 2nd grade students will offer performances for more than 10,000 of San Francisco’s public elementary schoolchildren and their teachers as part of the Symphony’s Adventures in Music education program.\u003c/p>\n\u003cp>All SFS concerts scheduled this week will take place as planned: Bernard Labadie conducts the Orchestra, SFS Chorus, and guest soprano Lydia Teuscher and tenor Nicholas Phan in a program of Mozart and Handel April 4 and 5; SFS Resident Conductor Donato Cabrera leads a Music for Families concert April 6; and Orchestra musicians perform chamber music on April 7. The San Francisco Symphony’s Community of Music Makers instrumental workshop for amateur musicians will also take place as scheduled on April 7.\u003c/p>\n\u003cp>Tickets for all SF Symphony concerts are available at www.sfsymphony.org, by phone at (415) 864-6000, and at the San Francisco Symphony Box Office on Grove Street between Franklin Street and Van Ness Avenue. Patrons with tickets to cancelled or rescheduled concerts for the week of March 14-17, March 29, or March 30 may exchange them for an upcoming concert, donate their tickets, or receive a refund. The San Francisco Symphony Box Office is open between 10 a.m. and 6 p.m. Monday through Friday, from noon to 6 p.m. on Saturday, and two hours prior to concerts on Sundays.\u003c/p>\u003c/blockquote>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1364915049,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":830},"headData":{"title":"How the San Francisco Symphony Musicians and Management Struck a Deal | KQED","description":"San Francisco Symphony musicians and management were very nearly singing an "Ode to Joy" on Monday after reaching an agreement to resume concerts. The two parties announced Sunday they had drawn up a tentative new contract after a strike that silenced the orchestra for 2½ weeks. The musicians have to ratify the proposed contract, and","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"92967 http://ww2.kqed.org/news/?p=92967","disqusUrl":"https://ww2.kqed.org/news/2013/03/31/san-francisco-symphony-tentative-deal-to-end-strike/","disqusTitle":"How the San Francisco Symphony Musicians and Management Struck a Deal","path":"/news/92967/san-francisco-symphony-tentative-deal-to-end-strike","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Symphony musicians and management were very nearly singing an \u003ca href=\"http://www.ca-in-sapporo.com/interests/beethoven.html\">\"Ode to Joy\"\u003c/a> on Monday after reaching an agreement to resume concerts.\u003c/p>\n\u003cfigure id=\"attachment_92985\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2013/03/31/san-francisco-symphony-tentative-deal-to-end-strike/san-francisco-symphony-musicians-on-strike/\" rel=\"attachment wp-att-92985\">\u003cimg class=\"size-medium wp-image-92985\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/san-francisco-symphony-musicians-on-strike-300x200.jpg\" alt=\"San Francisco Symphony musicians marched on a picket line on March 21. (Deborah Svoboda/KQED)\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Symphony musicians marched on a picket line on March 21. (Deborah Svoboda/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The two parties announced Sunday they had drawn up a tentative new contract after a strike that silenced the orchestra for 2½ weeks.\u003c/p>\n\u003cp>The musicians have to ratify the proposed contract, and so does the Symphony's Board of Governors. But the musicians voted to return to the symphony hall while looking it over.\u003c/p>\n\u003cp>Both sides said their mood was jubilant as they anticipated the first post-strike music, a Tuesday morning concert for children in elementary school as part of the Symphony's \"\u003ca href=\"https://www.sfsymphony.org/Youth-Family/Music-in-SF-Public-Schools/Adventures-in-Music.aspx\">Adventures in Music\u003c/a>.\"\u003c/p>\n\u003cp>\"I will characterize it right now as a sense of celebration. We're looking forward to it very much,\" the Symphony's executive director, Brent Assink, told KQED's Paul Lancour.\u003c!--more-->\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"We're feeling positive for the future,\" David Gaudry, a violist who chairs the musicians' negotiating committee, said to KQED's Polly Stryker.\u003c/p>\n\u003cp>The committee has recommended the musicians ratify the contract, but the vote can't take place until 48 hours after musicians get corrected copies of the proposed contract, said Gaudry.\u003c/p>\n\u003cp>The strike stopped an East Coast tour and silenced several programs at Davies Symphony Hall. The musicians were angry about an offer that included wage freezes, cuts in health care benefits and pension changes. Symphony management said its musicians were already among the highest paid in the country.\u003c/p>\n\u003cp>Just a week ago, the two sides sounded pretty tense. What changed?\u003c/p>\n\u003cp>\"We found over the course of the last weekend the mood of the two parties working together seemed to take a turn for the better,\" Gaudry said. \"And it made for a more collaborative, problem-solving pair of sessions Friday and Saturday, and I think that's really what allowed us to go forward and reach an agreement.\"\u003c/p>\n\u003cp>The negotiations got a lift from a skilled mediator, he said.\u003c/p>\n\u003cp>Neither side was willing to discuss the details of the deal, but Gaudry said both sides gave ground. \"We talked a lot about medical insurance. We talked about wages. We talked about retirement security as well as some non-financial issues related to the normal day-to-day things that come up in a workplace. I would say there was fair movement on both sides.\"\u003c/p>\n\u003cp>He added that he is itching to open his viola case after days spent locked in a negotiating room or glued to a computer screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Symphony posted more information about \u003ca href=\"http://www.sfsymphony.org/Plan-Your-Visit/Ticketholder-Information-During-Work-Stoppage\">rescheduled concerts\u003c/a> for ticket holders.\u003cbr>\nHere's the Symphony's press release, issued about 4 p.m. Sunday:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>SAN FRANCISCO SYMPHONY MUSICIANS AND ADMINISTRATION REACH TENTATIVE AGREEMENT FOR NEW 26-MONTH CONTRACT\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Concerts will resume Tuesday, April 2 with free performance for SF schoolchildren\u003cbr>\nAll concerts this week to go on as scheduled\u003c/em>\u003c/p>\n\u003cp>SAN FRANCISCO, March 31, 2013 – San Francisco Symphony (SFS) administration and musicians, as represented by Musicians Union of San Francisco, Local No. 6, American Federation of Musicians, have reached a tentative agreement for a new 26-month contract, subject to ratification by the full Orchestra and approval by the Board of Governors. No details of the agreement will be discussed or released until the new contract is ratified in the next several days.\u003c/p>\n\u003cp>SFS musicians will return to the stage of Davies Symphony Hall Tuesday April 2 at 11:30 am in the first of a weeklong series of free concerts for San Francisco’s elementary schoolchildren. The entire week of concerts for 1st and 2nd grade students will offer performances for more than 10,000 of San Francisco’s public elementary schoolchildren and their teachers as part of the Symphony’s Adventures in Music education program.\u003c/p>\n\u003cp>All SFS concerts scheduled this week will take place as planned: Bernard Labadie conducts the Orchestra, SFS Chorus, and guest soprano Lydia Teuscher and tenor Nicholas Phan in a program of Mozart and Handel April 4 and 5; SFS Resident Conductor Donato Cabrera leads a Music for Families concert April 6; and Orchestra musicians perform chamber music on April 7. The San Francisco Symphony’s Community of Music Makers instrumental workshop for amateur musicians will also take place as scheduled on April 7.\u003c/p>\n\u003cp>Tickets for all SF Symphony concerts are available at www.sfsymphony.org, by phone at (415) 864-6000, and at the San Francisco Symphony Box Office on Grove Street between Franklin Street and Van Ness Avenue. Patrons with tickets to cancelled or rescheduled concerts for the week of March 14-17, March 29, or March 30 may exchange them for an upcoming concert, donate their tickets, or receive a refund. The San Francisco Symphony Box Office is open between 10 a.m. and 6 p.m. Monday through Friday, from noon to 6 p.m. on Saturday, and two hours prior to concerts on Sundays.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/92967/san-francisco-symphony-tentative-deal-to-end-strike","authors":["236"],"programs":["news_6944"],"categories":["news_223"],"tags":["news_19904","news_4142","news_1462","news_4152"],"label":"news_6944"},"news_92875":{"type":"posts","id":"news_92875","meta":{"index":"posts_1591205157","site":"news","id":"92875","score":null,"sort":[1364583892000]},"guestAuthors":[],"slug":"negotiations-resume-with-striking-san-francisco-symphony-musicians","title":"Negotiations Resume with Striking San Francisco Symphony Musicians","publishDate":1364583892,"format":"aside","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cfigure id=\"attachment_92908\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2013/03/29/negotiations-resume-with-striking-san-francisco-symphony-musicians/striking-symphony-musician-2/\" rel=\"attachment wp-att-92908\">\u003cimg class=\"size-medium wp-image-92908 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/striking-symphony-musician1-300x200.jpg\" alt=\"striking symphony musician\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians Adam Luftman (left) of the San Francisco Opera and Bruce Roberts of the San Francisco Symphony joined a picket line at Louise M. Davies Symphony Hall on March 21. (Deborah Svoboda)\u003c/figcaption>\u003c/figure>\n\u003cp>Management is meeting once again with striking San Francisco Symphony musicians, the Symphony announced on Friday.\u003c/p>\n\u003cp>Negotiations resumed this morning and are expected to continue all weekend with help from a federal mediator.\u003c/p>\n\u003cp>\"We’re hopeful we can continue to work hard toward a solution and have our very talented and gifted musicians back on stage at Davies Hall very, very soon,\" said Oliver Theil, who directs communications for the Symphony.\u003c/p>\n\u003cp>The musicians walked off the job three weeks ago, in protest over a contract offer with a 1 percent raise over the next 16 months. The strike has forced the Symphony to cancel local concerts and an East Coast tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1364606898,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":146},"headData":{"title":"Negotiations Resume with Striking San Francisco Symphony Musicians | KQED","description":"Management is meeting once again with striking San Francisco Symphony musicians, the Symphony announced on Friday. Negotiations resumed this morning and are expected to continue all weekend with help from a federal mediator. "We’re hopeful we can continue to work hard toward a solution and have our very talented and gifted musicians back on stage","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"92875 http://ww2.kqed.org/news/?p=92875","disqusUrl":"https://ww2.kqed.org/news/2013/03/29/negotiations-resume-with-striking-san-francisco-symphony-musicians/","disqusTitle":"Negotiations Resume with Striking San Francisco Symphony Musicians","path":"/news/92875/negotiations-resume-with-striking-san-francisco-symphony-musicians","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_92908\" class=\"wp-caption alignleft\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/2013/03/29/negotiations-resume-with-striking-san-francisco-symphony-musicians/striking-symphony-musician-2/\" rel=\"attachment wp-att-92908\">\u003cimg class=\"size-medium wp-image-92908 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/03/striking-symphony-musician1-300x200.jpg\" alt=\"striking symphony musician\" width=\"300\" height=\"200\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musicians Adam Luftman (left) of the San Francisco Opera and Bruce Roberts of the San Francisco Symphony joined a picket line at Louise M. Davies Symphony Hall on March 21. (Deborah Svoboda)\u003c/figcaption>\u003c/figure>\n\u003cp>Management is meeting once again with striking San Francisco Symphony musicians, the Symphony announced on Friday.\u003c/p>\n\u003cp>Negotiations resumed this morning and are expected to continue all weekend with help from a federal mediator.\u003c/p>\n\u003cp>\"We’re hopeful we can continue to work hard toward a solution and have our very talented and gifted musicians back on stage at Davies Hall very, very soon,\" said Oliver Theil, who directs communications for the Symphony.\u003c/p>\n\u003cp>The musicians walked off the job three weeks ago, in protest over a contract offer with a 1 percent raise over the next 16 months. The strike has forced the Symphony to cancel local concerts and an East Coast tour.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/92875/negotiations-resume-with-striking-san-francisco-symphony-musicians","authors":["1367"],"programs":["news_6944"],"categories":["news_223"],"tags":["news_4142","news_1462","news_2759"],"label":"news_6944"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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