Podcasts about san francisco state college

Listen to the Sun. Dec. 22, 2024 special edition of the Pan-African Journal: Worldwide Radio Broadcast hosted by Abayomi Azikiwe, editor of the Pan-African News Wire. The program features our PANW report with dispatches escalating military operations between Yemen and the United States; South Africa was the scene of an annual campaign against gender-based violence; Somalia has taken the helm in the East African security apparatus; and Chad has ordered French troops to exit the country. In the second hour we continue to look back on the historic Massey Lectures of 1967 featuring Dr. Martin Luther King, Jr. Finally, we reexamine the longest student-led strike in U.S. history at San Francisco State College during 1968-69.

https://notesonfilm1.com/2023/07/26/thinking-aloud-about-film-bushman-david-schickele-1971/ BUSHMAN (David Schickele, 1971) is a real discovery, already the subject of much excitement when shown at Ritrovato in Bologna, and now made available to us through Cinema Re-Discovered this coming weekend, where it is being screened Sunday 30th of July at 18.30. Set in 1968, in the context of the murders of Martin Luther King and Robert Kennedy, with the Nigerian civil war in its second year, the film centres around the experiences of Gabriel (Paul Eyam Nzie Opokam), a Nigerian graduate student also teaching at San Francisco State College, the cross-cultural experiences he's afforded, and the different types of racism he encounters. In the accompanying podcast, we discuss the film's beauty, its politics, how it fluidly seems to condense so many of the burning issues in black American cinema in the following four decades, and the important shifts in register near the film's end. A really great film, so far little know, that's bound to encourage much discussion, as indeed it did with us.

In honor of Black History Month, we are bringing back this discussion with Bianca Mabute-Louie, an educator, activist, organizer, an extremely inspiring and activating person, in June 30, 2020, this was around the time of the anti-asian American hate crimes which had an exponential rise amid the pandemic, around same time of the George Floyd murder protests, a month before, which sparked some racial reckoning and reflection of our two groups.Bianca Mabute-Louie (she/her/hers) is an educator based in Oakland, CA. She has taught Asian American Studies at Laney College, San Francisco State College, and City College of San Francisco. This fall she will be starting her PhD in Sociology at Rice University, where she will pursue research on religion, race, and racism.  Bianca has also organized with Network on Religion and Justice for queer affirmation in Christian churches, as well as with API Legal Outreach on domestic violence prevention among youth of color.         In this episode, we talk aboutUnderstanding this moment and the historical and political framing of Asian American resistance and solidarity with black and brown communitiesHow the Model Minority Myth has been used as a tool for anti blackness to pit communities of color have been pit against each otherHow our history of colonization and resistance in Philippines positions to be in solidarity with indigenous and black and brown communitiesA story in history of black American soldiers during Filipino American war who while in the Philippines, ended up allying and joinign with Filipinos in fight against colonizationHow to go from performative solidarity to true solidarityConfronting internalized racism and anti-blackness within our own people and how to start talking to our own communitiesCommitting to our own learning & unlearning and how we can be effective alliesInstagram: @beyonkzHelp the show go on!Be a monthly supporter or make a one-time donation on PatreonLeave a written review on AppleFollow IG @filipinaontherise

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!On February 18, 1925, Jack Gilbert was born in Pittsburgh, Pennsylvania. He was educated in Pittsburgh and San Francisco, where he later participated in Jack Spicer's famous "Poetry as Magic" Workshop at San Francisco State College in 1957.His first book, Views of Jeopardy (Yale University Press, 1962) won the Yale Younger Poets Series and was nominated for the Pulitzer Prize. Soon after publishing his first book, Gilbert received a Guggenheim Fellowship and subsequently moved abroad, living in England, Denmark, and Greece. During that time, he also toured fifteen countries as a lecturer on American Literature for the U.S. State Department. Nearly twenty years after completing Views of Jeopardy, he published his second book, Monolithos, which won the Stanley Kunitz Prize and the American Poetry Review Prize. The collection takes its title from Greek, meaning "single stone," and refers to the landscape where he lived on the island of Santorini.Gilbert is also the author of Collected Poems (Knopf, 2012); The Dance Most of All(2009); Transgressions: Selected Poems (Bloodaxe Books 2006); Refusing Heaven(2005); winner of the National Book Critics Circle Award, and The Great Fires: Poems 1982-1992 (1996).His other awards and honors include the Lannan Literary Award for Poetry and a grant from the National Endowment for the Arts. Gilbert was the 1999-2000 Grace Hazard Conkling writer-in-residence at Smith College and a visiting professor and writer-in-residence at the University of Tennessee in 2004. Gilbert died on November 13, 2012 in Berkeley, California after a long battle with Alzheimer's. He was 87.From https://poets.org/poet/jack-gilbert. For more information about Jack Gilbert:Previously on The Quarantine Tapes:Elizabeth Gilbert about Gilbert, at 10:25: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-155-elizabeth-gilbert“Jack Gilbert, The Art of Poetry No. 91”: https://www.theparisreview.org/interviews/5583/the-art-of-poetry-no-91-jack-gilbert“Jack Gilbert”: https://www.poetryfoundation.org/poets/jack-gilbert“The Danger of Wisdom”: https://www.writersalmanac.org/index.html%3Fp=7505.html

Ernie Brill writes fiction and poetry about everyday people. His I Looked Over Jordan and Other Stories explores race and class among hospital workers. The actress Ruby Dee purchased, adapted, and performed the story Crazy Hattie Enters Ice Age for her and her husband's PBS TV series “With Ruby and Ossie.” Brill won a New York State Council for The Arts Fiction Grant. He received his BA and MA in English from San Francisco State College. Brill has published widely fiction, poetry and essays in the US and Canada (River Styx, Other Voices, Z, U. of Minnesota, Prentice Hall Ontario Canada. Favorite writers include Virginia Woolf, Richard Wright, Mahmoud Darwish, Hyseoon Kim, Gwendolyn Brooks, Sterling A. Brown, Pedro Pietri, Pablo Neruda. Active Muse Ernie's Readings: Intake – 9:55 End of Faculty Meeting – 27:13 Longshore – 42:31 Michael's Beer Pairings:  Commander 2018, Lift Bridge Brewery (paired to Intake) – 6:33 Caked and Layered, Pipeworks Brewing (paired to End of Faculty Meeting) – 24:22 Arbeiter Bier, Arbeiter Brewing Company (paired to Longshore) – 38:51 Interview Highlights:  How a chapbook about hospitals came to be – 12:30 A short story on PBS "With Ossie and Ruby" – 17:50 Buzz words at Meetings – 29:38 Early advocacy for multicultural literature – 30:37 The value of art to society – 46:56 How our life's work may hurt us – 49:20 COMING NEXT MONTH: Jeff LaFerney, YA author of time travel and sci-fi UPCOMING EVENTS: Gabriel's Horn is accepting submissions for its anthology Our theme music is from www.bensound.com.

Dr. Charisse Burden-Stelly discusses the history and institutionalization of Black Studies, the often overlapping relationship between anti-communism and anti-Blackness, and the 'elision' of political economy in capitalist academia. Moreover, she also talks about 'academic McCarthyism', academic celebrities, ideological battles, and the current state of Black Studies. [cover image: student activist Don McAllister beaten bloodied and arrested by pigs during San Francisco State College protests, 1968]

Bianca Mabute-Louie (she/her/hers) is an educator based in Oakland, CA. She has taught Asian American Studies at Laney College, San Francisco State College, and City College of San Francisco. This fall she will be starting her PhD in Sociology at Rice University, where she will pursue research on religion, race, and racism.  Bianca has also organized with Network […]

Tony Remington is a photographer and painter who practices many other art forms. Listen to us discuss his humanistic photojournalist style and portraiture, his vision and desire to continue to create in many genres such as cartooning.  http://yourartsygirlpodcast.com/episodes https://www.instagram.com/xtoid/ https://tonyremington.wixsite.com/mysite Article on the Al Robles Express, 2019, by Lisa Suguitan Melnick:  http://www.positivelyfilipino.com/magazine/the-al-robles-express-is-on-the-right-track Article on Tony Remington's exhibit by Carlos Zialcita: http://www.positivelyfilipino.com/magazine/tony-remingtons-launching-point-to-fil-am-consciousness Bio: Tony Remington grew up in San Francisco's Haight/Ashbury and has lived in many parts of San Francisco such as Daly City and West Oakland. Although he had experience many Balikbayan trips to the Philippines with his parents, in 2005 he began a series of extended visits to the Philippines that accumulated to more than seven years. In 1970 he began his life as a photographer, became involved in Ethnic Studies at San Francisco State College, and developed an interest in Eastern Philosophy. Upon leaving college and after completing his first major photographic essay in the Philippines, he began his work in the post-International Hotel community of San Francisco with poet/activist Al Robles and poet/social worker Presco Tabios. It was here working as food delivery person for home-bound seniors in a makeshift re-established post "Manilatown" he photographed the "Manongs" from 1977 to 1981. The bulk of his economic life span included odd jobs such as handyman carpentry, but most notably to commericial photography, working 15 years as a commercial digital product photographer for two prepress/printing companies. The mainstay of Tony Remington's vision is rooted in his ongoing body of work as a social realist photographer. This influence formally began to transfer into his paintings in 2017 as the official artist of the Manilatown Heritage Foundation's 50th Anniversary of the International Hotel Eviction of August 4. In his own words "I believe in a deeper indigenous sense of continued spiritual evolution." Manong Wilfred Ventura, post Manilatown era, Amparo Hotel, San Francisco, CA, 1979, by Tony Remington   Ocean Beach, San Francisco, CA, 1975, by Tony Remington   Ondoy Flood, Philippines, 2009, by Tony Remington   "Greetings from an Old Soul", Artex Compound Barangay, Panhulo, Malabon City, Metro Manila, Philippines, 2009, by Tony Remington Laga Festival, Kalinga Apayao, Cordilleras of Luzon, Philippines, 2019, by Tony Remington Juanita Tamayo Lott at the 5th Annual Filipino American International Book Fest, San Francisco Public Library, October 2019, by Tony Remington

This week we start with the first stage offered by Dr. Elizabeth Kubler-Ross, namely Denial. What’s the difference between active denial and passive denial? Our template consists of two basic questions: 1) what leads to a good death? and 2) what leads to a good life? Listen in as we discuss this stage of death and dying. RESOURCES: Kübler-Ross, Dr. Elisabeth, On Death and Dying: What the Dying Have to Teach Doctors, Nurses, Clergy and Their Own Families (New York: Scribner, 1969). Becker, Ernest, The Denial of Death (New York: Simon & Schuster, 1973). After receiving a Ph.D. in Cultural Anthropology from Syracuse University, Dr. Ernest Becker (1924-1974) taught at the University of California at Berkeley, San Francisco State College, and Simon Fraser University, Canada. He is survived by his wife, Marie, and a foundation that bears his name--The Ernest Becker Foundation.   What is Hospice? During a terminal illness, you or your loved ones may talk with your doctor and decide the treatments meant to cure or slow a disease are no longer working, or you’re ready to stop them. Your doctor can make a referral for hospice care, also known as end-of-life care. Hospice provides a relief from pain, either caused by the illness or the symptoms. Early 19th century: from French, from Latin hospitium, from hospes, hospit-(see host1). Most health care providers offer hospice, check with your local provider. Jackass(TV Series 2000-2002) Ironic, Alanis Morrisette, from David’s favorite album: Jagged Little Pill(1995) Learn more about Andrew Chirch, David Greenson, and Jessica Shine(hyperlink to either the DF website or various sites for our names?) DoneForPodcast.com/about

In 1968, a student strike forced San Francisco State College to shut down. Under pressure from the Black Student Union, the college established the Africana Studies Department, the first of its kind in the United States.

In 1968, a student strike forced San Francisco State College to shut down. Under pressure from the Black Student Union, the college established the Africana Studies Department, the first of its kind in the United States.

In 1968, a student strike forced San Francisco State College to shut down. Under pressure from the Black Student Union, the college established the Africana Studies Department, the first of its kind in the United States.

In 1968, a student strike forced San Francisco State College to shut down. Under pressure from the Black Student Union, the college established the Africana Studies Department, the first of its kind in the United States.

In 1968, a student strike forced San Francisco State College to shut down. Under pressure from the Black Student Union, the college established the Africana Studies Department, the first of its kind in the United States.

Three days after the tumultuous re-opening of what was then called San Francisco State College during a period of campus unrest, interim SF State President S. I. Hayakawa and San Francisco Mayor Joseph Alioto met with reporters on the evening of December 5, 1968. You'll hear KCBS Radio anchor Frank Knight introduce the station's live coverage.

Student unrest at what was then known as San Francisco State College led to the shutdown of the campus in the fall of 1968. Newly-installed President S. I. Hayakawa ordered the campus re-opened on December 2, 1968, leading to a confrontation between Hayakawa and protesters with a loudspeaker-equipped truck. The next day, he sat down for an extended interview with KCBS Radio Managing Editor Jim Simon.

Quote: “When I die, I’m dead.” —Eloise Westbrook About: Three horizontal stripes, red, black and green, add color to the streetlights and poles in and around the Bayview-Hunters Point neighborhood of San Francisco. These Pan-African flags are a relatively new addition to the area. They were painted just about a year ago thanks to an initiative spearheaded by the neighborhood's local city supervisor, Malia Cohen. “This is about branding the Bayview neighborhood to honor and pay respect to the decades of contributions that African-Americans have made to the southeast neighborhood and to the city,” she said in a statement. But when compared to what’s going on in the neighborhood, these painted flags inadvertently serve as reminders of what this neighborhood once was and what it now isn’t. This used to be a place where you could be Black and thrive. You could find work and own a home. Now, not so much. In Part II of this story about the term Frisco, we try and find out what happened. Show Notes: [00:35] More on “Wild Wes” and Wild SF Tours [03:30] “Kid Kodi” by Blue Dot Sessions [06:10] For reference: Map of San Francisco and its neighborhoods (San Francisco Association of Realtors) [06:40] More on Dr. Raymond Tompkins (San Francisco Bay View Newspaper) [07:40] “Allston Night Owl” by Blue Dot Sessions [09:30] “Roundpine” by Blue Dot Sessions [12:00] Light reading on environmental conditions of Bayview-Hunters Point: Health Inequities in the Bay Area San Francisco Community Health Needs Assessment 2016 On the 14 year life expectancy gap (San Francisco Chronicle) Pollution Problems in Bayview-Hunters Point (Greenaction) [12:30] “The Yards” by Blue Dot Sessions [13:00] “Why I Love Living in Russian Hill” (The Bold Italic) [13:20] On the naming of Russian Hill (FoundSF) Related: the naming of other San Francisco neighborhoods (Mental Floss) [13:50] Light reading on old history of Bayview-Hunters Point Additional reading on the sale (Bernal History Project) [14:30] On the formation of Butchertown (FoundSF) [15:15] Further reading on history of Hunters Point Shipyard development and community (City of San Francisco) [15:30] Light reading on history of Chinese shrimping industry in San Francisco (FoundSF) [15:55] Light reading on Oscar James (Museum of African Diaspora) [16:40] “D-Day” by Nat King Cole [17:00] Light reading on San Francisco’s shipbuilding and war time history World War II Shipbuilding in the Bay Area (National Parks Service) “A Day’s Work” (FoundSF) [17:20] Newsreel footage [17:30] Light reading on the Great Migration: “Great Migration: The African-American Exodus North” (NPR) The African-American Migration Story (PBS) “Why African Americans Left the South in Droves” (Vox) The Long-Lasting Legacy of the Great Migration (Smithsonian) “The 'Great Migration' Was About Racial Terror, Not Jobs” (City Lab) “The Second Great Migration: A Historical Overview” (University of Chicago Press) United States Census [18:20] Light reading on the War Manpower Commission [18:40] The war effort impact on Bayview-Hunters Point And on the population increases (San Francisco Chronicle) [19:00] Excerpt from The Highest Tradition (1946) [19:30] Light reading on treatment of African Americans in the war effort (PBS) Additional reading on A. Philip Randolph Light reading on Executive Order 8802 [21:50] Light reading on how the Japanese internment shaped San Francisco (The Culture Trip) [22:40] Light reading on the history of the Fillmore District (KQED) [23:00] Light reading on Jack’s Tavern (KQED) [23:20] Light reading on Marie Harrison (San Francisco Chronicle) [24:00] “Take Me Back Baby” by Jimmy Rushing [24:30] On San Francisco’s role as the “Harlem of the West” (NPR) Photos from back in the day. Note Bob Scobey’s ‘Don’t Call it Frisco’ jazz band in the gallery. (Timeline) [24:40] “Ghost of Yesterday” by Billie Holiday [25:00] Review of the  Failure and the Harlem Renaissance argument (The Georgia Review) [25:50] “Leave the TV On” by Blue Dot Sessions [28:40] Light reading on Juneteenth [30:00] Related: James Baldwin on Urban Renewal [30:45] The Dynamic American City [31:30] Related reading on Urban Renewal: “The Racist Roots Of “Urban Renewal” And How It Made Cities Less Equal” (Fast Company) “The Wastelands of Urban Renewal” (City Lab) Urban Renewal and Its Aftermath A Study in Contradictions: The Origins and Legacy of the Housing Act of 1949 Urban Revitalization in the United States: Policies and Practices [32:00] Audio of construction site (Freesound.org) [32:20] Light reading on the legacy of the  Housing Act of 1949: Legacy of the Housing Act of 1949: The Past, Present, and Future of Federal Housing and Urban Policy Additional reading on the birth of slum removal and urban renewal Timeline of public housing projects in the US [33:30] Light reading on the Housing Act of 1965 and 1968 A Rundown of Just How Badly the Fair Housing Act Has Failed (Washington Post) The Legacy of the 1968 Fair Housing Act Residential Segregation after the Fair Housing Act (American Bar Association) [33:45] Renewing Inequality Project (University of Richmond) [35:00] “Our Digital Compass” by Blue Dot Sessions [35:35] Inspired by this song [35:40] Two tales of urban renewal’s impact on San Francisco’s black population: How Urban Renewal Destroyed The Fillmore In Order to Save It (Hoodline) Racism — and politics — in SF Redevelopment history (48 Hills) [35:45] On the population metrics of San Francisco’s black population: The Loneliness of Being Black in San Francisco (The New York Times) San Francisco's Black population is less than 5 percent (KTVU) The Dream vs. Reality: On Being Black in San Francisco (The Bold Italic) [37:10] On black home ownership in San Francisco (City and County of San Francisco) [37:15] Related: On access to bank loans San Francisco State College protests (FoundSF) Job opportunities back in the day (FoundSF) [37:30] The killing of Matthew Peanut Johnson (San Francisco Chronicle) [37:50] Patrolman Alvin Johnson retelling what happened on the day Matthew “Peanut” Johnson was killed (Bay Area Television Archive) [40:15] 1964: Civil Rights Battles (The Atlantic) Additional reading here [40:35] Short excerpt of video from San Francisco’s 1966 riot [41:00] Light reading on the Human Be-In Festival All the Human Be-In Was Saying 50 Years Ago, Was Give Peace a Chance (The Nation) Full program of the Be-In Festival [43:00] “Passing Station 7” by Blue Dot Sessions [43:50] Light reading on the Big Five   Footage of the Big Five supporting S.F. State Student Strike in 1968 Public Hearing in Bayview Hunters Point with Robert Kennedy (KQED) [45:25] Light reading on The Big Five’s March on Washington—Redevelopment and the Politics of Place in Bayview-Hunters Point (UC Berkeley) [46:40] Andre Herm Lewis from Part I [48:30] “Hunters Point Health Problems Called an `Epidemic'” (San Francisco Chronicle) San Francisco Department of Health Recommendations (2006) [49:40] 'Appropriation At Its Worst': Supervisor Slams 'Bayview Is The New Mission' Ads (Hoodline) [51:40] Light reading on the toxic state of San Francisco’s Navy Shipyard (San Francisco Magazine) [55:05] More at thisissomenoise.com [56:20] Podcast Recommendation: American Suburb (KQED)    

Listen to the Sat. Nov. 10, 2018 edition of the Pan-African Journal: Worldwide Radio Broadcast hosted by Abayomi Azikiwe, editor of the Pan-African News Wire. The program features our regular PANW report with dispatches on the problems associated with the South African Broadcasting Corporation (SABC); there have been widespread claims of voter suppression in the states of Georgia and Florida involving the races for governor and other offices; another bomb attack occured in the capital of Somalia which has resulted in many casualties; results are in from the national elections in Madagascar. In the second hour we look at the issue of voter suppression in Georgia where Stacey Abrams has refused to concede defeat to former Secretary of State Brian Kemp. Also this year represents the 50th anniversary of the San Francisco State College strike where African Americans and other nationally oppressed students, workers and faculty shutdown the campus for several months. Finally we look back at the 50th anniversary of the electoral alliance between the Black Panther Party and the Peace & Freedom Party.

Professor Daniel Phil Gonzales is Professor of Asian American Studies at San Francisco State University. At his eveny, he offers a critical analysis of the establishment of Ethnic Studies at San Francisco State University and the role of Filipino Americans in its founding and development. Professor Daniel Phil Gonzales has a JD fro Hastings College of Law at UCSF and a BA in International relations from San Francisco State College. He is recipient of the prestigious 2011 Lifetime Achievement Honoree, Pin@y Educational Partnerships (PEP), San Francisco. This event is held in celebration of Filipino American History Month and is sponsored with Alaskero Partnership Organizers at UAA, UAA Center for Community Engagement and Learning, and UAA Diversity Action Council.

Presented during the 50th anniversary year of the passage of the 1965 Voting Rights Act, Bay Area civil rights veterans share their experiences of the historic African American-led struggle. If you liked the film “Selma,” you will enjoy hearing more about the role of youth during this pivotal period of the Civil Rights Movement. This program will feature personal stories from the front lines in Alabama in 1965, singing, and slide presentations. The program will be followed by a booksigning. Bruce Hartford, civil rights activist and historian is author of “The Selma Voting Rights Struggle & the March to Montgomery” Hartford is webspinner for the Civil Rights Veterans at http://www.crmvet.org. He worked on voter-registration and direct-action campaigns with CORE and SCLC 1963-1967 in California, Alabama & Mississippi. In 1965 he worked in Selma during Bloody Sunday, and walked on the March to Montgomery with Dr. King. Willie B. Wazir Peacock, highly regarded singer of civil rights songs, is featured in the new video, Stand for Freedom: The Life & Times of Willie B. Wazir Peacock. Native of Mississippi, Peacock was an early member of Student Non-Violent Organizing Coordinating Committee (SNCC). He was a SNCC field secretary organizing African Americans’ voting rights activities in Mississippi and Alabama from 1960-66. He was both participant and witness to many of the most dangerous and violent campaigns of the civil rights movement. Charles A. Bonner, civil rights attorney, is a Selma native and author of The Tip of the Arrow, the Selma Student Movement: a Study in Leadership. Bonner was a leader in Selma high school and college student movement, and was beaten and arrested numerous times for voting rights activities. He was on the bridge on Bloody Sunday and marched to Montgomery, and then helped train white kids working with both SCLC and SNCC during the summer of 1965. Maria Gitin, civil rights veteran and author of This Bright Light of Ours: Stories from the Voting Rights Fight, left San Francisco State College to spend the summer of 1965 working with SCLC and SNCC in rural Wilcox County, Alabama, after the March to Montgomery. She canvassed for voters, was chased by the KKK, and arrested. Four decades later she gathered the memories of her co-workers, including Bonner, in a moving memoir of teenage civil rights action.

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices

S. Duncan Reid has written a meticulously researched and detailed account of the performances and recording career of Bay Area-raised and small group Latin-jazz innovator and vibraphonist Cal Tjader. Tjader’s high-energy yet lyrical and melodic playing introduced new demographics of jazz listeners to the soulful sound of Latin jazz for four decades beginning in the 1940s and ending with Tjader’s untimely death at the age of 56 in 1982. In Cal Tjader: The Life and Recordings of the Man Who Revolutionized Latin Jazz (McFarland, 2013), Reid details Tjader’s uncanny ability to soak up ever-evolving stylistic and percussive nuances – and discusses his collaborations with and influences on other Latin jazz innovators such as Mongo Santamaria, Willie Bobo, Poncho Sanchez, Vince Guaraldi, Michael Wolff and many, many more. Reid recounts how Mario Bauza, Machito, Tito Puente, Dizzy Gillespie, and Stan Kenton, among others, had influenced the Latin jazz scene in the 1940s with their exciting big band/orchestral sound – and that the majority of influential jazz critics were “East of the Mississippi.” One of the delights in Reid’s book is to see how Tjader, with his San Francisco Bay Area roots and a European family background, nonetheless was attracted to and became an innovator in the small-group Latin jazz scene. Cal Tjader was literally born to rhythm. His father, of Swedish descent, was a talented vaudevillian. His Idaho-born mother played classical piano. Tjader’s parents opened a popular dance studio in San Mateo, California in the late 1920s. Tjader was already tap dancing in front of audiences by the age of 4 and as a child even danced with tap dance legend Bill “Bojangles” Robinson on a Hollywood set in the early 1930s. Forsaking tap dancing in high school, Tjader picked up drums and within three years won a Gene Krupa drum contest playing “Drum Boogie.” News of his success, however, was “overshadowed” by another news event –the Japanese attack on Pearl Harbor on December 7, 1941. After serving in the South Pacific in WWII, Tjader returned to the San Francisco Bay area, attended San Francisco State College and soon began collaborating with other West Coast jazz musicians – most notably Dave Brubeck (Tjader started out as a drummer for Brubeck in the late 1940s and subsequently the vibes), and sax player Paul Desmond. It wasn’t long, however, before Tjader became enamored of the infectious and complex percussive permutations in Afro-Cuban rhythms after meeting Cuban percussionist Armando Peraza in San Francisco early in 1950. Reid also writes that Tjader’s collaborations/recordings with classically trained jazz pianist George Shearing were central to Tjader’s own evolution in the small-group Latin sound. Shearing called Tjader a “percussive genius.” Tjader always had a lyrical quality to his playing – he left space and was always looking for new compositional challenges, and it wasn’t long before Tjader became a fixture in the small-group Latin jazz scene in San Francisco, playing gigs at the most famous San Francisco clubs of the day – notably The Blackhawk, The Great American Music Hall, and the El Matador. Tjader is probably most associated with his catchy cover of the Gillespie/Pozo hit Guarachi Guaro on his Grammy-nominated album Soul Sauce in 1964. Tjader later won a Grammy for his album La Onda Va Bien, recorded in 1979. Reid is upfront about Tjader’s problems with alcohol and challenging family dynamics but doesn’t psychologize – he lets his interviewees do the talking. Learn more about your ad choices. Visit megaphone.fm/adchoices