Hi everyone, welcome to Pulse of the Fort. I'm your host, John Hors. Today I am here on Anaheim Street right next to the Los Angeles River. On the edge of the Harbour District it's one of the many places that the port of Long Beach is helping to build a better tomorrow. But before I share more about exactly what's going to be happening here, let's take a look at our first story and learn about how automobiles like many of the ones whizzing behind me right now are unloaded by SSA Marine. Imagine unloading more than a thousand Volkswagen beetles from a cargo vessel using a system of ropes and pulleys. That's how they did it back in 1960, or how about a crate of volvos? Sound like hard, time-consuming work? You bet. But in the early 1970s, right about the time the imported car crays came to America, shipbuilders introduced a new class of vessel that put an end to the madness. They're called Roro's. Roll on, roll off vessels. They take advantage of the fact that cars have wheels. Today's Roro vessels are like massive floating garages with enough space for more than 6000 vehicles. Workers now safely drive the cars from ship to dock in record time. SSA Marine, which handles vessel operations at Toyota's Peer Bee Terminal, recently had its hands full with 3000 brand new Toyota Lexus and Cyan models. What we're doing today is we're discharging about 3000 cars that were loaded about 2 weeks ago in the port of Toyahashi in Japan. The voyage took about 2 weeks to come across the Pacific Ocean. We hire about 150 total people to do the job today. Ship shows up, we hire all the labor, and magically all the cars come off. It's like watching a relay race with cars. ILWU workers are transported by shuttle into the vessel through a side ramp, and deck by deck, row by row, they drive the cars in a steady stream toward the stern deck and out into the terminal's massive parking area, where each car is accounted for and parked in a designated space. Then it's back into the shuttle to start the process all over again. But before any cars can be unloaded, they must first be unlashed. We have what's called a lashing gang. They come out before any of the drivers go up on board the ship. They get down in very awkward positions and they unhook or unlashed these straps that affix the cars to the decks of the vehicle. Sometimes the ships hit bad weather, so the cars have to be very secure on the ship or you'd have a big jumble of cars jumping all over the ship. Seems simple enough, but just imagine the damage that would occur if a driver tried to pull away with the vehicle still lash to the ship. And there's another surprising challenge to this job. Technology helps us all, but on a ship like this we may have 30 different models of vehicles. So we ask our drivers to quickly get in the cars that they've never been in before and learn how to start the cars, how to put it in gear. The keys don't look like normal keys anymore. They're like a fop or a little square rectangle. Some of those you have to put up to a start button and hold it there for a couple seconds. I must say that the IOW doesn't fantastic job in getting up on the ship, getting in each car and driving it off very efficiently. Toyota alone holds 15% of the market share of US auto sales and there are more than 1500 Toyota, Lexus and Cyan dealerships in America. Toyota also supports about 365,000 jobs across the country so as you might have guessed, this terminal stays busy. But the average is out to about a ship in a half a week, or about six or seven ships, maybe eight ships on a good month. Very swift process. Cars don't stay here very long. They move very quickly to the dealers, and then ultimately to the end user, which is you are right. Some of these cars will be delivered to local dealerships by a car transporter. others traveled by train to distribution centers for dealerships that are more than 400 miles away from the port of Long Beach. Between SSA's Peer F. Great Paul Terminal, where they unload thousands of cars from Mercedes-Benz and the work they do at Toyota's Peer B Terminal, SSA is participating in a job generating business at the port of Long Beach that reaches across our entire economy. Well, every ship has tens of millions of dollars coming into the port. It creates a lot of ILW jobs, a lot of jobs for the local community. We're very grateful for people buying Toyota's and Mercedes-Benz vehicles and we hope the engine just keeps going forward. It was truly amazing to see the precision and speed with which all those cars are unloaded. Makes me think all new cars should come with a how to operate training video. After all, some guys like me are still starting our cars the old fashioned way. After the break, we'll check on what's new at Long Beach's very own Colorado Lagoon. Welcome back to Fals of the Port. The plans for Anaheim Street in the coming years are truly transformative. You'll see new pavement, curbs, medians and sidewalks, better storm drains that will improve water quality and the installation of new sustainable landscaping. It makes perfect sense considering all the other green investments the port has made, such as its contribution to the renovation of Colorado Lagoon. Thanks in part to the Port of Long Beach, an important coastal resource is open once again. The latest phase of the extensive Colorado Lagoon Restoration Project is complete, as approximately 63,000 cubic yards of contaminated sediment was removed during a nearly eight month long dredging project. The pork staff, Rick Cameron and others from our environmental work very hard, cooperating with all those concerns to make sure that the hurdles were passed and the job was to be done right. We recently received the cleanest water quality rating in the Colorado Goon that we've had for 50 years. It's amazing what's happened here. One of the areas only coastal salt marsh lagoons, Colorado lagoon boasts calm waters, recreational activities, and plenty of wildlife. The port has given nearly $2 million directly to the project since 2007 and has accepted Dredge material that saved another $2 million in disposal and trucking costs. With what we did is took the Dredge material and used it as fill for the Middle Harbor redevelopment project. We're an active partner in a lot of community events and so we look for ways to go beyond what we do on the docks. We are finished with the dredging, we're finished with hauling the contaminated sediment over to the port of Long Beach and now we can really work on the restoration aspects of it by putting the native plants in and allowing the people to kind of enjoy the area. The Port of Long Beach and the Harbor Commission are committed to great community projects and will continue to look for opportunities to better the Long Beach community. For more information, please visit po-lv.com. Partnering with community groups is something the port does on a regular basis and the results are often surprising and inspiring. Now while we take a short break I'm going to head on over to another place where the port is building for a new era in Goods movement. Welcome back to Pulse of the Port. I am here at PIRS, 160 acres of undeveloped land that one day soon could become another state of the art terminal where large ships can birth, offload, and load using the latest technology. And speaking of large ships, one of the giants of the ocean, the MSC Beatrice, docked right behind me at PIRT just a few weeks ago. The Big Ship Movement is going strong at the Board of Long Beach, and the MSC Beatrice is a massive reminder. At 1200 feet long and a max capacity of 13,800 container units, the Beatrice became the largest container vessel ever to dock at a North American port when it visited total terminals international at PIRT in late September. Well this is a very important day for TTI in the fact that this is the largest vessel that we've ever handled. A large vessel just a few years ago was 8,000 TPUs. And 10 years ago, even 4, 6,000 T.E.U.s were large vessels. So you fast forward to 2012 and having a vessel that's nearly 14,000 T.E.U.s just shows you how fast they were on and how big they've gotten. In fact, the Beatrice is the third MSC mega ship to visit since March of 2012. The first was the Fabiola at 12,500 container units, and the Altair checks in at 13,000. And that's no coincidence. In order to handle this class of vessel, you have to have deep water, in the case of the Port of Long Beach, we have 76 feet, which is the deepest man-made channel in North America. You have to have longer birds and you have to have taller cranes. And most importantly, we have people that know how to work these larger ships. We'll have seven cranes on most of the ships and as far as labor is concerned, obviously we've hired more ILWU labor with the additional gangs that we have and with the additional equipment that's being used. Not only is the Beatrice the biggest ship to call here, but it's also one of the greenest. Because you can fit more containers on this vessel, you actually burn less fuel and ultimately less emissions. In the last six months alone, the Port of Long Beach has repeatedly proven its ability to stay ahead of the shipbuilding trends and is committed to improving infrastructure to meet the competitive challenges that lie ahead. Even though the Panama Canal expansion project won't be completed until 2015, this new Panamax class of vessel coming to the Port of Long Beach shows us that we're committed to competitiveness and we'll be able to attract these larger vessels in the future. We're back here at PRS where one day thousands of people could be working in the logistics industry. Just what kind of jobs might be here? Well let's take a look at two of our most recent on the job profiles. Hi, I'm Kevin Masters and I repair locomotives for a Pacific Harbor line. On a daily basis we inspect and repair locomotives anything from changing light bulbs, brake shoes to heavier work, getting into the diesel engines themselves, repairing and installing remote controls on locomotives. What I love about my job is basically working on trains. It's a lot of fun, a lot of knowledge. You learn something new every single day. It's wonderful to work with your hands and get dirty. I really love being a part of the railroad. There's no better industry to work in. We're constantly busy, very secure in the jobs, and learning on a daily basis is very challenging. And we're keeping the community safe, and all the goods moving across the country, and keeping everybody happy. Hi, hello. My name is Octavio. I work for H&N Engineering and I'm a time proprietor. I make sure that all these rails are of the correct elevation and frost level. I took classes and I went to South Carolina with the manufacturer's machine. Two or three weeks to give it training, but most of the experience you get on the field, we're lifting the rail and putting it to the side elevation that they want. Exactly, we're in Nathan Edge. Oh, I love it. This is my dream job. Millions of kids run to this rail. I mean, it's a very satisfying thing. So I'm doing well. It's a real construction fun. Oh, it is fun. It is fun. I love it. I'm doing a little construction fun. Oh, it is fun. It is fun. I love it. Kids dream. I love it. Yeah. I love it. I like it. I like what I do. With the port supporting more than 1.5 million jobs nationwide, we could be working on thousands more on the job profiles to share with you. If you'd like to see more videos about the port, go to po-l-b.com slash videos. Now I'm gonna head on over to the middle harbor to check up on the progress there. See you. If you'd like to see more videos about the port, go to po-lb.com slash videos. Now I'm going to head on over to the middle harbor to check up on the progress there. See you after the break. Welcome back. As you can see construction here at the Middle Harbor is going ahead full steam, combining two aging container terminals into one of the world's most technologically advanced and greenest facilities. The project will double capacity and support 14,000 new jobs while cutting air pollution in half. Keeping our neighbors up to date on all these projects is just one of the reasons the ports started the Let's Talk port series just a few years ago. And recently the Rotary Club hosted one of those forums. The Let's Talk port team recently went aboard the Queen Mary to talk with Long Beach's oldest and largest service club, the Long Beach Rotary Club. The larger than average turnout to their weekly speaker lunch meeting was a warm welcome for both Harvard commissioners and port staff who make regular community presentations. It's an economic driver in our city and people are interested what's going on with the new construction, what's happening in our ports, what's happening in the environment. There's a lot of big questions and these are the types of people types of people who want to be in the know. We love having this opportunity. I really appreciate how the port is in this vicinity in the tremendous amount of economic activity that the port generates. I also recognize how much the port is a big giver to the community. If you go around to any nonprofit organizations and such, you always see the name of the Port of Long Beach as a big supporter of the community, so that's greatly appreciated. With a diverse membership of more than 300 businesses, professional and civic leaders, the Long Beach Rotary Club is a perfect group for the Port of Long Beach to present an overview of current and future plans and projects. Rotarians are a group of business folks that have done a lot of charitable projects throughout the community, but they've also been one of our greatest groups for support. The Let's Talk court series continues to be a vital component of the Port of Long Beach's Community Outreach Program as they visit neighborhoods and clubs throughout the city, providing a forum not just to present information, but also to engage in one-on-one conversations. You can always come out and talk, but it's always nice to hear the questions that people want to ask, understand more, maybe a little bit more depth about some of the projects. We've got a lot of projects that have been kicked off and are actually being implemented, construction, and so on. Now looking towards the future, we should be prepared to handle anything that comes our way. To find out about upcoming community presentations, visit po-lb.com. At the Middle Harbor site, they're building a green terminal that may just inspire a piece of art one day. It may sound odd, but it's true. Hundreds of artists all over the world have drawn inspiration from the sights and sounds at the port. And some local students in Long Beach also had that opportunity. Their final project is a stunning mosaic. Take a look. Nearly all of these enthusiastic Garfield Elementary Third Graders are seeing the port of Long Beach up close for the first time. What are those boxes called? What do we call them? Containers. Containers. Exactly. I saw cars, I saw sea lions, the really thing I loved in it was the cargo ships. While I'm a lookout for giant ships, trains, trucks and cranes, they were also paying special attention to shapes, colors and textures. These young artists in the making are participating in eye on design, created by the Arts Council for Long Beach and supported by the Port of Long Beach. This 15 week arts education program teaches children about the value of public art while giving them an opportunity to create their very own public art mosaic masterpiece. As a community partner, we have our contribution to the public art and we want them to appreciate it as well. By showing these students here what we've contributed, it really kind of puts things into perspective about the beauty of the port of Long Beach in the artistic way. It gives them a chance to get to know the workings of the port, the history of the port through the artwork, through the mural over there, and shapes, forms, elements of art, and just their neighborhood. Along with special activities and field trips, like a behind the scenes tour of the port, the program also introduces them to local artists. I connected what they saw at the port and how that relates to design. I'm an artist at the port and we produce all the artwork and I connected how you can get a job from just knowing how to draw and design. It's incredibly exciting. I mean, I wish I had this when I was a kid to create a beautiful functioning community environment is a possible goal and a possible job they could have in the future. It's fantastic. They all work together in creating this of beautiful P public art mosaic that will soon go on display at the Port of Long Beach. The Port is such an important part of the Long Beach community. We designed public art for the Port, so it was a natural fit that we would teach to kids about the land and the Port. To have one's work displayed publicly is an honor, and through this program, children will be able to take pride in their accomplishment for years to come. Last year, the ION Design program served 330 students at three schools and created six Mosaic Public Art pieces. To learn more about the ION Design program, go to artslb.org slash mosaic and to see what the port is up to in our community go to polb.com slash community. That's all the time we have for this edition but don't forget to check out polb.com for the big, the amazing and all the latest news and information. I'm Sean Horish. Thanks for watching. Also the poor. you I Hey Oh How do you love how? I'm doing like a torture Love Love the New Tatoo, Sarah. Don't let anything happen. Let's go! Dude, what? Dude, that's Sarah. You see, that's the girl I was telling you about. Old that, Sarah? The inner two on your left. Hey, Sarah. We'll color underwear today. Hey, Sarah. So when you want to post something new? Anything you post online, anyone can see. Family, friends. See you later, Sarah. Even not so friendly people. Think before you post. Communicating. I don't like the way he talks to me. All I said was that you had a big osteophyte. What about the secrets you kept from me? I didn't tell you about my drug allergies. Big deal. That could have been nasty. How's your shoulder coming, anyway? Fine. I worked up to three pound dumbbells yesterday. Oh. Just three weeks after surgery, that's pretty good. Communication of the best ways to get around is first your feet and In all of my lifetime, I have never owned a car. So one of the best ways to get around is first your feet and next is the bus. So I've been riding Torrance Buses since 1955. I always say that if a bus takes you someplace, there will be another bus that will bring you back from there. There. When I got back from the war without Pacific, I had no car. You couldn't buy a car because it hadn't made any cars for four or five years. They were building tanks and airplanes. The buses were just paramount to the importance of the hospital and the community. The ambulance service is, and I'm really delighted to see how sophisticated and the city of Torrance has done with this new transit system. Their stories are diverse, but share a common thread. Over the last 75 years, Torrance Transit got them where they needed to go, when they needed to get there. It's really hard for seniors to get around. And I think if they know that transportation is available and it isn't difficult to get around using the transit system, it makes them able to seek other interests in their lives. For some of our seniors, the only way they can get to a hospital, you know, that's the only way they can get to a doctor visit for students, maybe the only way they can get to school. So we know that we make a difference. And they're very grateful and we're appreciative that they allow us to serve them because it's a real honor for us. Today at 75 with its bright green, blue, and gold hybrid fleet, Torrance Transit isn't showing its age. But to understand and appreciate its success requires a look back at its storied past. In 1938, the nation was on the cusp of World War II. In Torrance, one of the primary sources of transportation was the red car, owned and operated by the Pacific Electric Railway. It carried workers employed by the city's thriving oil industry in and out of town. But that year the P.E. Railway filed an application with the California Railway Commission to abandon its critical torrents to San Pedro Line. Despite the city's protest, the application was granted, allowing P.E. Railway to stop service within one year. After a few years of uncertainty, the city's application to operate its own municipal bus line was approved in January 1940. Once the red car disbanded and the manufacturer company closed, Porn's transit was there to take over the service providing service from downtown Porns, the downtown Los Angeles. For decades, the buses ran on diesel fuel and required quite a bit of muscle to operate, as Melanie Herndt recalls from the early 1980s. The buses had no AC and no power steering, so it was a lot of work involved now. All the buses have AC, power steering, announcement system. Back then you had to do everything on your own so we have come a long ways. In the early 1990s, passage of the Americans with Disabilities Act or ADA, mandated that all Thesal buses provide wheelchair access. This brought a more modernized fleet of red and white Thesal buses. Former fleet supervisor John Hall and his team of mechanics made it their business to keep up with a growing fleet and its evolving technology. Computers are running the head signs. There's computers that run the engine, computers that run the transmission. All mechanics have to evolve into this because it's no longer a shade tree job. You need some education to work on equipment today. Cleaner burning compress natural gas known as CNG is what runs the newest buses that began to roll out in 2010. That's when Torrance Transit also rolled out its new look, green, blue and gold. We're changing how we do business, we're changing how we look, we're changing the vehicles we drive. With that it's exciting just to be here because there's lots to do every day. There's something there's a new challenge, there's something new, there's something that we look forward to. The look will continue with new street furniture, including bus shelters, benches and trash receptacles. It's all part of an effort to get people excited about riding Torrance Transit. We wanted to make it so your first impression was a wild impression that you really thought, this is really something I want to get on and I want to fight. Transit employees from mechanics to dispatchers to bus operators take their responsibility to their riders seriously. There's a lot a lot of responsibility and as part of our job is to help folks get to point eight to point B safely and as quickly as possible. My mechanics go through rigorous troubleshooting and diagnostics of a problem. They could take them all night but seeing that pass in the morning full of people and making sure that they can get to work and get to school is probably the most rewarding. Riding Torrance Transit will soon be even more comfortable and convenient when the new Transit Center is complete. If slated for construction on the corner of Prinsha Boulevard and Maricopa Street, it will include a parking ride and one day serve as a stop on the Metro Green Line. Another recent development is the addition of a time-saving CNG fueling station at the Torrent City Art. We've got pretty much a modern facility compared to some of the agencies. They still work on the ground. They work on creepers. We don't. We can lift the bus up in here. So it's really nice working here. Now we've got it actually, you know, we've got it made. We've come a long way. Yeah, definitely. Whether you're a writer or an employee, all agree. It's a good time to be part of Torrance Transit. The first year they carried about 10,000 people last year we had four million boardies. So the transition has been great. We operate in a team environment like there's no one person that runs this agency. We cannot operate without each other. We have some of the best drivers that I would pair up with any other agency and we try to strive that you know without them that we can't operate smoothly. I'm very proud to be a part of this special time. It's a momentous occasion for the transit agency who are celebrating history. Jazz Notes is brought to you with the support of Catalina Barren Grill and the Los Angeles Jazz Society. Coming up on Jazz Notes, two master guitarists blend Flamenco style with Middle Eastern music to create a whole new world of music coming up on Jazz Notes. It's Jazz Notes with Doug McIntyre, conversations in music with the people who make them. And now from Catalina Barangrill in the heart of Hollywood, here is your host, Doug McIntyre. Today on Jazz Notes we have two master guitarists who blend wild styles of world music with American jazz. Hi, I'm Doug McIntyre and it's a great treat to welcome to the show today. Well, there are two guitar masters and it's a truly unique sound in a town where people love to stereotype and typecast. Our musician guests today can't possibly be a typecast because they have a truly unique sound, an invention that's original to themselves and it's a pleasure to welcome to the show the guitar duo of Struntz and Farrah. How are you guys? And it's Audishear Fara. That's great. And Jorge Strance. That's right. That's right. That's right. That's right. Uh, gentlemen, I just, I've been listening to music for the last couple of days and it's a truly extraordinary sound and the story is wonderful. You were born Jorge, you were born in Costa Rica. That's right. Costa Rica. Father was a diplomat, so you moved all over. That's right, moved all over. Actually first came to the States when I was three years old, and then came in and out of the States for a number of years. And then your father was a diplomat, so you moved all over. That's right, moved all over. Actually first came to the States when I was three years old and then came in and out of the States for a number of years and we lived in different parts of the world. Latin America, Spain, England, I was brought up in all those places. And then finally moved here as a professional musician in the 70s. And like any great musician you're soaking up the sounds of wherever you live. Sure, yeah. have a, especially when you're very young, all these things have a, there's a resonance that it leaves in your, and your musical thoughts. And I guess my job as a musician was to try to synthesize all of that into some sort of coherent, meaningful music for myself, and it would make sense to an audience also. And then out of sheer, you came to the United States from Iran from Persia, there was a big immigration from Iran in the 70s and then you were aware of where his work and you stalked him. That's true, actually I had five years to stop in London in between. I went from Iran to England for five years and then I came to the States in 1974, which was before, you know, about five years before the marriage of all the Iranians in 79 to the States. And then we met in 1980. And you really saw Jorge out though? Well, absolutely. I saw him play with a band that he had before Strasbourg, and I was called Caldera at the Rox in Hollywood. And I never forget that night, the guitar playing and the musicians should go, the whole band was just incredible. So one restraining order in the whole act would have been a way. It would have been over. But it's wonderful because the story, as it's told, is that you quickly started to talk. You started to play just to trade chords. And you very quickly realized that you were kindred spirits. thought thought the same way musically. Well, that actually happened in our first meeting, which was about a year after I saw Caldera de Roxy. Well, it's a wonderful story. Now, I mentioned in the opening that the whole entertainment business wants to type cast people. And you confuse them very easily if you do anything. That's different. And everything that you do is different because people would say well it's Flamenco music and it's certainly Flamenco inspired but it's not Flamenco. Flamenco is all done with picking with the fingernails. You don't do that. The structure, chord structure, the rhythm, everything is different. But it does have that sound to it and it also has very very strong Persian, Middle Eastern roots to it, and yet it's jazz. It's a fascinating combination that you're doing call and respond, you're doing traditional jazz techniques, and yet it's a very exotic sound, and yet somehow familiar. It's a wonderful blend. Thank you. Thank you. Well, the jazz element was, I think, liberating to us in the sense of the concept of free improvisation over a pre-established chord cycle or a call and response also, that kind of thing. And so we took some of our ethnic roots and combined them with the freedom that that afforded as musicians and as improvisational players, which is an aspect of music, which is very important to both. is the free improvisation of melodies. But our style of melodies, because we couldn't really, I mean, that's what we had to bring to the table. It's like we can improvise along this kind of thinking, this kind of melodic strain, which is maybe more endemic to our backgrounds. Yeah. You know, I had a conversation, not the name drop, but why not? I had a conversation a couple years ago with the late great Artie Shaw and he Objected to the word jazz because he said well, it's a pyjard of it's jazzed up or it's too jazzy and he preferred the term American improvisational music and In a way you've invented your own genre of music and you have your own terminology for it, but ultimately that's what it comes down to. It's a matter of finding a voice and then improvising off of the structure. Exactly, right. That's been our task really to try to make it all together, put all that together, and then have an audience be able to identify with it and relate to it just from an open experience with them. just like here's some music that you may not have heard, but we'll see how you like it, you know, kind of a thing. The response with the audience is always been very open and very interested in what we're doing. And you've been working together now for 24 years. That's longer than 10 Hollywood marriages. A long time. How do you work out your differences? And the key of a minor No, we're pretty much of an accord and most things. And it's been a very fruitful and easy relationship, I think, that I've had with our very brotherly and gentlemanly relationship. And it's worked out in the professional sense and in every sense very well. Now, you have some fabulous musicians who play with you and a unique instrumentation. You have a bass player. You also have a percussionist who actually thumps on his seat, which I'm fascinated by. I did that at the dinner table in my father's to send me to my room and he's getting paid for it. That's right. And all the fabulous jazz violinists. Why don't you tell us who these fine players are? Sure. On base playing with us today was Elisello Borreiro. He's from Puerto Rico. And on percussion, we have Jimmy Branley, originally from Havana, Cuba, who plays Dicahon. I mean, he's a great trap drummer. That's really his forte. But with us, we need a smaller sound for the guitars, which are more of an intimate sounding, kind of an ensemble, kind of a music. So he conforms to our musical needs and plays the Cajon, which is the box, which is basically an idea that was originally involved in probably Peru, an Afro-Perovian music. And there's versions of Cajon-Osman Cuban, Afro-Cuban music. So, and the Cajon is a very useful instrument. You can sit on it, you can put your clothes in it, you play it. No, it's great. And it sounds great. And it's got the top and the bottom's got a bit of a snare to it. And he plays that in the bongo with us, and some shakers and stuff. And then on violin, Charlie Bischer, at who's from LA, joins us in an excellent musician, much sought in the studios. And any place sometimes he fills in it with the L.A. Philharmonic, and they need extra violin. Well, I'll tell you, talking about music can be interesting, but it's kind of like sex. It's a lot more fun to actually do it. So why don't we step aside and let everybody hear the fabulous work that you do. We are talking with struntz and Farah, Jorge Struntz and Areshiar Farah, and they're going to play two songs for us with the group, Rio de Chloris, which means River of Color and Vella, which means Vella. I'm Doug McAter, this is Jazz, no it's a room for a treat, come on back. plastic's last longer. The last one's last longer. The last one's last longer. The giveaway, middle band, baby, baby, baby, baby. Pork belly is closed steady due to speculation and demand for bacon-related products. Leave me this one, Daddy. Okay, honey. The last art kids get. The more it shows. Are yours getting enough? Art. Ask for more. AmericansForTheArts.org. I'm going to make a little bit of a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to put a little bit more. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to put a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a you Thank you. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to have to go. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to play the game. I'm going to have to go. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to play the piano. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to have a little bit of a ride. I'm going to get to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to do a little bit of a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I got a full-ass soul and a cracked crab for Mr. Studied Higher Math back in school and now can order expensive lunches and charger to the company. He's in a meeting. I'm his never studied algebra, calculus, or any other kind of math. Now I'm stuck in this dead-end job assistant. Can you sign for it? It's about the only thing I'm popped to do. That answer phone is from Mr. AP Calculus and number theory expert with the big office upstairs. Have a good one. You too. I'm in a baby. Welcome back to Jazz Notes. I'm Doug McAter, your host, and you just heard our guest, Otishi Afara and Jorge Estr Strants playing two compositions, Rio de Calores and Vella, and it's got all that flamenco sound, it's like Charo without the plastic surgery. No, it's a wonderful sound and truly unique. And you know, when I was a kid growing, I mean, look at me on the widest guy in the world. But when I was growing up, we had record stores. And you'd go in and there'd be some Beach Boy records and this would be some Beel records in your head, your Andy Williams and your Sinatra. And that was pretty much it. And now there's a world music section everywhere. And you can get Ethiopian music and Scandinavian music and everything. And in some ways I think it's got to be just the greatest time to be a musician because everything is open. That's right. It's a great time. Scandinavian music and everything and in some ways I think it's got to be just the greatest time to be a musician because everything is open. That's right, it's a great time and the availability of all this world music and music from different cultures and the fusions and the collaborations between musicians of different cultures is I think something that's very interesting and fascinating. It's in its heyday at this point, hopefully it'll be a trend that continues. Now Now, it's interesting. A lot of musicians, they pick a place to work. And as long as there's an airport, I guess it's okay. But why Los Angeles? Why base yourselves in Los Angeles? Well, we found ourselves here individually. I mean, I met Artichere here, so we didn't know each other before. We moved to Los Angeles. I moved out here from the East Coast, where I'd lived for a number of years and I went to school there in Washington, DC. And then I decided as a very young musician that I could find the resources I was looking for musically speaking on the West Coast easier than I could on the East Coast. And so I moved out here. And a few years afterwards, I mean I had a band that was called Caldera Recorded, four records for Capital in the late 70s. And then Artichard and I met in the in 79. And the idea of two guitars, two chairs as a beginning of a music, it was very attractive after working with tons of gear. And we needed roadies to do rehearsals, you know. It was getting to the point. It just got someone to feel the roadies gets very expensive Very expensive, you know roadies can be on the CSC or D Yeah, that was very disurface That's right There's also Los Angeles being the city of tremendous diversity that it is It's also almost like being in the world music section of a record store 24-7 in Los Angeles. It's very true. It's very true. It's very true. There's all kinds of minority groups of very high-calibre musicians, wise and Los Angeles. And from that perspective, it was a very cosmopolitan place. And it's beautiful California. It's the reason why I originally came here to go to the center of music, the center of world music, like you're saying, and to California. And I was accepted at the University of Southern California originally, which is what brought me here originally. And then after I graduated, I started working as a professional musician. And it was great to be in California because we met and this whole thing happened. You're new, you have CDL called Desert guitars which taps more into the Middle Eastern flavor of what you do. It's a compilation CD. It's a CD that's a collection of the pieces that not all of them, many of them, many of them probably, some of the best pieces. And in the Middle Eastern vein that we've done over the last 25 years, so it's called from all the recordings that we had going back to 1980. Plus a bonus track which is brand new on it. So it's really a compilation CD. And we're working currently on a production CD. That is a new production of all new pieces to be released early next year. You've also, besides your touring career and your recording career, you've also played with other artists, many in the world music category, but you've also worked with John Baez and many times with Jackson Brown. And I can imagine that other artists would hear this unique sound and say, oh, we've got to have this. We just have to figure out how to make this work. It's true. And it was interesting that we collaborated or we accompanied Jackson, for example. You wouldn't think that it would have come from the pop world but in that case it did. I mean a pop famous pop singer was intrigued with the sound and had us we did several tours with him and played on some of his records and it was an interesting mixture of elements as you can see because normally popular music is not that instrumentally oriented, if you know what I mean, it tends to be more vocally oriented. And so to have some instrumentalism in it, I think, was kind of a bold move in his part, and certainly we enjoyed working with him. Great deal. Well, the music of Jorge Struntz and Adesir Afara is not only good for the ears, it's good for the eyes, because it's a visual treat to watch the performance magnificent music and support it. Come out and see them perform live wherever they are and get those CDs so that they'll make more of them. It's been a great pleasure meeting you and listen and in senior work. And thanks for being with us this week and join us again on Jazz Notes is brought to you with the support of Catalina Bar and Grill and the Los Angeles Jazz Society. I'm going to get the I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. I'm going to get the first one. the You're a Marine Corps's way of life is to defend the American way of life. Every day we take a stand for our nation for each other for us all. The view, the proud In this series we've covered a number of American operas, pieces like Carlyle Floyd's of Mice and Men, Cold Sassy Tree, Andre Preven's a street car name desire, and Tobias Pickers to Ezra Khan. These are well worth hearing and experiencing in the opera house, and they each have a distinctly American flavor. But this season we're going to discuss an opera that's already an American classic, a piece that has been regularly produced since its premiere in 1958 and announced to the world that American opera had reached maturity. The opera, Vanessa, score by Samuel Barber with a libretto by John Carlo Manotti. I'm Nick Revellis, and this is Opera Talk. ["Pomp and Circumstance"] The composer Samuel Barber was born in Westchester, Pennsylvania in 1910, and he seemed destined to live a life in music from childhood. After all, his aunt was the great metropolydent opera controlto, Louise Homer, herself married to a composer, Sydney Homer. While a student at the Curtis Institute of Music in Philadelphia, Barber met another young composer, John Carlo Manotti. Born in Italy in the town of Cadillano in 1911, Monati came to this country in 1928 to study composition at Curtis and the two began a close relationship that continued through the rest of their lives. But whereas Monati had success in opera relatively early on in his career with a metropolitan opera debut his first opera, Amalia Goes to the Ball in 1938. Barbara was finding his compositional voice by writing songs, chamber music, and symphonic works. His reputation as a composer was canonized by the 1938 broadcast of his first essay for orchestra, and the now ubiquitous adagio for strings by the NBC Orchestra under the baton of Arturo Toscanini, Hedi's stuff for a 28-year-old American. By the time of the Toscanini broadcast, Barbara was already seen as being at the head of a movement back towards romanticism and music. His musical style was the antithesis of the 12-tone school being espoused by young American composers and academics coming home from studies in Europe. Barber's musical language was totally connected to his desire to connect emotionally with the audience. Although his music could be dissonant, it was always lyrical and expressive, unbound by theories of atonality. Probably because of this accessible style, he received many important commissions. Rudolf Bing, the director of the Metropolitan Opera, offered Barbara a commission for an opera based on the composer's success in these other fields of composition, convinced that his inherent lyricism would lend itself well to the form. In searching for a librettist, Barbara turned to a number of contemporary authors, but eventually, in a rather bold move, Barbara turned to his close friend Menotti to write the libretto for the opera. More as inspiration for the libretto than a true source, the two composers turned to Isaac Dineson's seven Gothic tales for the opera's setting in an unnamed northern country in a quasi-Victorian period, and used the haunting atmosphere that pervades that work. Light of death night, I hear the hungry dear, wonder we pay them all. Both Rudolf Bing and Samuel Barber wanted Vanessa to be a vehicle for the great Greek American soprano, Maria Collis. They felt that given Collis' temperament, she'd be a perfect fit for this tragic woman who has been tortured by the memory of past love and who refusing to accept reality is desperate to relive that past no matter what the consequences. But Kallus, shrewdly realizing that the character of Erica Vanessa's niece would be a star turn for whoever took the role, declined. Sina Yurinak was contracted to actually sing the role, but cancelled at a moment's notice, and the met management turned to Eleanor Steber six weeks prior to opening night. Although the role was extremely demanding, Steber learned it and eventually made it her own. The young Metso Rosalindalias was cast in the role of Erica and proved callous to be correct. She nearly walked off with the opera, so convincing was she in her portrayal of Vanessa's niece. Filling out the cast were tenor Nikolai Geda as the lover, Anatole. Metso Regina Resnick as Vanessa's mother, the Baroness, and based Georgia Totsi as the old doctor. The star-studded cast was under the baton of Dmitri Metropolis. The first performance on January 15, 1958, was an unqualified success with the audience and with many of the critics, although they were somewhat qualified in their judgment. It is a shame that Monati as a composer never received the same kind of success at the Met with his own operas, which were destined to achieve greater admiration on television and in regional companies throughout the world. But given the success of Vanessa, it wasn't long before the Met came back to Barbara with a commission for a grand opera to open their new home at Lincoln Center in 1966. Anthony and Cleopatra opened on September 16th of that year to more fanfare and hoopla than any other opera had in the history of the Met. Despite an all-star cast that included Lantine Price, Jess Thomas, and Hustino Diaz, the opera was one of the great disappointments in the company's history of commission for a new opera. The disappointing reception of of Antony dealt a blow to Barbara's compositional process from which he was not to recover. Although he wrote a handful of works after 1966, he was never to regain the stature he enjoyed during the height of his success with Vanessa. When he died of cancer in 1981 at the age of 70, his lebrethest and long-time companion, Menotti, was at his bedside. Menotti, as of the time of this broadcast, remains active in the opera world as a stage director and recently celebrated his 93rd birthday. The opera is set in a lavish home in a northern European country around the year 1905. Vanessa, her mother, the Baroness, and her niece, Erica, are expecting Vanessa's former lover, Anatol, whom she hasn't seen in 20 years. The disappointment of that love caused her to close up the house, cover all the pictures in the mirrors, and become a recluse. A fierce snowstorm, Vanessa suspects, has delayed delayed Anatole's arrival and the tension mounts. The Baroness sits silently as Erica tries to entertain Vanessa by reading out loud. A tower bell announces the arrival of a carriage, and a young man stands in the darkness of the doorway. Not looking at him, Vanessa recounts her feelings of love, then turns to find it isn't the man that she expected. She screams and runs from the room. Erika enters and in conversation comes to understand that this is not Anatole the lover of previous years, but Anatole the son of that lover by another woman. Erika sees him as a charming handsome stranger, and they sit down to the table that was set for Vanessa and her Anatole. The second scene occurs a month later. Vanessa and the young Anatole have become fast friends, and they're outside ice skating while Erica and the Baroness talk about what happened that first fateful night that she met the handsome stranger. Erica allowed him to seduce her. He has said he wants to marry her, but Erica expects love, not marriage out of duty. Vanessa and Anna toll enter, along with the family doctor. Vanessa proceeds to tell them all that she plans to have a gala ball during which all of the mirrors which have been covered with cloth for so many years will finally be uncovered and a new spirit will inspire her house. The men leave, and Vanessa reveals to Erika the love that has grown between herself and the young Anatol. Erika is shocked, of course, and looks for Anatol to give him the opportunity to explain himself. He tells her that he isn't capable of promising love only his hand in friendship and affection. As everyone else departs for church, she determines that Vanessa will have her lover, and she will not be an obstacle to her aunts' happiness. A gala new year's ball ensues, the old doctor arriving and drunkenly muttering that he has an important announcement to make. Erica and the Baroness don't come down for the party, much to Vanessa's annoyance, but she is buoyed by Anatole's love for her. Just as Erica appears at the top of the stairs, the doctor announces the engagement of Vanessa and Anatole. Erica feints. But when she revives, she mumbles, his child, his child. It must not be born. And then suddenly she runs out into the cold winter night. In the final act, we find Vanessa in Erica's bedroom trying to imagine why Erica would do something so desperate. She's brought into the room unconscious. The doctor assuring Vanessa that her niece will recover. Vanessa then asks Anatole whether Erica's attempted suicide was because of him, and he denies it, saying that Erica does not love him. Erica asks to be alone with her grandmother, the Baroness, and in their conversation, Erica tells her that Anatole's child will not be born. The old woman turns from her and leaves the room silently. The last scene finds Vanessa and Anatole as newlyweds preparing to leave for Paris to begin their lives together. Vanessa and Erica talk, the aunt revealing that she is leaving everything, all her estate to her young niece. But she still wants to know why Erica attempted suicide. Erica can only answer that it was not because of Anatole, but just a foolish act that marked the end of her youth. She refuses even now to destroy the nest's illusion of happiness. As the new couple leave the house with the baroness sitting silently, Erika orders the staff to recover the mirrors, to again drape the pictures and lock the gates. It is now Erica's turn to wait. Oh, mother, why are you living me? God, mother! In order to continue our discussion about Samuel Barber's Vanessa, I've invited the resident conductor of San Diego Opera, Karen Keltner, to join me for a conversation about this wonderful opera, Karen. Welcome. Thank you, Nick. It's great to be here. I think our audience would be very interested and I'm curious you've got the responsibility of conducting a piece that's not often done and I don't think you've ever conducted it before. It's new to you and you've had some difficult scores to conduct over the years here to bias pickers to as I can for one in Andre Preven Street car. How do you approach a new piece for the first time as a conductor? What's your process? The first time I had a brand new piece like that, I was terrified. Now, my first inclination is just excitement. And I know that sounds like a pad answer, but it's true. The idea of conducting a piece that hasn't been done in a locale is very stimulating because you have an open tablet as it were. Obviously you have the score. If there are recordings, well in advance, I'm talking years if I have that much lead time. I try to listen, but I don't sit with the score and listen to a recording note for note. I put it on. This is a test I've learned over time to kind of do with myself. And I let it wash over a bit. I'm not terribly successful at doing other things while I'm listening to any music. But insofar as I can, I do that a little bit. You sort of let it wash over again. Well, yes, because when I was in school, we were told, We were told, oh, no decent conductor ever listens to recordings. Well, I, or pianist, or I think that's a little bit of who we, frankly, because that medium is available to us. How stupid not to take advantage of it. Well, particularly when we have the original record of the cast recording of the composer present, many times that happens with, you know, so I do listenpector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. The composer is a court-expector. some of the brand new things. If there's a recording, that gives me a clue as to when I actually then next step, go to the piece myself, what I want to be aware of as a place where I want to make it live a little bit more, help the composer make it live a little bit more. So the idea is that I want to be, to carry the excitement about doing a new piece into the actual doing of it. So I need to be, for me, pretty much in love with the piece, which I am with Vanessa. It's a great work, you do. It's a wonderful piece. And then I'm aware of looking at the piece, coupled with what I've heard, whether or not it's a piece that has to be really figured out metrically, or whether it's a piece that depends more on lyricism. I mean, every piece. Which you then, then you would conduct it from phrase to phrase rather than- Well, yes and no. I mean, you can never conduct just phrases. An orchestra won't respond to that, because particularly in the harder, newer pieces, even if it's got beautiful phrases, many times the technical aspects of the piece for each individual musician or the orchestra collectively is tricky. So you must always maintain clarity so that those forces know what's happening, even though maybe there's a huge sweep of phrase. But a piece, for example, Terez Rakan was a metric puzzle to figure out. And then the music, for me, as the conductor layered on top of it. Barbara is obviously of a different generation, many different generations than Tobias Picker, a few at least. He has a certain lusciousness, an immediacy of lusciousness of lyricism that is very seductive. However, it's also very complicated instrumentally for the individual instruments and the orchestra. The strings, yes, but they function as a unit a lot. But you know there's very many solo wins. I was just thinking about that because there are all these little newtling phrases for wins that are hidden or off the beat and this. And that, it's like solo concerted for wins many times. So that one has to approach, and this is while singing obviously is going on. So you have your singers you need to be there for. But I maintain, of course, that the orchestra needs to be attended to in a particular way also. So it just depends on the piece, how one and the steps one takes. It's like a brand new puzzle every time you have a new piece, and the excitement and the newness of how this one is different from the last one. No single piece is the same. None of these modern pieces are the same in my approach to them. But what I love now about doing them is the fact that I look forward to discovering those differences and bringing them to life. That's great. Karen, thank you so much for enlightening us about the process of a conductor. Thank you. Enjoy Vanessa. It's always fascinating to try to decipher the ways that operatic composers use music to delineate the characters in their operas, and it's certainly no less interesting to try to break the code in Vanessa. The main character is a complex person, at one point passionate or hysterical, at another haunted by memory and nostalgic for a past that will never repeat itself. Her more active, manic side is expressed in that orchestral introduction. After the curtain opens, Barbara gives us an indication of the atmosphere in this house, where Vanessa has virtually locked herself up, where her mother, the Baroness, no longer speaks to her, and where the young and beautiful Erica is trapped with two older women, each of whom expresses their bitterness in different, but poisonous ways. music This moment is even marked in the score, dark and unquiet, so there's no question about what's being described. Musicologist John W. Freeman tells us of this moment in the score that it sounds like a stalking figure, like someone pacing a room. But Vanessa has her lyrical moments as well. In Act 1, Scene 2, after the ice skating excursion with Anatol, she describes to Erika the conversation she's had with him and recounts to Erika's horror, the growing love between them. In the orchestra, we hear one of a manipulative cad, has some lovely music as well. Anna Tull, although he's something of a manipulative cad, has some lovely music as he lets Erica down easily in the second scene, telling her that he can only love has a bitter core. One of the most touching moments of the scores given over to Erica, who in the very first scene, looks out over the snow-covered garden and sings her aria, must the winter come so soon. This is one of those truly romantic moments for which Barbara is justly known. I'm going to be a little bit more careful. But Erica has other shorter motives attached to her. One of them opens the second scene after she's been seduced by Anatole and as she relates the whole event to her grandmother, the Baroness. This short idea perfectly expresses her frustration over her erstwhile lover. I told you it was short. This idea is developed throughout this scene and the act ends with it as she determines that she will not lay claim to Anatole, but will let Vanessa try to refine her own long-lost happiness through him. But one of the most powerful moments in the score is when Erica informs her grandmother that as a result of her rushing out of the party into the snow, she's lost the baby, and a tolls child that she was carrying. At the moment she informs the beariness of this, the old woman rises out of her chair with a thump of her cane, turns her back on Erika and walks out of the room to remain mute now, to a second generation of women in this family, disgusted as she is by the denial of reality and the lack of courage which she finds in everyone around her. The music which accompanies this moment in the orchestra is a deformed, abortive version of Anatole's theme. The music of Vanessa is certainly powerful and expresses all of the subtle and not-so-subtle emotions that come to play in this sad but memorable household. Like all the truly great opera composers, Barbara expresses it all perfectly through brilliant orchestration and lyrical lines for his sad flawed characters. In silence, in silence, I have waited for you. Composer Samuel Barber and LeBretis John Carlo Monotti are well represented on CD, and in fact there are two wonderful recordings of Vanessa that I'm sure you'll enjoy. The most important one is the original cast recording made in 1958 not long after the premiere of the work at the Metropolitan Opera. The cast includes Eleanor Steber as Vanessa, Rosalind Elias as Erica in her Met debut role. Regina Resnick as the Baroness, Nicolai Gheida as Anatole and George O' Tootsie as the doctor, all under the baton of Dmitri Metropolis. If you're following this recording with the score, however, you should note that it's the original version of the opera before Barbara made his revision in 1964. The revised score can be heard in this newer budget-priced CD from Naxos, with Ellen Chikering, Andrea Matthews, Mary and Dry, and Ray Bowens, under the direction of Gil Rose. Of course, John Carlo Monardi is rather accessible on CD as well with a number of recordings available of his great Christmas classic, Amal and the Night Visitors. This was the first opera written expressly for television, and was broadcast on Christmas Eve in 1951. But Monardi's most powerful opera in my mind is The Consul, and it's represented in the the catalog by this new recording under the baton of Richard Hiccox with Susan Bullock as Magda Sarell. And one of my all-time favorite pieces by Menotti has to be the death of the Bishop of Brindisi, and I've waited for years for this piece to be re-issued on CD. It's essentially a church or a chancel opera for chorus and two soloists, superbly sung in this original recording by George London and Lily Chucasian under the direction of Eric Linesdorf. This is a compilation album, though, so as a bonus, you get a classic recording of Verde's Requiem and Scherneberg's early post-romantic oratorio, Guter leader. I know you'll enjoy the opera, though, taken from the tragic tale of the medieval children's crusade. Unfortunately, there is no DVD or video of Vanessa, but I guess that means you'll just have to go to the theater and see it for yourself. The Venice is the story of a woman haunted by her past and seemingly doomed to repeat it. It's about loss, memory, nostalgia, passion, and deception. You don't want to miss a performance of this, Barbara's greatest work for the stage. It's an opera in which lyricism abounds, and for those of us who love opera, that's what it's all about, isn't it? I'm Nick Revellis, and I'll see you at the opera. Come, so soon. I am the source, neither do I know someone who said, but the blessing of the dead. It is a long and happy day. I'll just go in take up the soul. Here at PSA, we come together to help and support those who are affected by disasters around the world. We also know there are those who wish to make their own contributions. However, what others don't realize is the way they donate can make a difference. One factor is the additional cost of shipping. Another is whether the donation meets the necessities of those in need. So next time, please make your donations count. Donate cash. Mom, can we get some ice cream? Please mom, please! No, we're having dinner soon. Please! You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... You... you Here it is. Welcome to LA Parks. I'm Monica Recreation Coordinator. Today I'm with Channel 35 and I'll be teaching Chair Circuit. What you'll need is a sturdy chair, resistance bands and dumbbells, water and a towel. Let's get started with the light marching place. Light on the feet as you're getting that sturdy chair and your fitness equipment. Don't forget to like and share today's workout on Facebook. We're going to be opening up those hips in about 20 seconds. Pacing yourself today. If you need to kick it up, please do self-meeting to take all of the breaks. Please take those breaks. Four, three, two, knees up, reach and pull right here. Little march in between, opening up those hips, stretching out those glutes. Taking your time, exhaling, so that balancing like you want to spread those toes and bend that knee. Be more here. Here's three. Give me two more. Really opening up. Last one here. We're going to go to a side tap. Arms across the chest so you're here. Keep it up. Warming up that torso. Lengthening through those legs. Lengthening through that spine. Cleansing breath. Breathing into the nose and that's stuff of the mouth. We're going to lift those heels up. Look over our shoulders. Keeping our arms nice and close to our body. So you're here, rotate, rotate, taking the pressure off, you're lower back. You got it, come on. Slow it down if you need to. Otherwise, do your best to keep up with me here. We're going to widen our legs, dance, reaching for our toes. Let a bit more ab work and getting a nice, deep stretch through the back of our legs. Hamstrings here, open up, tap and reach, tap and reach. You got it, come on. Lengthen that spine. Wiggle those fingers, wiggle those toes. Last 20 seconds. Finish off. Got it. Fraze that core as you stand up, really tighten up that core. Abs lower back. Loots last time, each side. Shaking out those arms and legs. Let's have a seat. We're gonna go into our march, opposite hand, opposite leg. Circuit style, switching up from cardio to resistance with training. Resistance training, utilizing your bounce. Dumbbell, swatter bottles can't go. It's any type of resistance we'll do, including your own body weight. Finish off. Give me about 30 more seconds here. Pick those feet up. Lift those knees up a little bit higher, sitting up nice and tall. You can always adjust any of these movements. So for example, the seated march. You can do all legs. If your legs need to break, just move those arms. Finish off here. You are a dancer last 10 seconds. Deep inhale, sitting up nice and tall. Deep exhale, through the mouth. Get job, nice and tall, lengthen. You're gonna exhale forward fold, relax. Roll it up, one, vertebrae at a time. Just gonna get nice and tall, breathe in lengthen. We're here for about 30 seconds. Collapse, release. Roll it up. Get posture here, breathe in lengthen. Get past your hair. Breathe in lengthen. Exhale forward fold. So think about as you roll up like you're a ragdoll, right? Nice and slow. Elongate to that spine. Couple more here. Release. Take your time. Last one. Ooh, release. Oh, opening up here. Good job. We're gonna walk our legs feet out. Using one dumbbell. The arm is in. Chest is lifted. Pinging from the hips, neutral spine. We're going to go into bicep curls. Turn that forearm inward, 30 seconds here, then we'll switch sides. So, straight right now will be a solid minute and then we'll break it up with some cardio. 15 seconds. Excellent. You lift. Inhale as you lower. Think about fully extending, fully lifting, quality, range and form. Give me both. Good job. Sitting up nice and tall. Other side. Set up. That arm. Try to step his in to the inner thigh. Yes. Same deal. All the way up. All the way down. Take your time. Head a neck aligned with the spine. Try not to drop or look up. Keep it as neutral as possible here. You're already halfway. Keep it up. Come on. We're gonna shake out those legs. Quick feet. Two more. Last one here. Excellent job. Place that weight out of your way. Right on time. So quick feet. Arms can be completely relaxed to your sides on the armrest. You want to add that push to incorporate a little bit more arm work with your footwork. More power to you. Quick in and out. We're here for about 45 seconds. Moving those feet as fast as you can, take that break, lift it up a little higher if you need to switch it up. Otherwise you're here. Take those options, half on with it here. 20 seconds to go. Come on. That torso is upright trying to slouch. Strong core, abs are engaged. St.ro with that breath work. Breathing into the nose. Exhale to the mouth. Last few seconds here. Here's four. Three. Last two. Get job. Deepen, hold up. Basic march. Give me one more. Knees up a little bit higher, breathe in lengthen, exhale, release. Now we're going to make a triceps. So we did the single arm with the biceps, blessed you triceps. So you're going to shift that body forward a bit on your chair. The elbow is in. Use the opposite arm for assistance to lift that weight. We need a little lift, a little assistance when extending, yes? So at this point your head does come forward a little bit so that you don't hit the back of your head. You want to lower it down as far as you can and then fully extend. 30 seconds each side, when you get to that point where it gets a little too difficult where you cannot complete each repetition. You're just going to lower that weight down and continue to do the exact same movement, really flexing, making that muscle in the back of those arms. We're going to those triceps. Last here, we're going to switch sides. So, breathe through that core. Good job. Shake it out. Other side. Same time frame. 30 seconds. Begin when you're ready. Checking in that elbow is not poking out That head is slightly forward Full range get this full stretch in gets the full extension in yes Cardio is coming up We We're going to exaggerate that jog. Big movements. Two more reps. Knees that assistance right here. Little lift, little push. Good job. Carefully lower that weight down out of your way. Opposite hand, opposite pump it out 45 seconds. It's a toe tap. We'll drop those heels in another round. As you lift those knees up, exaggerate a bit. Round that back just a little bit, really squeezing those abs. So you get the best of both worlds right now. Cardio and ab work and the comfort of your own chair. Gonna be working back using that resistance band. By all means, if you are good to go using those dumbbells instead, more power to you. We're just gonna switch it up. Pick up that pace. Pick up that range, 15 seconds. Wiggle those fingers, toes. You got it, come on. A little bit higher. Every knee up. Exhale to the mouth. Ooh, good job, deep inhale up. Exhale, push out release. One more time. Deep inhale up, lengthen. Exhale. Now I'm gonna grab my resistance loop band for this one. Yes, a regular band will work just fine. Same hand, same leg. So you're here, you're going to place that band on that foot. Leg is almost straight, that chest is lifted, neutral spine. Palm down as you pull, use your back. come up control you got it full range of motion palm up, control. You got it. A little range of motion. Think about bringing that elbow, that arm, as far back as you can towards the chair, right? Towards the back of that chair. You got it breath. Exhale, little pause at the top. We'll be here just a little bit longer than 30 seconds. And 20, we will switch sides. So as we're working the back, you also wanna think about assisting by utilizing your abdominals to pull that weight, to pull that band. Less strength from the arms, the biceps, more in the back and core abdominals. Yes, good job. Carefully, switch sides. Set up, leg is close to straight. Hitters your laxinal back. 45 seconds is your time. Lengthen. Bring it all the way back, little pause at the top. Control movement the entire time. Options when we go right into cardio. If you have a lighter set of dumbbells or utilizing just one weight, we're going to work chest right along with our cardio. Switching it up. last few seconds here, few more reps. Take your time. Last one, shoulder is relaxing, roll back, right? Good job. Carefully take that band off to the side out of your way. So we're gonna go back to that march. Real basic here. We're gonna take that weight forward and back. Arms are dropping down to your sides. They're not out. Yes, relax them here. Relax those shoulders forward and back. Chest, triceps and shoulder work. Draw the elbows back. A little bit of back work, yes. So the lighter the weights, you probably can move a little bit quicker. The heavier weight, I don't expect you to move just as fast, right? Working at your own pace. Same time, 45, 45 seconds. At any point during this drill, this movement. You need to take a break with that weight. Please lower that weight to the floor. Continue to push forward and back. Keep rocking that march. Finishing off. Last 20 seconds. How's your grip on that weight? Keep it going. Come on. Breaking that sweat, best of both ropes, resistance training, and cardio. You got it. Four, three, last two, one more, one more. You get job. Let's take a quick water break. Tile off with me here. How are we doing? I don't know about you, but I'm feeling great right now. Keep it up, keep it going. All right, lip it more leg work. Toast knees out. You want the ankles and knees aligned. You can use that chair for assistance to come up and to come down. Or we're going to stand all the way up. Sit all the way down. Use those arms. Press up and have a seat. Take your time. 45 seconds. Exhale as you stand. Inhale as you lower. Press a bit more to those heels, those toes are down. Knees are slightly bent. Your core is engaged. Abs lower back, especially the glutes as you lift yourself up. You're down to your last 20 seconds. Keep it up. Come on. [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ [♪ OUTRO MUSIC PLAYING [♪ here give me one more squat on obliques those love handles shake it out ready ready opposite hand opposite leg don't worry about touching those toes this focus on lifting that leg up the soles of your feet facing me, and then that torso. I think a little bit of rotation here so that you get those abdominals in. Right along the side, extend and reach. Breathing out to the mouth. Breathing in through the nose. 45. Surround halfway on this drill already. Working shoulders in about 15 seconds. Keep it up. I'm going to put out. Deepen hell up. Release. One more time. Breathe in lengthen. And relax. So options with your weights. You can definitely use your dumbbells, one or both, or maybe you have that band and you want to switch it up. Rock that band with those handles. Yes, you're going to step onto that band, making sure those handles are nice and even. Yes. You walk your feet in to make the work out a little bit easier, less resistance. You walk your feet out to make it a bit more challenging, right? Poms in. You're going to alternate, lift all the way up, all the way down, sitting up nice and tall. Now, if you're like Monica, I'm ready to stand up. You can do this exact same movement out of your chair. So flex your options. Benning those knees if you're up with me here, check that towel to under. Straight arm control as you lift, control as you lower. Abs are a nice and tight strong foundation. At any time you are working a body part and you are definitely getting to those last few seconds, those last few reps. If you acknowledge that core, you've braced to those abdominals. It will be a little bit easier, not completely. Definitely feeling a difference. Last few seconds, walk those feet out to create that resistance. Bend those knees. Last time each side. Who's ready, ready? Or cardio. Ooh, take that band. Or those dumbbells off to the side. We're gonna tap out. couple of options here. You can press up side tap or rock both legs at the same time. Yes, full on jack or single leg. Ready, ready? I'll let you know in your halfway on this 45 second drill in case you want to switch it up by increasing that intensity level or by just taking it down a bit. Yes. Look at those fingers toes really raise those arms to get that heart rate up. And you're already halfway. Kick it up. Come on. Definitely could be pace. Yes, range of motion. Or if you're up for those jacks. Let me see it here. Last 10 seconds. You got it. Come on. Breathe. Keep it up. We're going to go back to those squats. Some hip mobility. Good job. Shake it out. Deepen. Hello. Exhale. Good work. All right. This time, using one or two weights, narrow stance on those squats. Options, you can sit all the way down or hover, almost sitting down regular squats. Yes, self-legged here. Same time frame, 45 seconds. Slow on your way down. Slow on your way up. Keep it up, come on. Shut out to your quadriceps with a narrow stance. You work more of those quads versus those hamstrings. So if you think to be mindful of, we'll be going to a wider stance. We hit different angles, different muscle groups on those legs. Finish off less than 15 seconds. Whoo! I need to know who's sitting all the way down. That reset. It does require a little bit more work to get out of that chair. Yes. One more rep. Quick in and out. Good job. Shake out those legs. All right, options. You can have a seat for this one or remain up. Basic side tap. Hands. Spread those fingers. Make a fist. Flip back. Yes? Tap on with it here. You can drop down. Or you can stay up. Ooh, who's ready to switch it up now? Arms. Towards me. Arms elbows straight back as far as you can. You got it. It's that high row. Finish off 15 seconds if you can hear that beat catch it catch it come on looking good Lasty seconds Going back to resistance training all apps Your own body weight tell off Grab a drink of water right on time. How are you doing? Minute of apps and we'll call it today. Great full body workout. Widen your leg stance. Round that back, really squeeze those apps in. Sitting up nice and tall. So every time you come down to round that back, you definitely want to focus on engaging your belly button to your spine and releasing excellent amount. When you're about halfway on this drill, I'm going to ask that you switch arms yes so both we're going to switch right now we are damn it's our last 20, 25 seconds here. I don't know about you but I'm really loving this lower back stretch. Taking your time. Any type of resistance training? Yes. Yes. Slower is better. Keep it up. See more reps. Last one here. Good job. Deepen and helop, exhale, forward fold. We're gonna do a heel tap. We did those toe taps earlier, nice and tall lengthen and hell up. Exhale, so you're here, arms across. Draw the elbows back. Release, squeeze those upper back shoulder blades here, palms down. We're going to go into a hamstring stretch and less than 20 seconds. Then we'll be out of our chair, some hip mobility, quatt stretch, and then we'll go into our famous album, Pose. You got it. Rider left leg, it doesn't matter. Deep and Halop, straight leg, exhale. Forward, pose. You got it. Rider left leg, it doesn't matter. Deep and Halop, straight leg, exhale. Forward fold. Think about lowering from the chest versus the head. Listen to your body if you're shaking. You're gonna back off slightly, yes. Couple of deep breaths here. That chest is lifted, lengthened, and hellup. Switch. Any pain, discomfort, listen to that body. You're shaking. You definitely want to back off on that stretch. I can't stress enough. Carefully come up. Listen to your body before you listen to me. Yes, hands up the hips. Neural stance. Hit mobility here. Full range. Your range. You seconds. We'll change directions. In five. Get ready. Ready change change. This is real good. Taking your time, just a few seconds quick in and out. Bend those knees, deepen, hell up. Exhale, shake out those legs. Let's use that chair. We're gonna open up. Nice, deep lunge. You're here. Sit into it. Tuck that tub on under. Both knees are bent. Options. You can stay here if this feels good. Otherwise, let's take the arms behind. Draw those hands down, gazing up. So you have not just your hips, but your chest and shoulders here. Carefully release those hands. Back leg bring it in for the quads. Knees together. Balancing leg. Spread those toes in that knee. Squeeze your your hamstrings shut out to your quadriceps. Use that chair for support. You like to try and balance a bit. Raise that arm up. Shake it out. Other side. Deep lunge. Hips. Once again, flex your options if this feels good right here. Utilize next, share for support. Please stay here. Utilize neck, chair for support. Please stay here. Otherwise, calm space you. Round that back. Pull away, pull away. Chinatest. Carefully release. Take it out. Back leg, bring it in for those quads. We're here for a few seconds and we'll go right back into our chair for that album pose. Deep inhale, deep exhale once again. Use that chair otherwise. Let's see how your balance is today. Even if it's just four, a few seconds and then you hold. Yes. Be patient with yourselves. Be kind. Release. Let's have a seat. Ride over left or left over right. Breathing in. Excel strike a pose. Deep inhale, Excel really open up gently pressing on those thighs. Ride over laughter left over right. Breathing in, exhale, strike a pose. Deep inhale, exhale, really open up, gently pressing on those thighs. You can rotate those ankles. Point, flex if that feels good. Yes, release. Shake it out. Other side, strike a pose. Deep inhale. Exhale, open a pose. Deepen hell. XO, open up here. Listen to your body if you have a side that's a bit tighter. You always want to acknowledge it by adding extra repetitions if it's a resistance or cardio move. Or just pausing a little bit longer, release. Deepen hell up. XR, I appreciate you all. I'll look forward to seeing you soon. You rock. I'm sorry. What if I told you that a beauty brand beloved by a list celebrities like Madonna and Beyoncé was located right here in Torrance? Well, it's true. Welcome to Ziba Beauty. This threading plus waxing and hanna empire continues to lead and pioneer the brow and body art industry, bringing authentic Eastern beauty to the modern world. I met up with Zeba Beauty's CEO just as the company took over a new spot in the South Bay. Break down what Zeba Beauty is. Zeba Beauty is a family-owned enterprise that has been around for 35 years and started by my mom, myself and my sister. We're a chain of salons that specialize in the art of threading, shaping eyebrows using the ancient art of thread weaved together so that we can remove hair from the follicle. The art of threading is our registered trademark because it's our curriculum. We train our artists in knowing your face shapes and the bright brows that go with the right face. We have our online of cosmetics that then they help finish you with. That are very specific, 10 skews that are curated for finishing and upkeeping your look at home to make your brows beautiful. At the moment we focus ourselves on two services. The art of threading, most people get eyebrows, upper lip, chin and a lot of people get full face threading done. They just remove the fuzzy hair that you have on your face to get the clean palette for makeup and stuff like that and then the art of waxing. We do faux body waxing, arms, legs, bikini. Tell me what else do you have the beauty is all about? See the Beauty, I mean, it feels like for me, it's sort of like, all every studio is a child. It's a brand that we've built, started out as a small salon in Little India, Artisia, and we slowly, instantly grew it. We're known to be the initiators of the art of threading. The first company that brought the art of threading to the United States, and it's something that we have really taken a lot of pride and hard work to build. I was illegal in this country for 10 years. I've been here 40 plus years. Ziba came into our lives and changed our lives. My mom lost her job. She had one last paycheck, which was $2,000 going back 35 years ago. And she had one credit card that had $2,000 on it. And that sort of, we took the storage of a restaurant and we converted it into a salon. That family feeling, we've always kept, and yet we've always branded everything. And I think that sort of makes Ziba special. So you mentioned your first studio. Here you are at your 10th studio in Torrance. Tell me the evolution of getting here. It's a homecoming of sorts for me. I did one semester at North High School in Torrance. This was one of the first cities I lived in as an immigrant. And so, Othina's studio in Torrance was a dream come true for me. Being inside this beautiful brand new salon republic with plenty of parking, we have three suites inside the salon republic. So you have privacy, our website, zibabudy.com is set up so you can book an appointment in the safety of your home and then we let you in. We make sure that we are building a new foundation built around safety and the City of Torrance now has a safe haven where you can come and make an appointment. We're providing the out of threading and the out of waxing. Pretty pandemic. We had 14 studios. Pretty much we were the first ones in every single mall and center that we were the first ones to shut down. We were shut down for a good year and when we came back out, there were about six that were left and now we are slowly rebuilding and so Torrance is a initiative that is part of us sort of creating these beautiful mini-Zibas inside Solon Republic and Solas, Solon Suites where you can come in and we're part of the community and you kind of get everything else done in one place but you have a safe place where you can come. Of course you mentioned COVID. Tell me how did the coronavirus pandemic affect the business as a whole? We've taken a very, very significant hit. Businesses down 75%, we've had to lay off a lot of people, close a lot of our studios, and we're still starting again. After 35 years it's a bit of a daunting task. Thanks to loyal, loyal clients, we still at least have 25%, but we're down 75%. How we've even retained our 25% is majority of our customers are coming back. So the customer count is still pretty significant for Ziba Beauty. It's just that there's not been as many events and people are hesitant. They're not going out as much. They may not be coming as often. So that's what I mean. The business will take about six months to a year more to build back up. We used to be a walk-, but at the moment we're by appointment, we've made it so that it's safety first. Your safety is our priorities, our tagline, that's our campaign at this point, and that's what we're leading with. And so we've created a situation where the clients are there, they're now starting to come back regular. So now you're having more birthdays and more weddings and as things open up and concerts are happening, the clients are coming back and the business will come back. How can we make this the most safest client interaction? Because the personal service, we touch you physically. And so we want to make sure that you are safe coming here and I am safe touching you. Inside a salon republic or a solar salon studio, the doors are locked. You make an appointment. We send you an email confirming and then we send you a reminder text. In that text, we give you the instructions of the number to call when you get here. You call, someone comes to receive you and then you get walked into your artist. There are only two artists working in a studio at a time. No more than two. You come in. You have to have your mask on to come in and then we keep your mask on while we do your eyebrows. We sanitize our hands and sanitize your hands. We've been doing that since pre-COVID and then if you are doing your upper lip you will remove and then put it right back on. Our artist no longer anchors the thread in their mouth. They've got a mask on. We've created a new apron that has buttons on it. The thread is anchored on the button. My job as the CEO of this company was to protect the artist as well as the client. The thread is sterilized also. It's in a canister. It's got a cutter. We never touch it. Thread that touches your skin has never been touched by anybody. It is sterilized. Yes, along with the art of threading is the art of waxing a service the company takes pride in as well We never doubled it our sheets our waxing strips are a hundred percent disposable. It's a Safe as it can be with COVID we shut down and I use that shut down to create a safety summit. Learned everything about medical grade sanitization, the difference between sanitization and sterilization and just sort of clandiness. We use UVC robots to sterilize every studio before we start. That's medical grade UVC robots. We wipe down everything and we're. We've always been about sanitization and clandiness. We've kind of made it as touchless as possible. The payments are touchless. The appointment is touchless. You get beeped in, you walk in and it's as safe as we can possibly make. So we're rebuilding. It's small building blocks. We're hiring, we're partnering. We're even looking at a licensing program where you can open up your own little Ziba in a solar as a long republic and be an entrepreneur and partner with us. But because we built a brand, because we focused on consistency and going beyond the sort of norm and keeping everything so consistent and we really really marketed ourselves, I think the community is responding to us. Brand awareness is very very strong. So it's going to take us time, but we are determined. And we're very strong, a group of women that are immigrants and we are hard workers. We're not afraid of hard work, so we're just going to power through. Okay, let's get beautiful. All right let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. Let's do this. That's amazing. So we just finished the writing. We're going to head to the waxing studio next. But there's a part of Zbebeauty. We haven't talked about yet the Hanna, which you guys are famous for. Yes, the Art of Mendy. I'm a published author. It's a book called The Art of Mendy. It's very, very fortunate to get an opportunity to work with amazing A-listers like Madonna, who gave me the quote for my book. I was the artist that did all the work on Frozen, the music video, and then worked with Naomi Campbell, Gwen Stefani, Jennifer Aniston. I just recently, a few years back, did the Coldplay music video featuring Beyonce. So Hannah, the art of Mendy has been part of our heritage. It's part of our heritage services at Deepa Beauty. We get hired to do brides and high-profile celebrities and events. It's something that I personally lead and it's been a very interesting fun, amazing experience. Wild stuff. How wild are we talking naked wild? I can't say. Oh! Speaking of naked, you're about to sort of take this pants off and go get your raxing done. Music So for all your waxing, henna and threading needs, visit Ziba Beauty, where you know So doubt will leave looking and feeling beautiful. I'm going to be, your host for Common Sense. And if you can dream it, Cisco can develop, manufacture and deliver it. For President and CEO, Neil K, he saw how difficult it was for people to make products overseas, so he started this company nearly 40 years ago. We're going to take a look at some of their innovative products like the Rally Flip Cap. This is just one of our front sample rooms and obviously your head's going to be spinning, but we have so many different products. Cisco's produced thousands of goods over the years. They've manufactured toys of all kinds, license products, kitchenware, exercise equipment, and much more. You name the product and they can likely source and deliver it. So they can either come with to you with like a photo. If this is what I want or they could say, this is my idea, can you make it happen? Exactly. So like, we have a creative department as well as an engineering department. So there's two different ways we work. For instance, like if you had an actual product, you're like, hey, Jordan, you know, I need this specific shoe. I need this specific shoe. This is what I want. This is what the color will be able to source manufacturer that accordingly. But then there's other aspects where you come to us saying, hey, you know, Cisco, Jordan, we have a 35,000 He's program coming up late August. You know, demographics cared to women through this age group. What can you give me to meet the need in with the family event? Jordan K is a national sales manager and son of president and CEO, Neil K. Keenna's brother Ian, both joined the family business during hard times. Obviously 2009, the economy tanked, everyone felt it. I actually made the sacrifice to come back here, made sure the business was afloat. My brother took a year off from Royal and Marymount. For many years, Cisco only focused on sourcing their clients products, which they continue to do in Excel app. But when the economy felt flat, it was time to readjust the business model. And as a new college grad, Jordan started thinking outside the box. Even though it's a good study business, we need to do that, but we need to streamline a new area of the business where we come up with our more proprietary products. With our own proprietary products, we can work on higher margins, and that'll basically put the business at ease. So there's always streamline coming in, and then we're still able to do the sourcing service where we do best Susica started making and patting their own goods like the Digi Piggy and electronic bank that keeps count for you It's a fun educational toy that is sold internationally and was featured on CNET Pop in a coin and the Wii anchor displays its value and keeps a running tab of how much you've saved Or the one two three miracle sharpener the mosters, the most advanced three-position manual knife sharpener on the market. So here is the card, and here is a tomato, and obviously I can't cut through the tomato with the card, right? But we're out through the miracle sharpener real quick. I can cut through said tomato, like butter. Another product Cisco launched is the Rally Flip Cap. And this one took the whole K family to make it happen. I love that it's how your family brought it all together. Your idea, your brother's graphic design, your dad's manufacturing and experience. Yeah, I mean, it wasn't easy. Obviously, but the thing that we really pride it yourself on is, you know, we want to do this right the first time. Jordan is the brainchild behind the Rally Flip Cap. He came up with the idea at a Dodgers game with his dad. You've been a ball game, right? You know baseball, right? You know Rally Time. So Rally Time and baseball, you know, people are in the stands, they're flipping their hats inside out they're doing the goofy shark fan all you know it's all part of the baseball game so there was a foul ball father and son sitting in front of my dad and I the ball almost hit the flipping their hats inside out. They're doing the goofy shark fan all, you know, it's all part of the baseball game. So there was a foul ball, father and son sitting in front of my dad and I. The ball almost hit the sun, what my dad was doing the sun's cap, flipping it inside out. And a light went on in my head saying, hey, you know, there's gotta be a better way. Rally flip caps are hats with two bills. When it's rally time, you're not like this and you don't get hit by a ball. Miss the greatest plan in the world, but now you have to do this. Hey, hey, I'm here. When it's rally time, you're not like this and you don't get hit by a ball. Miss the greatest plan in the world, but now all you have to do is say, hey, I'm here. Ready to go? Oh, big play. Hey guys, yeah. It's nice. Give me five right there. Yeah. And they're good to go. This is their classic rally flip cap. looks like a regular hat but as a split fill so you can flip it up and show off the inside design. Or you can write your own message with a dry race version. It comes with a pad. So now you can flip it up and show off the inside design. Or you can write your own message with a dry erase version. It comes with a pen. So now you can literally write what's on your mind. What's up? It's a novelty cap, but it's in the bill. So if you don't want to flip it, you sell the great cap and no one knows. Both designs are on the market now and they're steadily gaining popularity. Stick around, Cisco has another innovative product in the works. We're going to meet founder Neil K. Nex and show you chill time. I like to eat, eat, eat, apples and bananas. I want to eat apples and bananas. I need to eat apples and bananas. Why can't I eat, eat, eat, I present bananas? One in five children struggles with hunger in America. Support the Feeding America nationwide network of food banks to help provide meals to those in need. Join us at FeedingAmerica.org. Welcome back. Common Sense is flipping over Cisco, a sourcing company right here in Torrance that's made thousands of products and shipped them all over the world. They stand out from the competition with their decades of experience. When I was a kid I took an internship in Taiwan. At 19 years old this is in 1973 to 74 and a half. I went for the summer, stayed for a year and a half. And what I did was I worked in a trading company doing sourcing inspections, saying out samples. And I started learning about the needs for outsourcing. Neil K. is the president of Cisco, and he started the company a couple years after returning from his internship in Taiwan. We act as an import division for many companies, with our experience as far as knowing the right provinces, where products are made. And it's good because like you're saying, you know which is the most reliable, who you can trust out there. Exactly, exactly. It could be a bit of a hornet's nest dealing in China. Cane shares any products he makes overseas meets the same high standards set here in the States in terms of quality and fair treatment of workers. We contract with third party companies that do inspections. These are bonafide coming such as SGS or BV. These are companies that are internationally certified to go out and go into the into the factories and actually monitor the work situation to make sure that the factories are conforming to labor laws. Cisco can proudly say after all these years importing the government has never taken their products due to safety concerns or violations. We find out what are the standards of today and our factories before they go in production must meet that standard otherwise there's no order. We've been very careful, we've turned away business, but we've had less, we don't have the headaches that other people have because we'd only do it cleanly. We only deal with products that have been tested, making sure there's no contaminants. I mean, the lead is a very big problem for kids, especially in toys. We don't have that problem. So we've had products that brought in. It's, oh, this is so-and-so. Some other import have a good seize. They took our goods because it was similar. When ours was tested, we passed. Kay has years of experience working overseas. And while outsourcing is a common practice now, in the 70s, Cisco was one of the first. These challenges was of course developing business and contacting clients and at the time because we were a pioneer as far as outsourcing. We found it to be doors were opening, people wanted to listen to what we had to offer. So step by step, we started growing. Cisco continues to be pioneers as they branch out with their own products, like the Beckford bar. Sisko worked closely with Supermodel Tyson Beckford to create one of the most effective exercises for the upper body. I could do about 25 at a time. If it means looking anything like a Supermodel, I'm in. I'm gonna go down. Now come back up. No! Okay. One more. You can do one more. What do you think? Oh, definitely workout. Cisco is helping people get in shape and recover from workouts. Their newest innovative product that they plan to launch this year is called Chill Time. What I play tennis in afterwards, the guys I play with are 70 years old, 65, 70, and they sit there and they take ice bags because of the swelling in the knees. They take plastic bags of ice, they wrap it around with an ice bandage, and they sit there in the waters dripping all over the place, and they sit there talking and having a beer, they know how long it's on for and they don't ice they can't cover the whole knee so what we decided to do is we came out with an ice bag that does a 180 degree wrap of your knee it's never been done before so you can actually walk around with this thing on while you're icing if you're on an airplane an athlete you can ice in your chair you don't have to wait and and Joe you know Joe after five minutes Joe doesn't stay cold now here's the beauty. We also put an extra wide cap, the old kind of ice five minutes, gel doesn't stay cold. Now here's the beauty. We also put an extra wide cap. The old kind of ice caps were only an inch and a half. You couldn't put ice cubes in. You put the ice cubes in, you hit them against the table, you break it, you break your bag. Yeah. This bag is not neoprene. This is a fabric-quoted TPR, It's a composite rubber that's covered with material so it can go directly onto your knee. You put your ice in here and then we put the cap on. The middle of the cap, it's chill time. You can set it for 20, 15, 5, 10, 5. If you hold down it's 5, it'll stay on. You put the wrap on and you compress it with your compressing wrap and guess what? In 20 minutes or 5 minutes whatever you set it for, you know it's time to take it off. While Kay is the one who thought of Chaltime, he's working closely with his team to develop and launch the product. And part of the Cisco team is his two sons Jordan and Ian. They joined the business after college and they each bring their own expertise Jordan as far as marketing and Ian as far as his artistic and creative creativeness and we put it all together. They kind of cut me in half and take a little bit of each of me and we go forward and we're growing the company. Well the case say it isn't always easy working with family because they can drive you nuts they can also bring the best out of you. Before we take a break, I had to test K's Chinese. Nisik Gongjong Man Ma. A little bit. Ma Ma Fu Fu, not so good. The price is too high, that way. So I mean, I can understand and I could listen to a conversation and pick up good parts of the conversation, but speaking fluently, not fluently, but as far as culturally, I think I'd probably link culturally with Chinese. Pretty impressive. After all, Chinese is a very difficult language. I speak Cantonese. Cantonese is like... And they have 18 different tones. No, eight different tones for the same word. Right. Yes, and Mandarin's four tones. Yes. But Cantonese is only, is eight tones, more confusing and very difficult, very easy to embarrass yourself. Oh yeah, I do it all the time and I'm speaking my whole life. Alright, stick around. We're meeting the creative team next. Plus I grill the K brothers about what it's really like working with their dad and each other. Everywhere that we go, he makes people laugh, makes people smile and I feel like I have that quality. He's the one who always takes me fishing. I want to golf with him. I want to cook, because when I grow up, I want to be a cook too. I mean, how does it face this like this? Dad is the one when you fall that picks you up. That unconditional sense of presence and reassurance is really what makes him my father. ["Piano Music"] Common sense is back and we're behind the scenes at Cisco on Tello Avenue, off L'Homita Boulevard. While the international headquarters is in Torrance, they work all over the world. What we do here is we bring clients, ideas or individuals, conceptual ideas to life. So we like to say we are merchants of the world because in reality if you can dream it, Cisco can deliver it and engineer it and make it. E&K is the creative sales manager and creative director, and he's the son of Cisco founder Neil K. But E&K tells us he and his brother Jordan didn't get any special treatment, which made him a better businessman today. We were given a broom and a model we first started here. We earned the respect, having earned our desks. If there's one thing that I've learned hands down, it's to run and to have a successful business for anyone I, you have to do it and know your business from the ground up. And then if you understand your business and know what you do and the ins and the outs and what you lack, that's how you can grow and how you can really know your service and what you provide. So that's something that I am very lucky and fortunate to bring to the table. Ian now works on graphics, logos, mock-ups, and any other artwork. Plus, he works alongside Jared Kristian, the director of Internet Marketing, to drive traffic to their websites. I'm just constantly trying to market the each product in different ways, and I'm taking notes of what's being successful and what's not, and then everyone's alone just throwing in curveballs just for fun. And I've kind of limited in our budget here. Forces me to be extra creative so we make a lot of videos here in-house. It's just fun because we can be silly because it's a street brand so there's really no rules. So if I'm selling like an expensive watch or a kid's toy I'm really confining what I can do but this is really raw in general so we can just be stupid. Kristian joined the Cisco team about a year ago and loves the small business environment especially since he gets to bring his dog Indiana Jones to work. I was looking for a job for a while and I refused to not be myself so I a whole A whole bunch of people denied me and eventually the one group of people that accepted me was the perfect fit for me because these guys were great. So it works out really well. Now how to Ian and Jordan really feel about working at the family business? It's not easy but it's how do I describe it. I would say it's it is the most beautiful thing but it can also be the most stressful thing just because we're around each other all day but at the same time just knowing where the business was when we came in and building it together I mean that's that's an over-and-erred special in itself. I am so happy at times to be working with them and all this time spent here but at the end of the day it is tough as it would be like to say here familiarity knowing each other how to push your to those buttons, breeds, you know, it makes us, it's harder to work here, but at the same time we work very well. It would seem it can's harder to work here, but at the same time, we work very well. It would seem it can be tough to work with families, but the K-boys wouldn't have it any other way. We bring three different kind of mindsets and ideas to the table. We're all different people here, and yes, it's my brother and my dad, But you know, we are all creative, but at the end of the day we value each other's opinions and we have fun and we work very well together when we put our heads together. It's not always easy working with family and it's definitely no walk in the park to start a business either. But Neil K has some advice to entrepreneurs. Plan to work hard, long hours, you need to put off instant gratification for deferred gratification and remain calm as you go into a competitive environment and go for your passions. And for Neil, he used his expertise in sourcing to chase his passion nearly 40 years ago. And now he has a successful sourcing company that also produces innovative products. Cisco continues to bring new ideas to the market. It works smart and brings something to the market that's not there. I mean, nobody needs another can opener. Now, if it's a better can opener, yes, maybe. But you really have to always strive to bring more innovations to the market. Special thanks to Cisco for welcoming us to their warehouse and office and thank you to the K family and Jared Christian and if you need something source and manufactured you can give Cisco a call at 310-326-9300 and if you're a business owner or know a great company that should be featured on Common Sense send us an email at commonsense at torrentsca.gov and make sure to like us on Facebook.com slash commonsense torrents. Thank you so much for watching Common Sense, where we offer you a rare behind-the-scenes look at local businesses and explore the secrets to their success. Now sign a non-disclosure form or get out of here. I'm working on the next big thing and Cisco's going to make it happen. MUSIC Packers. Bike. Red State. Blue State. We come from different places. Uptown. But when we live united, we create real lasting change in the education, income, and health of our country. Real change won't happen without you. So give, advocate, volunteer, live unites, sign up at liveunited.org. It's holiday time here at Art Studio. I'm Lisa Lowell and today we're going to create a simple project for family and friends that'll leave you with plenty of time to spare. Happy to welcome back Vivian Cohen Millett from A-DZ scrapbooking in Torrance. Welcome back Vivian. Thank you for having me. Thank you for having time here. I'm really excited to learn what you're going to show us today. Well today we're going to build a card and we kind of themed it through for the holidays but we could use this card for anything. The main thing is that we're going to use items that we have at home and make it into a beautiful card. Excellent. It's just beautiful and so we're going to learn this technique. technique and how to color and everything. So today we're actually going to be using a medium of cardboard. So cardboard that you would have at home. Wow. This is actually dictionary paper and I went and it's really nice to go to old bookstores and just get old dictionaries and then you could just cut it out to any shape and I'll show you guys. break you can really break the rule of dough now that we've cut or right in your books. Exactly, exactly. We'll use a little bit of tissue paper and we'll actually even use a paper that. Oh, I love it. Got those. We're gonna go ahead and try that all these different items today. Okay. And we're gonna have fun just playing. Absolutely great. The first thing we're going to do is just to make this quick and easy, we're going to cut this piece of paper in half. It's actually a 12 by 12 piece right now so we're going to cut this piece of paper. Okay. In half. It's actually a 12 by 12 piece right now, so we're going to cut it down to six by six. So this is going to be our actual card. Oh great, so this is just a standard scrapbook page? This is a standard scrapbook page, just as it is. Great. And most popular size is a 12 by 12. And what's nice about this is it's actually double-sided. So it has a print on both sides, which is what we want to do for our card. That's fantastic. So you can get two cards out of one. Exactly. So go has a print on both sides, which is what we want to do for our car. That's fantastic. So you can get two cars out of one. Exactly. So go ahead and cut that. It's the six inch mark. And Vivian, while I'm cutting, can you tell us a little bit about A to Z? Yes, A to Z. Scrapbooking is in Torrance. We've been in business for eight years now. And our store is pretty much any scrapbooking item you can ever think of, we pretty much carry. And. And we've been in business for eight years now. And our store is pretty much any scrapbooking item you could ever think of, we pretty much carry. And we hence our name, A to Z scrapbooking. Everything is themed from A to Z. Makes it so easy. So if you're going for a holiday card and you'd like to make a holiday card, you just go to the Christmas section. And there you go, you've got to pick up all your items from there. makes it really easy, especially for a beginner. Okay, so we're going to take our one side, so actually from a 12 by 12 piece you can actually make two cards which is. That makes it really easy, especially for a beginner. Okay, so we're gonna take our one side, so actually from a 12 by 12 piece, you can actually make two cards, which is kinda makes it nice. And then what you're gonna do is, you're going to take this distresser, it's a distresser tool. That's our okay. And what it does is, instead of keeping it flat, what you can do, not a problem, but it just kind of gives it a little bit of a rough feeling. Oh, I like that. So all you do is you take it and stick it into one of the slats and then you just go back and forth. And it just kind of sands it. So go ahead. but it just kind of gives it a little bit of a rough finish. Oh, I like that. So all you do is you take it and stick it into one of the slats and then you just go back and forth. And it just kind of sands it. So go ahead and work on that. And does it matter? Does it eat these two different things? No, it's just the way you're holding it at the angle of it. So it doesn't really matter. And she's going to go ahead and distress all of the four sites of the paper. And it goes pretty quick. It's fun. We get to cut dictionaries, distress paper, love it. Take out some of my questions. What's nice about it? of the four sites of the paper. And it goes pretty quick. It's fun. We get to cut dictionaries, distress paper. Exactly. Take out some of my questions. What's nice about it is sometimes people think that you, you know, it gets to be expensive using scrapbooking items. But you'll see today, after the, our program, you'll see how many different things that we've used just from household items. Wonderful. kind of makes it nice and fun and different. And it's hard to believe that using tissue paper and dictionary paper, the kink. just from household items. Wonderful. So it kind of makes it nice and fun and different. And it's hard to believe that using tissue paper and dictionary paper, they can come up with such a pretty card. It's beautiful. And really, if you're willing to put in a little bit of time, holiday cards, if you buy them, are certainly not in expense and not in the world. So other than you've got some time involved, but once you have the tools, it seems like you could get going pretty good. And the hardest part is actually just designing it, but once you've out have it, you'll see how quickly we can get it down. Great. Okay, so we're going to use ink. Once you have the tools, it seems like you could get going pretty. And the hardest part is actually just designing it, but once you have it, you'll see how quickly we can get it done. Great. Okay, so we're going to use Inking on this. And what Inking does is it just kind of adds color to the edge of your paper. Great idea. You can use any of your green colors. And what you can choose, you're just going to rub against the edge. If you want a little bit more to show, then you're going to go a little bit more up to the top of it. She's a little different green than you just see. What we come up with here. That's good. Great tidities. Good. Nothing's up against the edge. If you want a little bit more to show, then you're going to go a little bit more up to the top of it. It's a little different green than you just see. What we come up with here. That's good. Creativity's good. Nothing's wrong in scrappling. It's just different. I like that. So what would you use for inspiration? You know you want to do a holiday card. You want to make a card for your friends, but There's just endless possibilities where you start. You know what, it makes it really nice and easy. The manufacturers have thought of a lot of different ideas. They have ribbon that has holiday theme to it. And just because we're doing Christmas right now, it doesn't mean that you can't do Thanksgiving, Hanukkah, a baby, a card. I mean, you can do anything, birthday cards. Okay, we're gonna go ahead and fold this in half. And so the manufacturers have just made it so easy that you can find stickers, you can find embellishments that have things, buttons that say Merry Christmas on them. You know, new baby. So do you use magazines or their ideas on the internet as well? Yes, if you go to any of websites and you just put in scrapbooking, there's tons of scrapbooking ideas. And then we teach classes. And if you just come into the store and go, I really want to make a holiday card or a birthday card, we'll kind of walk you through it. It's going to make it nice and easy. That's great. Okay, so now we folded our card in half. Okay, so this we're just going to kind of put aside. That card's done. We're gonna go ahead and have some fun. Excellent. This is actually just cardboard. So I found a box of cardboard and I went ahead and have some fun. Excellent. This is actually just cardboard. So I found a box of cardboard. And I went ahead and cut it out into shapes. And that's using this die cut machine. Wow, look at that. And so if you want, let's try one real quick. And we should probably mention that obviously, I'm sure not everybody's gonna have this die cut machine. Correct. So there's a couple ways to do it. You can purchase stencils and just trace the stencils and just cut them out. Great. You can actually even print things off of the internet of your images. Oh, that's right. And if there's a certain flower that you like, then go ahead and just print that out and that could be your pattern. But first, if you're going to make multiple cards or do this, They're nice to have this machine. Nice to have this. And we actually carry a larger industrial machine at the store. And so if you are planning on making a bunch of cards and you really don't want to invest in this machine, then all you have to do is to have this machine. Nice to have this. And we actually carry a larger industrial machine at the store. And so if you are planning on making a bunch of cards and you really don't want to invest in this machine, then all you have to do is really purchase the items from the store paper and everything at that and you can use our machine at the store. That's fantastic. And cut it up. Okay, so what you're going to do is on this particular machine, I just cut out a piece of this paper bag, and you're going to place it directly on the die. So we have all different types of dies at the store. From alphabets to shapes, you're going to go ahead and put that on top. And you're going to sandwich it with this plastic piece. This is enough. And go ahead and just place your finger down and then just roll it through. Okay. Doesn't matter which way. Yeah. the other way. Do it this way. Oh, the other way. There it goes. There it goes. There it goes. Now, okay. There we go. Like toast. It pops out. And then you've got your shapes all cut up. Look at that. Isn't that nice? That's great. And since you use the bag, we've got four of them. Could be faster. That's really good. So there you go. So I've cut up all these shapes using that machine and I can use the thick, thick cardboard as well. Great. Exactly. It just kind of presses it down. And so I've used a dictionary, I've used tissue paper, I've used a paper bag and again I've used a chipboard. So what we're going to do is you're going to take one shape like this and I'm going to take one shape like this. What we're going to do is we're just going to lift up the top layer of the cardboard. Because we want to tap this ridge look. It's just a little bit like a... I'm going to take one shape like this. And what we're going to do is we're just going to lift up the top layer of the cardboard. Because we want to tap this rich look. It's just a whole lot of that. It's a great idea. Pretty simple. Very. And it kind of gives it that three-dimensional look rather than just using it. Now if you chose to just use it as is, as the piece that we had, that's also fine. sure yes but it definitely gives it it does give it dimension in a layer and it's actually and it kind of nice with Yes. But it definitely gives it, it does give it dimension. Give it in a layer. Exactly. And it kind of nice with the corrugated look on it. And now I understand your store is a family business. It is a family business. How did that come about? We, I actually have been scrappling for a very long time. I was pregnant with my youngest and went to a class and just loved it. And I had decided that I wanted to open up a store in my hometown, Torrance. And I talked to my parents about it. I talked to open up a store in my hometown torrents. And I talked to my parents about it, I talked to my husband about it, and they were like, what are you going to do by selling paper? How are you going to make money doing that? And I said, I know you're a real mom and dad, right? And I said, if I could just try it for a year and just try it out. And sure enough, we've been in business eight years now. And it's been fabulous. You meet such wonderful people in the Scrapbooking world. just, you know, try it for a year and just, you know, try it out. And sure enough, you know, we've been in business eight years now. Fantastic. And it's been fabulous. You meet such wonderful people in the scrapbooking world. So it makes it really extra special. And I would amount. People are always wanting to create memories. Yeah. Even when, you know, you've always got new kids and weddings and new events. And so that's nice. you know, traveling and vacations and you really want to have those memories. You forget from time to time there's so much going on in life that you just forget those special moments. And just by looking back at those pictures, it just brings it all back. That's right. Okay. Now, could you use these same techniques? Could you use this to embellish a box? Yes. A box? You can actually even embellish a scrapbook page. Like if I really wanted to put this on a scrapbook page and add a couple of you know my tissue papers to it I can actually make this on a scrapbook page. Oh, that's pretty good. So yes, you can use this on a box You can use it on anything make a little jewelry box kids would love to do this. That's pretty simple Okay, so we're gonna take against some impads Okay, and we're just gonna add a little bit of color to just different just to add a little bit of color like this Distress is just resting and what's nice? Okay, so we're going to take against some impads. Okay. And we're just going to add a little bit of color to just the front, just to add a little bit of color like this. Distress me. Distress me. And what's nice about it is it kind of hits your edges and you're corrugated. So it kind of picks up those colors as well. Like I said, it doesn't have to be perfect. Oh yeah. Let's go. Love it. OK? All right. And then, all right. So our next thing is, is we're going to take these papers. And you can actually pick whichever. And we're going to actually make this flower. These are spray inks that have a certain color of it. It has a little bit of a sparkle to it. And it comes in, oh gosh, I think she has probably about 200 different colors. Great, and they're beautiful. So what we're gonna do is we're just gonna take our, whatever you medium that you wanna use, and I probably use one of each. And we're gonna go ahead and spray, and you can use one color, you can use two colors. Okay. Whatever you like. And then we just shake the bottle a little bit so you can get all the glitter all around. So we're going to use all these bits. Yeah. And then just go ahead and spray it. No, that's fun. I have to ask you, you are a busy mom of two teenage girls. Yes, I do. How do you find the time to run your store and scrapbook because I assume that you are and creating new ideas. You know, you have to make time for it, just like everything else. You just have to make time and make it a special moment for you. This is a pretty reliable... You know, you have to make time for it, just like everything else. You just have to make time and make it a special moment for you. This is a pretty relaxing activity, a hobby. The ladies just love to come and just work on their scrapbooks. And it's just a nice thing when you're making such a special book. And it's so rewarding. So they can come into your store and just work? Yeah. Oh, that's nice. Then you have a sense of camaraderie as well. Exactly. And it's kind of nice. It's like those old quilting beads. I was going to say we're knitting shop or something like that. That's nice. Okay. When you need to do the tige paper, do it on here. It's used to move. Oh, gotcha. Okay. Okay, so we're just going to spray away and we're spraying these two. Yep. Go ahead and spray everything. So it adds a little bit of color. And it doesn't even have to be this- Okay, so we're just going to spray away and we're spraying these two. Yep, go ahead and spray everything so it adds a little bit of color. And it doesn't even have to be the same amount of spray or anything. And this dries pretty quick. Doesn't look like it would be, but it does dry pretty quick. And I saw you kind of blot it, so you could always do that. Yeah, you said there's no. It doesn't have to be perfect. The tissue paper is the most sensitive one because it's so thin. Maybe I can do one with a little bit of a lighter layer and see what happens. And I understand that there are also scrapbooking weekends, retreats. Correct. We do a scrapbooking cruise once a year. And we also do weekend retreats four times a year, which is kind of nice. That is fun. Yeah, the ladies love it and they get away. And you know, that's the thing. It's like we need to just make time for us because there's just so many things going on between carpooling and taking and answering a phone, making dinner, and this way, it's just time for you. Yes. So it's real nice. Okay, so we're gonna go ahead and just blot it a little bit for it to dry. And how have you seen things change in scrapbooking since you started it? Oh gosh. You know people put ribbons and buttons now on papers and stuff where before we just had, we rarely even had printed paper. It was just really plain paper. You know, plain card stock. And now they have everything. They've thought of it all. I mean, any theme that you can think of, we have. And how does it trend in terms of do you see changes with colors and patterns over there? Yeah, it seems to most of all of the colors and the papers and the prints and everything are pretty much from the fashion industry. Really? Just like right now the greens and the blues are really, really big. And a lot of the designers will go, you know, to the fashion world and see the different colors that are coming out in the different prints and they'll go ahead and choose it. I mean that's sometimes even funny. You'll see a print of paper that you saw at a a home shop that has comfortors of that. I wouldn't think you know about shoes and hairbags but you don't think about your happy materials but it makes sense and they're probably in your mind as well those colors. Yeah it's really nice. Okay, so as you see we just took this paper bag and we just added you know color to it and it gives it a real pretty beautiful. And what we're gonna do is now we're gonna make the flowers. So what you're gonna do is you're kind of kind of fold it in half. Okay, and then you're gonna kind of fold it again in half and that's basically finding your center. And does this, ours isn't quite dry, would it be best if it was dry or does it not matter really? No, that's nice. You can just carry on. Yeah, you can carry on. So once you folded it, you're going to hold your center piece. And then you're going to actually make your flower. And you're basically just squeezing it. Okay. You're just squeezing it. Gathering a little bit. And like no bit. And like no flower out there is perfect. So it's not like this has to be 100% perfect either. And you could tell it's starting to dry as we've been working with you. Absolutely. I can feel the difference. But it's nice you can just keep going. If you have multiples to do, you can just do it. And you can just go ahead and spray all your papers and everything like that. and then go ahead and do what we're doing right now. Okay, so now that we've done that, okay, we're gonna take a little piece of just, basically, what's this? I'm going to cut you a little piece, and it's just basically for us to place this flower down as our base. Okay, so that's going to be your piece, and I'm going to cut myself a piece real quick. And you want a pretty strong adhesive. So this wet adhesive works really good. And you're gonna make a blob about a size of a quarter. Okay, good amount. Good amount. We're gonna kinda make it flat. Okay, go ahead and do that. And this type of adhesive glossy. Glossy, yes, glossy accents. Perfect. And then you're just going to trim a little bit off the bottom because you don't want it to stick up too much. Okay. And then you're going to go ahead and just stick it in there. And then you're going to go in with your two fingers. Okay. There we go. Got it. You're going to go in with your two fingers and you're just going to squeeze it together just like that. And that's how you're going to make your flower. OK. Where did you come up with the idea for this particular flower? You know, it's so silly. We were at a restaurant and we were just kind of playing around with the napkins and stuff like that, my daughters and I. And I'm like, oh my god, look how pretty this flower is. It's really nice. And so we tried it with different mediums. Well, you can tell you're in the right business. When you're... the napkins and stuff like that, my daughter's and I, and I'm like, oh my god, look how pretty this flower is being nice. And so we tried it with different mediums. Well, you can tell you're in the right business when you're playing with your napkin as though you're making a rose, right? Now you're just gonna go ahead and just trim, so you just don't have a bottom part. That's a great idea. And then you've already have your base of your flower. Just being careful not to cut my petals off. My nicely sprayed petals. Okay. Okay. And then we're going to do the same thing with the other mediums of the flowers. You're going to do the same thing. Okay. And what you're going to do is you just want to end up building up the flowers. So it's two layers. Okay great. And you could do two layers. So you have in yours you have three layers. I have three layers. Okay. Okay. Okay. Okay. Pretty much. She keeps her looks just by spring. Beautiful. Could you stop for one of your layers? Actually it's really funny how this lady came up with this idea. Her grandmother had given her a beautiful lace tablecloth and she loved it but she wanted to use it it on all the pretty holidays. So she came up with this concoction that she can go ahead and spray. a beautiful lace tablecloth. And she loved it, but she wanted to use it on all the pretty holidays. So she came up with this concoction that she can go ahead and spray her tablecloth. Every holiday season, she goes and sprays it, she puts it in the wash, all the colors come out and she has it. So these are all washable. So it's a great project for kids. That's fantastic. I didn't even ask if they're washable. Sue may, because everything's archival. That it would be just water-based. That's wonderful. Okay, so then go ahead and we're gonna do the same thing. You're just gonna put the glue now in here. Okay, using this as our base. And do we trim the bottom as well on that one? These ones are a little bit small. You don't really need to. And I understand your brothers are involved in the store as well. Yes, we had to convince them, but you know, first they like, oh, I don't want to scrapbook though they have scrapbook like family, you know, vacation and things like that and things and it's kind of neat to see what they come up with. I'm sure it's very different. Yeah, different creativities that they come up with. But most of them kind of do my accounting and do my marketing and so they dabble in it. They don't go ahead first. They dabble in it. What about your daughters? Your daughters? Yes, they do. They're very much involved. That's great. Okay, so the same thing on the last one. It's almost done here. And it's just so fun to do all these different little, you know, projects and flowers and, and you know, like to talk before. You could put it pretty much in anything. Yeah, really the options are endless, truly. People sit there and say, oh, it's a scrapbook store. Oh, I don't really need to go in there. But if you just walk in, there's just so many different avenues. You can make your invitations to a birthday party, to a wedding. And really, there are so many of these supplies are also general craft supplies that could cross over to the other. Right. you can make your invitations to a birthday party, to a wedding. And really, there are so many of these supplies are also general craft supplies that could cross over to either have a dress. Yeah, we do a lot of supports for like schools and things like that, you know, if they're working on some type of a project. Okay, so now we're gonna go ahead and glue this flower onto our corrugated. Okay. Go ahead and just glue that on. so we've already finished our flower. And if you wanted to add a little bit more color to it once it's all put together, you wanted to add a little bit more color to it, once it's all put together, you can just add a little bit more to it. Oh, that's a nice idea. And do you have projects? This is very, very easy. Do you have projects that even kids could do? Oh, yes. We have. Actually, once a month, we have a mommy and me class that we do for the kids. And like we did a holiday one for Halloween, and we've done just different, you know, back to school we did a pencil holder you know so just different ideas that the kids love and the kids love it they really truly I'm sure there's nothing like spraying things and gluing and just dressing exactly okay so now what we're gonna do is, this next piece, because we wanted to make it a, for Merry Christmas, what I did was, I just found a piece of printed paper that actually had that on it. That's nice. So go ahead and just cut out a part that says Merry Christmas on it. Cut it out by hand, or? Yeah, you can cut it. I did it by hand, so I kind of made it a little bit a nice texture to it. I'm going to do this real quick for us. And because this card already has its distressed look and everything, we're going to go ahead and sand the top after we're done cutting that to kind of give it another little bit of a distressed look. I like that idea. So let me get the file. Should we do that? OK, so there's going to be your file. And then we just roll it. And did you use the distress ink for the edge of that? Yeah, but first of all, before you do that, you have to distress it. Oh, we do. Oh, that's right. And then that's how it picks up the colors. Gotcha. OK. And like I said, when you cut all this, It's kind of nice when it's not an exact angle. You just move your fingers in the middle. It's my quite rough, in fact. OK. So then what you're going to do is you're just going to go on here. Oh, I see. I'm just stressing the front. Yeah. And you can do it on the table. sometimes it's easier. That's a nice technique. And what I know that we talked about some basic supplies. What are some new supplies in scrapbooking, new tools and toys and things that if someone is an experienced scrapbooker, they might be interested in. You know, it's amazing how you can't imagine how many things they come up with. You know, they have a corner rounder that actually makes your edges rounded like something like this. And so you can do that to your pictures. You could do that to your pages. And then they come up with different shapes of cutting out. I mean it's just amazing how many endless things. Like even on using this card it's actually a big paperclip. Oh I'm glad you're showing is that that's so nice. And this is just adding ribbon to the paperclip. Again your piece of printed paper themed to whatever the holiday is just a regular cardstock and you know we just cut out a little tag and so every this paper is actually is glued on and it's you know started as a 12 by 12 piece and so that's you know when you make your cards and things like that it you know one piece of paper will probably make you about 10 cards, which is kind of nice. That's great. Get a lot of efficiency. Get a lot of it. Yeah. Okay, so now that we've done that, what we're going to do is you're going to take your ink and again. You're just going to go on top of it. Just real quick. And that kind of gives it that look, that distressed look. I like that this says it's distressed ink T-dye. Because I mean, certainly, sure there are viewers who remember actually using T, I've done it before to dye paper. Now they make it in a stamp. In a stamp. It's amazing how many things. I mean, certainly, sure there are viewers who remember actually using tea. I've done it before to dye paper. Now they make it in a stamp. In a stamp. It's amazing how many things, you know, like when you were talking about tools, there's ways that you can put buttons on and ribbons on and there's certain tools that help you do that to make the bow perfect. I mean, it's just amazing. All the different tools. There's no end. want to take it to the next level. Okay, so what we're going to do is we just took off the different. There's no end. There's no end. You really want to take it to the next level. Yeah. Yeah. OK. So what we're going to do is we're just took off the corrugated off this real quick. Great. You're going to go ahead and ink that. You can. Give it that look. And you could definitely enlist the help of kids to your inking if you did the cutting maybe or we do it that's how we do our holiday cards we just do an assembly line and it's fun and everybody's involved right exactly and then we all sign the back of the card you know hand made yeah so it's really inspired We just do an assembly line with a sun. It's fun. And everybody's involved. Exactly. And then we all sign the back of the card. You know, handmade. And it's handmade. Yeah. So it's really. You've inspired me. Yeah. You've inspired me to try it. Okay. So now we're actually ready to pretty much assemble our card. Great. Okay. So this and this we just go ahead and use you know regular T-SIF for it and I love this This is really like a tape. Yes, it's a tape. And it's a dry tape as opposed to the wet one. And what's nice is it's easier to use and it works nicely. And we have so many different types of adhesive. They all pretty much do the same thing. It's just a matter of a preference of the hold, you know, how you hold it and everything. This will hold. This dry tape will hold. Oh yeah, indefinitely. And the best thing that you need to look on for scrapbooking especially is you want to make sure that it's acid-free. That's your main thing. Okay, great. Okay, so we're going to go ahead and just assemble this. And I've used this flower on wedding cards, you know, wedding invitations, bridal showers, it's just beautiful. And I would like to ask you, when you have the rose on the card, what type of envelope, what would you use if you wanted to give it or could you send it? Yes, you can send it. And what happens is it does flatten out when you put it in the envelope, but once you open it up because you're using this wet adhesive that kind of dries it to a kind of like a solid piece, and when you take it out, it actually opens up. Oh, that's nice. That's nice. So you've got envelopes in the store. Yes, we sell envelopes in all colors and everything. Great. Which makes it really nice. No, it's coming together so nicely. And it was so easy. So easy. Lots of fun. I really do. It seems that the hardest part is coming up. And not hard. That's not the right word. But really the most challenging part is just coming up. Make the idea. And sticking with your decision with what you're going to do. And there are so many things out there. Books, idea books, and we have class projects that we place at the store that you guys could get ideas from. And you know, we've said this so many times just because I use this for the holidays, it doesn't mean that that's what you have to use. So even if I have a sample out there that has, you know, a baby theme to it, you could just take that idea and adapt it to what you want to. So it's endless. It really truly is endless. And it seems like the more you do it, the more ideas you have. I'm going to check mine a little bit, I think, under this. And I can fit it on there. So that kind of gives it that, I like this card, because it gives it a little bit of a distressed look, but it's still pretty to it. And so if you actually wanted to add your spray afterwards, you can go ahead and you know add a little bit of glitz to it. To give it even onto the paper itself. Yeah, let's try that. Let's see what we get. It gives it that whole distress look. The whole distress look, right. Really was easy. It looks much more complicated than it is. And that's what happens is I think people think that. But you know once they try it they see how easy it is and how like you said you could get such pretty ideas. I just can't do a project without you. That's what I need. No really. It's just if you think of it in terms of layers, it's really. It's really. I mean it's really easy. And like we've said all this stuff is household things. So it's you know the only thing that actually even cost me would be my paper and then maybe a little bit of extra. A extra. And I should mention that you have a website, at ediseasgraphbooking.com. Correct, correct. And Vivian has generously offered viewers of Art Studio a 15% discount if you mention Art Studio and a special gift. And then when you go on our website, we have our class schedules on it. We do a newsletter every month to kind of tell you what's going on. We have different events. We have all day crops that you can come in and scrapbook all day. We do it from 10 to midnight. Believe it or not, all these women love to come in. And it is just a nice way. And plus you get so many great ideas and inspirations from other people. From other people. Which is really nice together. and do people bring their books in as well? Yes, people bring in their books and they work on pages. There's certain, you know, everyone works on different things, whether it's a vacation and they work on pages. There's certain, you know, everyone works on different things. Whether it's a vacation that they've just had a holiday book. I mean, you can theme your books to anything. I mean, you can theme your books just to chronological order of your life. Wonderful. kids' lives. Wonderful. Vivian, thank you so much for sharing this technique with me. I just love it. I think it's beautiful. Thank you. Thank you. If you want more information about today's craft or A-Z scrapbooking, please call us or email. much for sharing this technique with me. I just love it. I think it's beautiful. Thank you. Thank you. If you want more information about today's craft or A-Z scrapbooking, please call us or email us. I'm Lisa Loll. Thanks so much for watching Art Studio. We'll see you next time. I'm going to put the I'm going to do it. We all have a vision of that perfect smile, but we need an orthodontist who has two to three years of specialized education beyond dental school. For a healthy smile, see in orthodontist no later than age 7. For more. Please visit facebook.com forward slash Operation Welcome Home and fill out the form under the Welcome tab. Operation Welcome Home helps California veterans successfully re-enter civilian life by connecting them to employment, education, housing, health and other benefits and services they have earned. From one veteran to another, thanks for your service. Music Jazz notes is brought to you with the support of Catalina Bar and Grill and the Los Angeles Jazz Society. Coming up on Jazz Notes, two master guitarists blend Flamingo style with Middle Eastern music to create a whole new world of music coming up on Jazz Notes. It's Jazz Notes with Doug McIntyre, conversations and music with the people who make them. And now from Catalina Barron Grill in the heart of Hollywood, here is your host, Doug McIntyre. Today on Jazz Notes, we have two master guitarists who blend wild styles of world music with American jazz. Hi, I'm Doug McIntyre, and it's a great treat to welcome to the show today. Well, there are two guitar masters, and it's a truly unique sound in a town where people love to stereotype and typecast. Our musician guests today can't possibly be a typecast because they have a truly unique sound, an invention that's original to themselves and it's a pleasure to welcome to the show the guitar duo of Struntz and Farrah. How are you guys? And it's Audisheer phara. And Jorge Struts. That's right. Exactly. Gentlemen, I've just been listening to music the last couple of days and it's a truly extraordinary sound. And the story is wonderful. You were born, Jorge, you were born in Costa Rica? That's right. And then your father was a diplomat. That's right. So you moved all over. That's right, moved all over. Actually first came to the States when I was three years old and then came in and out of the States for a number of years and we lived in different... And then your father was a diplomat, and so you moved all over. That's right, moved all over. Actually first came to the States when I was three years old, and then came in and out of the States for a number of years, and we lived in different parts of the world. Latin America, Spain, England, I was brought up in all those places. So, and then finally moved here as a professional musician in the 70s. And like any great musician, you're soaking up the sounds of wherever you live. Sure, yeah, these things have a, especially when you're very young, all these things have a, there's a resonance that it leaves in your mind and your musical thoughts. And I guess my job as a musician was to try to synthesize all of that into some sort of coherent, meaningful music for myself. And it would make sense to an audience also. And then, Ata Shire, you came to the United States from Iran from Persia, there was a big immigration from Iran in the 70s, and then you were aware of where his work and you stalked him. That's true, actually I had five years stopped in London in between. I went from Iran to England for five years, and then I came to the States in 74, which was before, you know, about five years before the merge of all the Iranians in 79 to the States. And then we met in 1980. And you really saw Jorge out though? Well, absolutely. I saw him play with a band that he had before, Strason, for I was called Caldera at the Rox in Hollywood. And I never forget that night, the guitar playing and the musicians should go, the whole band was just incredible. So one restraining order in the whole act would have been a way. It would have been over. But it's wonderful because the story, as it's told, is that you quickly started to talk. You started to play just to trade chords. And you very quickly realized that you were kindred spirits. thought the same way musically. Well that actually happened in our first meeting which was about a year after I saw a Kel... play just to trade chords and you very quickly realized that you were kindred spirits. You thought the same way musically. Well that actually happened in our first meeting which was about a year after I saw Caldera de Roxy. Well it's a wonderful story. Now I mentioned in the opening that the whole entertainment business wants to typecast people and you confuse them very easily if you do anything that's different and everything that you do is different because people would say well it's Flamenco music and it's certainly Flamenco inspired but it's not Flamenco. Flamenco is all done with picking with the fingernails. You don't do that. The structure, chord structure, the melody, the rhythm, everything is different. But it does have that sound to it and it also has very strong Persian Middle Middle Eastern roots to it, and yet it's jazz. It's a fascinating combination that you're doing call and respond, you're doing traditional jazz techniques, and yet it's a very exotic sound, and yet somehow familiar. It's a wonderful blend. Thank you. Well, the jazz element was, I think, liberating to us the sense of the the concept of free improvisation over a pre-established chord cycle or or a call and response also that kind of thing and so we took some of our ethnic roots and combined them with the with a freedom that that afforded as musicians and as improvisational players which is an aspect of music which is very important to both of us is the the the free improvisation melodies. But our style of melodies, because we couldn't really, I mean, that's what we had to bring to the table. It's like we can improvise along this kind of thinking, this kind of melodic strain, which is maybe more endemic to our backgrounds. Yeah. I had a conversation, not the name drop, but why not? I had a conversation a couple years ago with the late great Artie Shaw, and he objected to the word jazz because he said, well, it's a pyjard of it's jazzed opera, it's too jazzy, and he preferred the term American improvisational music. And in a way, you've invented your own genre of music, and you have your own terminology for it. But ultimately, that's what it comes down to. It's a matter of finding a voice, and then improvising off of the structure. Exactly, right. That's been our task, really, to try to make it all together, put all that together, and then have an audience be able to identify with it and relate to it, just from an open experience with them. like here's some music that you may not have heard but we'll see how you like it you know kind of a thing The response with the audience is always been very open I would and relate to it just from an open experience with them. Just like, here's some music that you may not have heard, but we'll see how you like it, you know, kind of a thing. The response with the audience is always been very open and very interested in what we're doing. And you've been working together now for 24 years. That's longer than 10 Hollywood marriages. A long time. That's right. How do you work out your differences? and the key of a minor. No, we're pretty much of an accord and most things. And it's been a very fruitful and easy relationship, I think, that I've had with our key very brotherly and gentlemanly relationship. And it's worked out in the professional sense and every sense very well. Now you have some fabulous musicians who play with you and a unique instrumentation. You have a bass player. You also have a percussionist who actually thumps on his seat, which I'm fascinated by. I did that at the dinner table in my father's to send me to my room and he's getting paid for it. That's right. That's right, the fabulous jazz violinist. Why don't you tell us who these fine players are? on base playing with us today was Elisio Borreiro. He's from Puerto Rico. And... Why don't you tell us who these five players are? Sure. On bass playing with us today was Elisello Borreiro. He's from Puerto Rico. And on percussion, we have Jimmy Branley, originally from Havana, Cuba, who plays di Cajón. I mean, he's a great trap drummer. That's really his forte. But with us, we need a smaller sound for the guitars, which are more of an intimate sounding kind of an ensemble, but kind of a music. So he conforms to our musical needs and plays the Cajon, which is the box, which is basically an idea that was originally involved in probably Peru, an Afro-Perovi music. And there's versions of the Cajon also in Cuban, Afro-Cuban music. So, and the Kahone is the very useful instrument. You can sit on it, you can put your clothes in it, you can play it. It's great. And it sounds great. And it's got the top and the bottom's got a bit of a snare to it, you know. And he plays that in the bongo with us and some shakers and stuff. And then on violin, Charlie Bischer, who's from LA, joins us in an excellent musician, much sought in the studios. And any place sometimes he fills in it with the LA Philharmonic. And they need extra violin. Well, I'll tell you, talking about music can be interesting, but it's kind of like sex. It's a lot more fun to actually do it. So why don't we step aside and let everybody hear the fabulous work that you do. we are talking with struntz and Farah, Jorge Struntz and Areshiar Farah. And they're going to play two songs for us with the group, Real Day Chloris, which means River of Color and Vella, which means Vella. I'm Doug McIntyre. This is Jazz. No, it's a room for a treat. Come on back. Plastic's last longer. Work belly is closed steady due to speculation and demand for bacon related products. Leave me this one daddy. Currently. The last art kids get. The more it shows. Are yours getting enough? Art. Ask for more. AmericansForTheArts.org. Okay. One, two, three. I'm going to put it on the top of the head. I'm going to put it on the top of the head. I'm going to put it little bit of the same thing. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to make a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to have to go. I'm going to have a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a Thank you. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to make a little bit of the dough. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit more there. I'm going to play the game. I'm going to have to go. I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a music I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to put it on bit of a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm a full-ass soul. Thank you. Thank you. Thank you. Thank you. Hey, I got a full-ass soul and a cracked crab for a Mr. Studied Higher Math back in school and now can order expensive lunches and charge it to the company. He's in a meeting. I'm his never studied algebra, calculus, or any other kind of math now I'm stuck in this dead-end job assistant. Can you sign for it? It's about the only thing I'm popped to do. That and answer phones for Mr. AP Calculus and number theory expert with the big office upstairs. Have a good one. You too. Welcome back to Jazz Notes. I'm Doug McAter, your host and you just heard our guests out of Shia Farah and Jorge Estrants playing two compositions, Real Day Chaloris and Vela. And it's got all that flamenco sound. It's like Charo without the plastic surgery. No, it's a wonderful sound and truly unique. And you know, when I was a kid growing, I mean, look at me on the whitest guy in the world. But when I was growing up, we had record stores. And you'd go in and there'd be some Beach Boy records, and this would be some Beal records, and you had your Andy Williams and your Sinatra. And that was pretty much it. And now there's a world music section everywhere. And you can get Ethiopian music and Scandinavian music and everything. And in some ways, I think it's got to be just the greatest time to be a musician because everything is open. That's right. It's a great time. I mean, the other... music and everything and in some ways I think it's got to be just the greatest time to be a musician because everything is open. That's right it's a great time and the availability of all this world music and music from different cultures and the fusions and the collaborations between musicians of different cultures is I think something that's very interesting and fascinating it's in its heyday I think at this point, it'll be a trend that continues. Now, it's interesting. A lot of musicians, they pick a place to work. And as long as there's an airport, I guess it's okay. But why Los Angeles? Why base yourselves in Los Angeles? Well, we found ourselves here individually. I was here, I mean, I met Artichard here, so we didn't know each other before. We moved to Los Angeles. I had moved out here from the East Coast where I'd lived for a number of years and I went to school there in Washington, DC. And then I decided as a very young musician that I could find the resources I was looking for musically speaking on the West Coast easier than I could on the East Coast. And so I moved out here. And a few years afterwards, I mean I had a band that was called Caldera Recorded, Four Records for Capital in the late 70s. And then Artichard and I met in the in 79. And the idea of two guitars, two chairs as a beginning of a music, it was very attractive after working with tons of gear and we needed roadies to do rehearsals. It was getting to the point. It just got someone to feel the roadies gets very expensive. Very expensive roadies can be good in this, yes, we need. Yeah, that was very dis-support. That's right. There's also Los Angeles being the city of tremendous diversity that it is. It's also almost like being in the world music section of a record store 24-7 in Los Angeles. It's in the resounds in the city. It's very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, very, And from that perspective, it was a very cosmopolitan place. And it's beautiful California. She's the reason why I originally came here to go to the center of music, the center of world music, like you're saying, and to California. And I was accepted in the center of music, the center of world music, like you're saying, and to California, and I was accepted at the University of Southern California originally, which is what brought me here originally. And then after I graduated, I started working as a professional musician. And it was great to be in California because we met and this whole thing happened. You knew you have a new CDL called Desert guitars which taps more into the Middle Eastern flavor of what you do. It's a compilation CD. It's a CD that's a collection of the pieces that not all of them, many of them probably some of the best pieces. And in the Middle Eastern vein that we've done over the last 25 years. So it's called from all the recordings that we had going back to 1980. A plus a bonus track, which is brand new on it. So it's really a compilation CD. And we're working currently on a production CD. That is a new production of all new pieces to be released early next year. You've also, besides your touring career and your recording career, you've also played with other artists, many in the world music category, but you've also worked with John Baez and many times with Jackson Brown. And I can imagine that other artists would hear this unique sound and say, oh, we've got to have this. We just have to figure out how to make this work. It's true. And it was interesting that we collaborated or we accompanied Jackson, for example. You wouldn't think that it would have come from the pop world, but in that case it did. I mean, a pop, a famous pop singer was intrigued with the sound and had us, we did several tours with him and played on some of his records and it was an interesting mixture of elements as you can see because normally popular music is not that instrumentally oriented. If you know what I mean, it tends to be more vocally oriented. And so to have some instrumentalism in it, I think, was kind of a bold move in his part and certainly we enjoyed working with him. Well, the music of Jorge Struntz and Adesir Afara is not only good for the ears, it's good for the eyes because it's a visual treat to watch them perform this magnificent music and support it. Come out and see them perform live wherever they are and get those CDs so that they'll make more of them. It's been a great pleasure meeting you and listen and in senior work. Like my sister. And thanks for being with us this week and join us again on Jazz Notes is brought to you with the support of Catalina Bar and Grill and the Los Angeles Jazz Society. I'm going to get the I'm going to get the the the the the the the the the the the the the the the the the Your marine cause way of life is to defend the American way of life. Every day we take a stand for our nation for each other for us all. The few, the proud Music I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient. I'm going to be a little bit more patient some people to come and do a mission trip in Vano Watto. Most people don't know where Vano Watto is. Yes, I know. But Survivor made Vano Wat to very popular. Beautiful, beautiful place. But I remember we went there and we prayer walked the island. We were supportive of the ministry they were doing and it just changed my life. I thought this is incredible. I came home with a new energy and a new thinking about maybe there's more to life than just going to work five days a week, coming home, looking forward to weekend, coming home and you know, and it changed my life. I read a couple books, missionary books that actually impacted me and Vannewatt to change my life. I was born in 1951 to my mother, Eleanor and Paul Schaeffer. I was the last of three children. My mother wanted to stop with the two boys and my dad really wanted a girl and there I came along. I was a daddy's girl. I can remember dancing when I was little on his feet. We would dance around the house and I would stand on his feet. I was his little princess. My dad had a machine shop. He was a machinist and actually my mom worked in his machine shop with him. It was a little mom-paw machine shop in Paramount and they worked well together and after they got married my mom felt like there was a need that she needed something and and she went to this little tiny storefront church on North Long Beach Boulevard. And that's where they planted themselves and were very active and that's where they stayed. I adored my mother and dad. I mean, I really did. I mean, they were good people. And it's because of my mother that I believe the work that we're doing now is all because of what I know she started many years ago. With her deep rooted faith and involvement with the church, Sherry Roberts was destined to follow in her parents' footsteps. In 1966, my mother was watching the Rose Parade. And there was some horses that came by and they all had silver, silver saddles, silver ornaments on their horses. And the announcer said, 50,000 dollars worth of silver. And this was in 1966. And my mother said she threw up her hands and she went, oh my goodness, how many churches could we build for 50,000 dollars? And she said at that moment, she felt God spoke to her and he told my mother that she was going to be instrumental in building churches all throughout the world. And a new mission was manifested. Sherry's mother decided right there in DEN to create as many churches as possible. My mom, she would even do things like swimathons. My mother was a big lady, like myself. And her last swimathon was an eight age 78. She made the cover of the press telegram and Long Beach. And people would come and they would pledge money. And her last swim, she raised $10,000 to build a well in El Salvador. So besides the churches that they built several wells, they built pasture parsing niches, even orphan niches. 168 churches were built all over the world, including Haiti, China, Uganda, and so many more. Sherry saw her parents' hard work firsthand. When my mother mother was building these churches, I will say I was resentful because I didn't get the name brand clothing, I didn't get the nicer things and I was resentful because I actually thought you know my mother here she is taking what little money we had from a tiny little machine shop, mom and pop business and she was so determined to build these churches all over the world. Sherry married right out of high school, she describes the first couple of years as the honeymoon stages, but the marriage didn't turn out how she would have hoped. I remember it was quite shocking because we were the only couple on both sides of our family, anybody we knew that had ever divorced. And this was many, many years ago when divorce wasn't common, so I was feeling not only shocked by the whole thing, but we were also the odd people out by having a divorce. And with three kids, Sherry found herself a single mom juggling multiple jobs to support her family. And eventually back to the place she had abandoned. You know it's always when you're down and out when you have nowhere else to go, you know, you've just got to look up. It was tough. For three years I raised them on my own with no support, nothing, and I learned to be very, I learned to be very independent. So I had many jobs. I worked really morning daycare. I had a part-time job at a church. I went to, I did ironing, I did cleaning houses. I had gone to school for two years to learn how to do cake decorating. I had many jobs. She worked at a local church doing administrative work and it wasn't long before someone caught her eye. When he was discipling with the local pastor, the pastor said, well, why don't you, you know, date the secretary out there? And he goes, oh, she's got two kids. And he goes, well, she's got three, but that shouldn't matter. So anyway, and it didn't matter. It didn't matter. It didn't matter. Ken Roberts was a musician in a Christian band and worked as a sound engineer at Disney. and he was also very involved in the church. The two fell in love and married in 1979. And five years later, they added to their family with a baby boy of their own. I really wanted them to have a Christian upbringing that I had, a Chris solid teaching. You know, I knew what they were being taught at school. You know, I wasn't concerned about them being taught things that we didn't believe. But it wasn't too long before there was another child for Sherry to take care of. I went to this Christian conference up in Los Angeles and the World Vision was there. And they had all these tables, the tables spread out with little children that needed to be sponsored. And I remember looking at all these children and I'm going to think of sponsor one of these kids, you know. And the whole day they had people come up and say, I was actually able to go visit my sponsor child and it was such a change, you know, what a change in my life getting to meet them. And I thought, oh, I would like to do that. So I picked up a little girl and I remember she had this frown. It was an upside down frown. I mean, she just looked so pathetic, so sad. But I picked her because my husband actually naturally has a frown. When he's not smiling, his face goes down. Everybody always thinks he's mad or upset, but that's just the way his mouth goes. So I thought, I'm going to pick her because she does look like my husband. From that point on, Sherry received letters and photos from Resta Tuda, a young girl from Uganda. But she would soon find out there was more in store. There was a singing group from Uganda East Africa, a male singing group. They were in the late 20s and 30s and they had started a touring. They were going to be in the United States for a year and they started on the East Coast and they would come across and they came all the way to the West Coast. The group went by first love and Sherry felt that was a bigger reason why they landed at her churches footsteps. And when they came here our friends called us up and said these guys would like to build a recording studio in Uganda. You want to come over and talk to them so my husband did, he got to know them, they He talked for like for like you know Off and on three days and he did a demo tape with them and everything and they at the end of the three days They said to him we think you're the person that's supposed to come to Uganda and help us build a recording studio And in February of 2004 Ken and Sherry packed their bags and took their first trip to Uganda and the capital of Compala was their new home for the next two weeks. And while we were in Uganda, the singing group they were taken as to the nice restaurants, the nicest places. I mean they were keeping us away from what I would call Uganda. I mean I would call the majority of how Ugandan's live and I remember they were building the studio. He was finishing the inside. They were soundproofing it. And I decided to take a walk. Once we got into the villages and saw, you know, how people live and, you know, no electricity, a lot of them no electricity. Having to walk a couple of miles to go to get water, to pump from a well. And it brings the Bible. Actually, to me, being in the outskirts of a city, I feel like I'm living in the Bible times. You hear about people washing, the Bible talks about washing the dust off your feet. Well, there's dust everywhere on these red dirt roads. And so before they go in, they make sure their feet are clean. And the goats and the animals and the sheep and going to the well and getting your water and it's just you could turn back the clock two thousand years ago and you wouldn't even know it was two thousand year two thousand seventeen when you're in a village and it was also during her travel that she met the young girl she sponsored and then they brought out rest to Tudor and all these children, their eyes were like this. Just who's this white lady coming to see rest of Tudor? And rest of Tudor was a very shy withdrawn little girl. And I remember hugging her and then I would sing a few songs with the kids. And so then we went to her home and they had prepared us a traditional Ugandan dinner and it was just amazing. I mean I was immersed in this African culture and I decided to take a walk over there all houses have compounds. You're always in you know there's always a gate around your house and I remember saying I'm gonna go out and I'm just gonna go see who's out on the streets in the neighborhood and what I could find. And so I remember I had a few little rubber balls and some candy and so I walked out and of course all the all the Ugandan children they see you and they run up to you and they want to touch your skin, touch your hair and you know just just just to see somebody you know that's different than them. And I remember I met two girls, and these two girls actually changed my life forever. They told me of a story about when they were 9 and 11, at this time now they're 12 and 14 when I'm talking to them. But ages 9 and 11, they had been kidnapped in the middle of the night, watched their father be hacked to death in front of them, and their mother being attacked and probably more than likely raped. They never used those words, and the entire village burned to the ground. And they were taken into captivity, that ages 9 and 11. And I remember hearing this story, and I'm like, I've never heard of anything like this. Well, it's the story of the Rebels, Joseph Coney, which was very popular in 2012, the movement. It's the story of how the Rebels came in and just kidnapped children and forcibly put the boys into the army with their guns and the young girls were used to sex slaves. And they talked about how they told me their story of what happened to them. And I remember I was just in, I mean at all, I've never heard anything like this. I didn't know these kind of things happened in the other places of the world. Sherry left Uganda with a heavy heart, but an intense passion to help those she had met. When we come back, find out how Sherry took an entire village under her wing. I'm sorry. Thank you. you Sherry Roberts believes everything happens for a reason. He was touched by the stories, the culture, and by the people of Uganda. And now was her turn to leave a mark on them. I started thinking, there's no reason why children should be abused in such a horribly way. And I thought, I'm just going to put these two girls and pay their education I'm gonna put them in a school and that will be it nobody there knows about homeschooling but I thought I'll hire a teacher and I'll just find a place and we'll just buy materials and we'll just educate them that way but in the meantime there was this little Sudanese family just outside of the guest house and this little Sudanese family had some children that were not going to school because public education at that time was not free and so They had these children and I thought well I could take those three children even though they were like 712 and 16 different ages everybody was different ages But I will take them and I'll educate five children. I'll do my good deed and I'll educate five children and And different ages. Everybody was different ages, but I will take them and I'll educate five children. I'll do my good deed and I'll educate five children. And I remember going up to the local pastor in Askingham, can I have a corner of your room? You know, if I can pay rent, if you want me to, and he said, no, that's okay. We got all the school materials. I found somebody to teach him. And the first question they asked us is, well, what uniforms are we going to wear? And I'm saying there's only five of you. It's a home school but we must have uniforms So Kim was working at Disney and so we ended up buying Surfing mini Mickey shirts and dresses for them So they had these powder blues surfing dresses and shirts for their uniforms. looked really cute. What started out with five children being home school is now we're officially a school New Creation Center. I like it because now the Bible verse talks about new creatures in Christ to the oldest past and the new. And so these are children who it's the old is past and now they have a brand new start, their new creations. At that time we had bought land outside of the capital city about an hours north of the city. When we built the land we decided we would slowly close down the school in the city and eventually build the school for the village children. And so what we did was we stopped we stopped bringing new children in but we kept the grades going and then slowly but surely it got to where there was only four grades and three grades and two of them was the last grade. So we did it that way. And February of 2017, that school was shut down a year ago and then we opened the brand new school. And it's the same name of the school. Yes, we kept it new creation center but we call it new creation center Grace Land. Grace Land is our land that we live on. It's our 11 acres. When Ken and I were trying to figure out a name, we wanted to have a name for it. We were coming up with all these names and I jokingly said Grace Land. Being a musician musician, he took to it, but I look at it as God's grace on us, He poured His grace on us so it's our Graceland. So no, it's not in Memphis. And the King does, and Elvis doesn't live there, but the true King does live there. So we provide them with everything. We run it as a co-op and what we do is we ask a member of the family be it the mother or older brother or somebody in the family to come and volunteer to either help clean the classrooms for a week or come and help wash up and prepare help with the meals for their breakfast and lunch wash up. So and it's actually worked very well. I didn't know how it was going to work, but they know that if they want to keep their kids in the school, this is how it's run and they want their children so desperately to get a good education so they run it. So our first parent teacher meeting, well actually it was a parent teacher conference or whatever, We had a meeting. The kids came in and performed and everything. But we had a hundred percent attendance. Some say giving aid to less developed countries can be counterproductive. But Sherry says loving one by one is different. The ladies are learning how to do various crafts, various things that they can earn their own money. So we just brought back home their little scrubbies. We'll throw a picture of them and their little scrubbies that the ladies had crocheted. And I sold out within 36 hours of posting it on the internet. We sold 220 sets of the scrubbies that the ladies have made. So the day we presented them all with their money was such a fun day. We're not only working with the children, we're working with the entire family and we have made, I can't say we have, I'm gonna say God has made such an impact in this village that we're in and the surrounding villages. My husband and I, we built a home a couple years ago when my parents had passed away, They left me a small inheritance and we took that money and put it into building a home, which we also use as guest housing for the people who come. Sherry and Ken were now spending six months out of the year in Uganda. On top of that, bringing groups of 12 to 15 of volunteer, working in traveling medical camps, orphanages, and in the schools. And we go into a slum or a rural village and we will set up a traveling medical camp and people will come. We don't even need to advertise. I mean, they see us coming, our bus coming and they know this is the time they're coming and we will see anywhere. Our largest clinic was 1300 people in one day and we'll see on average maybe 800 people in a day and our doctors will treat them we have a full-on pharmacy to date the medical group has done more than 300 surgeries. The 6000 square foot medical clinic that we're. It kept getting bigger and bigger as we were building. I'm not sure how it got to be so big, but it's more like a hospital now. We'll have eight beds for those that need to be staying longer. We'll do deliveries. We won't be doing any C-sections or any major surgeries, but we'll be able to treat the typhoid, the malaria, the common illnesses that are so prevalent in our poor village and the villages around us. The plan is to open new hope medical clinic in 2018. Part of the mission work is also to spread the word. Sherry says she owes God for everything that she has and she wants to continue to share his teachings with the world. We are excited about right now we have two pastors from Wisconsin Wisconsin and they're coming and they've devoted two years to teaching our local pastors how to be better pastors. Possibly next building will be a combination community center slash pastor school because we're in just the early stages of these two weeks, two years of training and it's really, really been helping these pastors. We keep hearing great stories. Wow, I never know what my goal is. That's the thing. Just when we finish one thing, God somehow miraculously lays on our heart something else. I do know one, okay, I should take this back. I'll take it back. We do have a goal. Our goal is instead of giving a hand out we want to give a hand up. Another highlight we have is we have people that come on our mission trip and they want to rededicate their life to Jesus. And so we do a baptism in the Nile River which is pretty cool. So we always take a boat ride on the Nile River. I always say if you take the motor off, that's like, I think Jesus might have been on these boats, these old wooden boats, but this one has a motor on it. And so we generally will have anywhere from a couple of people wanting to be baptized in the Nile. And Ken one time got it, he says, As you know, your mother built the churches and we're building the missionaries by the people coming with us and seeing what we're doing and working alongside of us, we've had many people go into full time mission work from coming on our mission trips. So she built the churches, we're building the missionaries. Loving one by one ministries purchased 11 acres of land to better meet the needs of the children and residents in the surrounding villages and called it Graceland. A new and bigger school was built to accommodate the growing number of students coming their way. And Sherry is proud to say that Graceland is green and uses water from its own well. Sherry's goal is clear to continue her mission to serve children and families in Uganda by bringing Christ-inspired physical, spiritual, and educational changes into their lives. For faces of torrents, I'm your host, Jesse Pierre, speaking to ordinary people doing extraordinary things. What if you had to stop televising your council meetings when your government acts as chairman? What if local high school sports, junior high school spelling bees, or the school board meetings, but no longervised in the educational access channel. And what if community nonprofits, local churches, religious organizations, and individuals could no longer have their programming on the public access channel? That means no more candidates debates, no senior programming, no health shows, no distance learning, no more police or fire department safety programming and no community parades or fences. All television programming for and by your community gone. And that's exactly what's happening across this country. Public, educational and government access television is at risk because of mass lobbying efforts by the cable and telephone indifference. Cities and towns across America have already lost well over 100 television stations and stand and lose as many as 500 in the next couple of years. There is a solution to this loss of our important local community meeting. The Community Access Preservation Act or the Cap Act. The Cap Act will protect and preserve PEG access television so communities like yours can continue to have this valuable local resource. Here's what the CAP Act can meet with your municipalities. This federal piece of legislation is critical to the survival of PEG access television. And communities across this country. And communities just like yours. American Community Television is working hard to get the CAP Act fast. But we need your help to get this legislation passed. We need you to call or email your congressman and your senators. And tell them your community wants and needs PGG access television to stay connected. We need you to tell them to support the cat-backed. To more about the cat-back, go to the Act Now section. At A Community TV, dot org. To see what you can do. The cat-back deserves every store's pay access television support without federal, state, or local government money. Together we can make sure that our communities continue to have the power to communicate. These over 5,000 public educational government channels broadcast over 1 million hours of new programming a year. As a viable source of local information, pigs help create stronger and more vibrant communities, one of the most important foundations for small and local businesses to drive. They educate the public, inform citizens, and provide a platform for talented individuals. you I'm going to go to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I can't change Even the fight But but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but but And if I wanted to, my love, my love, my love, she keeps me warm. She keeps me warm. She keeps me warm. She keeps me warm. I can't hang even if I try, even if I wanted to I love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my love my to My love, my love, my love, she keeps me warm She keeps me warm, she keeps me warm She keeps me warm, and I can't hate Even if if I try Even if I wanted to My love, my love, my love She keeps me warm, she keeps me warm She keeps me warm, she keeps me warm She keeps me warm, She keeps me warm. She keeps me warm. She keeps me warm. My heart doesn't see race. Love has no age limits. That's my race. We are neighbors and best friends. We all have different religions, but we have universal love as well. I love my sister. Love is love. Our family is no less than any other family. I'm not crying on service because I'm not crying on service. Paises shut. Love is crying. out. How far would you go to help someone? Would you cross the street? Would you cross an ocean? Would you go if you could use your... music I'm going to be a little bit more careful. I'm going to be a little bit more careful. I'm going to be a little bit more careful. I'm going to be a little bit more careful. Trash. Trash. Wait up. I'm not a fan of the music. Bob Minnickelli never expected to spend his free time on stage as an actor. He was exposed to the early on. I was certainly involved in music growing up played the piano on stage. A lot of performance there and with high school chorus. But when the East Coast native attended a Broadway show with his parents, he fell in love with musical theater. In fact, the very first show I ever saw was Fiddler on the roof in New York City. It's still never crossed Minnekelli's mind to take a role on stage until he started working at the Aerospace Corporation in El Segundo. Shortly after, he joined the Aerospace Players in the late 80s. Where I was working the soundboard backstage. So it was another one or two shows after that that someone can miss me to get on stage and I haven't gotten off since. Here in an on stage role a couple of years later as one of the ball players in the production damn Yankees. Since then he's taken on lead roles and learned from a well-known theater director in the South Bay. Sally Stowe was helping out with some coaching for the actors and so I've benefited from that quite a bit. She's really amazing. Unfortunately she passed away last year. Minickelli also works behind the scenes doing everything from producing to operating the lights to directing. I really enjoyed directing Cabaret when I did that a few years back. That really kind of requires the most energy I think, at least sustained over the whole period of preparation. The aerospace players perform one to two productions every year, six shows each. Minikelli has been with a group for 27 seasons. He says nothing quite compares to performing for a live audience. Certainly the thrill you get of being in character on stage is kind of unequaled. You really get to become someone else. Which he says is different than singing for others, which he does as part of his church choir. Puy was so low or something, a church. I do get nervous because it's me. It's putting myself out there. When I hit stage, I'm not nervous at all. I feel like that character. And so it's not me that's out there. It's Tevia in this case. So once you watch from me, go on, not be wed. And tell my beard, and uncover my head. That's the lead role in Fiddler on the roof that Minnekelli played during a recent summer production with the aerospace players. He also performed that character with a group two decades earlier, but that's not his only favorite role. One of my favorite roles to play was Judd in Oklahoma. the very darkness of that role and I just found it kind of thrilling to be that personality for a couple of hours on stage. Minicelli says each production takes a lot of work, especially Fiddler on the roof, which are in turn an excellence in arts award for drama and theater. It's a huge multi-team effort and integrating that all on stage is part of the excitement. He says he's honored to receive the award which he got at the same time as a Torrents Performing Arts Consortium award. I'm grateful to the late Shalom Alaykum for creating the great character of Tevya and developing those compelling stories that just sucked me into that role. The second time, right? Minikeli says the honor is more about all the work that went into the show. Think what it does symbolize is the impact of the aerospace players and I think the mission that they have for a kind of a strong show. Particularly this one I think it did hit home for a lot of people. Minikale is already looking forward to the next production with the aerospace players called Susical. Precile and Sonarts, I'm Renee A. Music you Thank you. I'm Ben Yutek, a I played high school, college, and pro football, helping my team win the 2006 championship. That was an amazing day, but I can't compare to the joy I feel every day with my loving wife and three beautiful daughters. My football career ended after I suffered my fifth concussion. Did you know that over a million athletes suffer a concussion each year? That includes boys and girls, every age, every type and level of sport. It isn't always clear that a player has had a concussion, so parents, athletes and coaches need to learn about concussion science and symptoms. The American Academy of Neurology recommends athletes thought to have a concussion be immediately removed from play and not returned until assessed by a healthcare professional trained in concussion. This isn't just about sports. It's about your brain. When in doubt, sit it out. Learn more at AAN.com-slazhe-concussion, a message from the American Academy of Neurology. The whole purpose was to give to the city of Torrance to have the community come here, have the community enjoy this to see that Torrance is a little lacma area for its area. So Jody Wiggins a painter and a teacher set out to make that dream a reality back in 2011. Max Presnell that is director of the Torrance Art Museum had a group and said that he wanted to promote the arts in the city of Torrance and he needed us to find a location. She says she heard many knows but the South Bay Lex's dealership agreed. We actually hosted a rather large art show back in 2011 so three day event over a holiday weekend and everything from exhibits inside this building inside actually the large hall in the back and then there are 50 pods that's when Bill Messenger, the service and parts director for the dealership got to know Wiggins. He says after the show finished, they were face with blank walls. Got a hold of Jody, who happens to know everyone in the business and say, what do you think about having local groups, local talent, showcase their works on the walls? And I said yes and so there are a group of five of us and then the group diminished or tatted and so then people at first were very hesitant. They weren't sure about the situation but then it caught on. Now the dealership hosts seven art groups a year showcasing work for two months at a time. They have a reception, they do their own postcards, they make sure that the artwork is properly presented and then I check everything. I'm happy with whatever Jody has planned. Jody actually puts a lot of thought into the theme. If you're over there and you look at these two pieces, they jump out, you like HD and then the sunflowers or the suns. So that makes it so vivid. The various themes have helped boost the show's popularity among artists. There's a waiting list up until 2018-19 and I'm really, really happy about it because this is an incredible facility. It's free to do the artwork. Customers and even dealership employees have grown used to seeing it. When the art comes down in between shows, there could be one, two, three, or four days where there's no art up. And customers ask us when it's going back up. Our employees now ask when is the art going back up? If any artwork sells 25% of the proceeds go to the Schweitzer Learning Center. The only reason that the first show was able to be here is the Schweitzer Learning Center gave us their 501C to use for donations. The support Wiggins and Messenger have given the art community was recognized by the Cultural Arts Commission. They were both awarded the Excellence in Arts Award for Visual Arts and Design. I like being behind the scenes. I like making sure things go smoothly. To be recognized for that has been pretty special. To have the award represents the community of Torrance and it represents South Bay Lexus, which has been absolutely wonderful. It's clear the two have a great partnership when it comes to the Lexus Art Group shows. A very special thank you to Jody Wiggins. Without Jody's continuous support and monsters efforts, these shows wouldn't happen. They are gorgeous shows. They're wonderful people. They make us happy at the store. So through the arts, so many people are happy. Every time they walk into Lexus, they're like, wow, new work. So I want to thank everyone so much. Thank you. Thank you. Moving forward, Messenger is happy to continue providing the space. Wiggins, hopes to spread the word so even more people will see the art shows, which are open to the public. I would love for the schools of torrents and all around, the space, Wiggins hopes to spread the word so even more people will see the art shows, which are open to the public. I would love for the schools of Torrance and all around to be able to come so the children can see, but also that their parents could come because every single show is successful, every one of them. For Excellence in Arts, I'm Renee Eing. Devastating house fires are often caused by something easily preventable, such as improperly using or storing solvents around open flames, pilot lights, and other types of ignition sources. New regulations to protect our region's air quality require the reformulation of thinners and solvents to make them much less polluting. Some of these new products may be more flammable than solvents you have previously used and need to be handled with care. On behalf of fire marshals throughout Southern California, please continue to follow these simple tips when handling paint, thinners, and solvents. Use solvents only in well-ventilated areas. Use and store all solvents away from flames, heat producing appliances, and ignition sources. Remember to install the cap on the solvent container when not in use. Properly dispose of all such liquids at hazardous waste sites. Never pour them down the drain as they are toxic to the environment. Follow the instructions on the label. Please use all solvents and thinners responsibly so you can avoid this happening to you. I'm going to be a little bit more careful. This music group is definitely ready, willing and able to sing. We have a very mellow sound, so it's a very easy, delayed back vocal production. I never saw the sun shine to the bright. I never saw things just go as a ride. bass singer Jim Campbell is one of four people who harmonize with the group, ready, willing, and mabel. He says the relaxed vibe. The way that we interact on stage with each other and the kind of a very natural style that we have, it's not put on, it's very laid back. The four have been singing together for over 10 years all across the South Bay, focusing mostly on music from the Great American song. What of the songs we do are from 1930s, like putting on the rits by Irving Berlin is a great one that we do. Come, let's make sure rock of hell looks long, we sticks, or rock of hell it's in their midst, but not really. You try to step off and not do the same thing over and over again. So in the last couple of years we've formed a big band, we have a big band that we sing with and that music is, you know, 20s, 30s, 40s music. It's love, there's time, it's love, who is part. The leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the leader of the we were at some party and she and Kate were singing together and we went, aha, that's the combination. So we started it. But it took us 10 or 12 years to put the group together. From New York, from New York. Kate Walker, who sings alto, is another member of the group. There's no better way to like experience singing with a group of people. It's a lot less stressful than singing solo. So much fun that the group says it's really more a labor of love. We do it absolutely for the love of it. We're passionate about close-how many singing and about the chords and the music and the arrangement. McLean says they rehearse every week for about three hours at a time. Collectively they have 100 years of experience in in close harmony singing. We're pretty diligent about keeping up with a new music and trying to keep perfecting our craft. Their hard work paid off when they won an Excellence in Arts Award for Music. The group had not received a cultural award before, so that was quite an outstanding thing to happen. Well, I was very proud. I thought we spent a lot of time in this community and Reddy Wringham-Mable have had a long standing history here. Mclean says it took a long time to find out perfect blend of voices. We sing purely chords. So for us, that we found this, you know, awesome that has this great blend and this great vocal chemistry, that's what really holds us together. Even swapping out one singer can change everything. Because if you even replace one part, it's a totally different sound. The way voices blend, you just can't take four singers and put them together. I mean, they may be great but they're not necessarily going to make a good sound together. But when ready, willing and mable sing, you hear the perfect blend. Oh blue birds, blue birds sing a song. Now the blue birds are the only one blue birds sing a song. Hopefully the joy that we exude in performance would carry across the footlights. Performance which is best heard in a venue such as the Armstrong Theatre where they've performed many times. What you really want to do is you want to hear the group one foot away from you so you can really then hear how everything blends. The best compliment to me is when somebody listens and then comes up and says, I love that song. Then you know that they were listening to the song, they were listening to the music, they were listening to the message of the song, and not distracted by the mechanics of how you use your instrument. As for the group's unique name, we have a vintage microphone, so maybe it's the name of the microphone. a tool that carries the voices of four talented singers who hope they leave audiences with a positive impression I would hope that we come away with something pleasant and also an appreciation for the preservation of the music and For the some of the greatest songs ever written from now on. you I'm going to be a little bit more careful. I'm going to be a little bit more careful. I'm going to be a little bit more careful. The No More! The Jones Don't Jump No More! The Jones Don't Jump No More! A message from the American Academy of Orthopedic Surgeons. Visit orthoinfo.org. The Times ain't so no more. I still got it. The sound of dancers feet keeping pace with classical music as a familiar sight for Diane Bradley. Growing up with parents were both musicians, she always knew how to keep a beat. At the age of three I couldn't actually walk with my feet flat on the ground, I was always on my toes, so I started at local dance school. That's what I didattlee grew up in London and danced for several years before training with the prestigious Royal London Ballet. She's performed at the Royal Albert Hall and Royal Opera House. I had danced for quite a while and decided that I really would like to teach and I became certified to do that and I went on from there. Rattlee started teaching at the age of 17 in London and at several local colleges. She eventually immigrated to the US settling in the South Bay. Ratley says she thought about giving up teaching that lasted all of three weeks. I freelance for a while and I work to Elk him in a college and various places and then I decide I just need to have my own studio. In Torrance, she launched the dance center, which she's run for over two decades. The Roddinghills Plaza is where I started. Yeah, and then I went to Madison Park. That's where my other studio was, and then I came here. Her current studio is right off hot-thorn near PCH, with 80 students learning all types of dance. Riley Prides herself on teaching students not only technique and discipline. I teach them respect and dance etiquette and we just have a lot of fun with that as well. They don't always get that, you know, in their regular schools. Along with some useful life lessons. Being able to be a team player because, you know, we need that. The lifelong lessons, Riley teaches her students, earn to an Excellence in Arts Award for dance. It's not just the students who bless my life. It is also their parents who support me. They have become my extended family and I do not know what I would do without each and every one of them. They are the reason the Jant Center has been a success." Rattlee, who also won the Excellence in Arts Award for Performing Arts in 1997, says she was happy and honored to receive the award and left a big impression on her. It's the fact that you realize that you really are in a community and people do recognize what you do. What she does is leave her dancers with self-confidence. I think when they go out in the world they need to have confidence and discipline and responsibility that could then they can take on anything. Rally says the discipline and responsibility she learned as a dancer came in handy for many of life's challenges. Now she's happy to help her students learn those skills and watch them progress. When they learn their pirouettes, their frettos, and to see that they realize all the hard work that they've put into the training is paid off. Rattlee's students have gone on to become professional dancers, lawyers, doctors and teachers. For Excellence in Arts, I'm Renee Aing. For every pound you lose, that's four pounds of pressure off the knees. To find out more, go to fightartrightistpain.org. The art has just been a passion in all my life. A love that's carried excellence in arts winner, Jeanine Ferguson, through her 15 years as a cultural services supervisor for the city of Torrance. She applied while she was working at the Palace Verde's Art Center. A lot of programs that I couldn't do up there that I thought maybe I could try here in Torrance. It also gave her a chance to apply her background in the arts. She earned a master's degree in public art studies from USC. Ultimately, became a painter and a printmaker in school and then, immediately afterwards, I worked in interior design and in a lot of space planning and that kind of thing. She got the job in November of 2000. Ferguson grew the visual arts programs for five studios at the Cultural Arts Center and expanded offerings for children. We brought in a new contractor that started a visual arts program for the three to five seven year old group. We added quite a few children's instructors. Ferguson says she wanted a balanced program and added more teachers. I do think that the children's program grew tremendously. Especially in the summer we had about three new instructors that we brought on. Summer is the busiest quarter with up to 500 children enrolled in classes. Ferguson also dropped in on courses to make sure both students and teachers needs were met. Teachers very special because then they have that gift of being able to communicate to another person how to do that. So there's, you know, several different things involved with that. She also hopes children learn the basics of shape, form, and balance in art classes. Something the youngest students may not understand right away. But, you know, just learning the color wheel is a huge accomplishment. And, you know, they don't realize how that's going to benefit them as they move on in life. Ferguson moved on herself, retiring from her role in November of 2015. She says she's happy with the work she accomplished for the city. In one area we had accomplished a lot with the Torrance Art Museum and I was very thrilled about that and it just seemed that this was an appropriate time. Her dedication to the arts was recognized recently Ferguson won the Excellence in Arts Award for Arts Education. It has been a great privilege to work with serious arts professional colleagues. Amazing and talented instructor teachers and the opportunity to get to know many of the students and patrons who take the city's classes. She hopes many students benefited from classes at the center. This was just kind of another opportunity to share art and expose people to a good quality lesson of learning the basics and primary areas of what is good art. And even though she wasn't teaching, she feels the validates her vital role in coordinating programs and hiring educators. You know, all of those things were very important to me. You know, I did want to do a good job in all of those areas. She hopes classes like those at the Torrance Culture Arts Center will inspire artists to keep pursuing their craft. The arts have such a huge value of being able to communicate, creative ideas, technology. They can shape society. Even bring some peace to artists, whether they're drawing a picture or making jewelry. Ferguson believes it helps a person to focus on improving a skill in that moment. And all of those other worries and cares kind of leave you for a moment. And I think when we can bring joy and happiness to people, that's a very good thing. For excellence in arts, I'm Renee Ing. There was this big bruise on my friend's face. I told myself she'd fallen. I didn't want to see it. I didn't want to think her own nephew could have hit her. I didn't want to see it. I didn't want to believe it. Jazz Notes is brought to you with the support of Catalina Bar and Grill and the Los Angeles Jazz Society. up on jazz Notes, two master guitarists blend Flominco style with Middle Eastern music to create a whole new world of music coming up on Jazz Notes. It's Jazz Notes with Doug McIntyre, conversations and music with the people who make them. And now from Catalina Barron Grill in the heart of Hollywood, here is your host, Doug McIntyre. Today on Jazz Notes, we have two master guitarists who blend wild styles of world music with American jazz. Hi, I'm Doug McIntyre, and it's a great treat to welcome to the show today. Well, there are two guitar masters, and it's a truly unique sound in a town where people love to stereotype and typecast. Our musician guests today can't possibly be typecast because they have a truly unique sound, an invention that's original to themselves and it's a pleasure to welcome to the show the guitar duo of Struntz and Farrah. How are you guys? And it's Auditier Farah and Jorge Struntz. That's right. Exactly. Gentlemen, I've been listening to you music the last couple of days and it's a truly extraordinary sound and the story is wonderful. Jorge, you were born in Costa Rica? That's right. And then your father was a diplomat. That's right. So, moved all over. Actually first came to the States when I was three years old, and then came in and out of the States for a number of years. And we lived in different parts of the world. Latin America, Spain, England. I was brought up in all those places. And then finally moved here as a professional musician in the 70s. And like any great musician, you're soaking up the sounds of wherever you live. Sure, yeah, these things have a, especially when you're very young, all these things have a, there's a resonance that it leaves in your mind and your musical thoughts. And I guess my job as a musician was to try to synthesize all of that into some sort of coherent, meaningful music for myself, and it would make sense to an audience also. And then out of sheer, you came to the United States from Iran from Persia, there's a big immigration from Iran in the 70s. And then you were aware of where his work and you stalked him. That's true, actually I had five years to stop in London in between. I went from Iran to England for five years. And then I came to the States in 74, which was before, you know, about five years before the merge of all the Iranians in 79 to the States. And then we met in 1980. And you really sought Jorge out though? Well, absolutely. I saw him play with a band that he had before, Strason, for I was called Caldera at the Rox in Hollywood. And I never forget that night the guitar playing and the musicianship of the whole band was just incredible. So one restraining order in the whole act would have been a way. It would have been over. But it's wonderful because the story, as it's told, is that you quickly started to talk. You started to play just to trade chords. And you very quickly realized that you were kindred spirits. You thought the same way musically.ically. Well that actually happened in our first meeting which was about a year after I saw Caldera de Roxy. Well it's a wonderful story now I mentioned in the opening that that the whole entertainment business wants to typecast people and you confuse them very easily if you do anything that's different and everything that you do is different because people would say well it's Flamingo music and it's certainly Flamingo as inspired but it's not Flamingo. Flamingo is all done with picking with the fingernails. You don't do that. The structure, chord structure, the melody, the rhythm, everything is different. But it does have that sound to it and it also has very strong Persian Middle Eastern roots to it, and yet it's jazz. Right. It's a fascinating combination that you're doing, Colin, respond, you're doing traditional jazz techniques, and yet it's a very exotic sound, and yet somehow familiar, it's a wonderful blend. Thank you, thank you. Well, the jazz element was, I think, liberating to us in sense of the concept of free improvisation over a pre-established chord cycle or a call-in response also, that kind of thing. And so we took some of our ethnic roots and combined them with the freedom that that afforded as musicians and as improvisational players, which is an aspect of music, which is very important to both of us, is the free improvisation of melodies. But our style of melodies, because we couldn't really, I mean, that's what we had to bring to the table. It's like, we can improvise along this kind of thinking, this kind of melodic strain, which is maybe more endemic to our backgrounds. Yeah. You know, I had a conversation, not the name drop, but why not? I had a conversation a couple years ago with the late great Artie Shaw, and he objected to the word jazz because he said, well, it's a pejorative, it's jazzed opera, it's too jazzy, and he preferred the term American improvisational music. And in a way, you've invented your own genre of music and you have your own terminology for it, but ultimately that's what it comes down to. It's a matter of finding a voice and then improvising off of the structure. Exactly, right. That's been our task really to try to make it all together, put all that together, and then have an audience be able to identify with it and relate to it just from an open experience with them. Just like here's some music that you may not have heard, but we'll see how you like it, you know, kind of a thing. The response with the audience is always been very open and very interested in what we're doing. And you've been working together now for 24 years. That's longer than 10 Hollywood marriages. A long time. A long time. How do you work out your differences? And the key of a. No, we're pretty much of an accord and most things. And it's been a very fruitful and easy relationship, I think, that I've had with our key, very brotherly, and gentlemanly relationship. And it's worked out in the professional sense and in every sense very well. Now Now you have some fabulous musicians who play with you and unique instrumentation. You have a bass player. You also have a percussionist who actually thumps on his seat, which I'm fascinated by. I did that at the dinner table in my father's to send me to my room and he's getting paid for it. That's right. That's what the fabulous jazz violinist, wanted to tell us who these five players are. Sure. on base playing with us today was Elisio Borreiro, he's from Puerto Rico. And... So why don't you tell us who these five players are? Sure. On bass playing with us today was Elisio Borreiro. He's from Puerto Rico. And on percussion, we have Jimmy Branley, originally from Havana, Cuba, who plays di Cajón. I mean, he's a great trap drummer. That's really his forte. But with us, we need a smaller sound for the guitars, which are more of an intimate sounding kind of an ensemble, but kind of a music. So he conforms to our musical needs and plays the Cajon, which is a box, which is basically an idea that was originally involved in probably in Peru, and in Afro-Perovi music. And there's versions of the Cajon also in Cuban, Afro-Cuban music. So and the Kahone is a very useful instrument you can sit on and you can put your clothes in it. No, it's great. It's great. And it sounds great and it's got the top and the bottom's got a bit of a snare to it. And he plays that and the ball goes with us and some shakers and stuff. And then on violin, Charlie Bischard, who's from LA, joins us in an excellent musician, much sought in the studios. And any place, much sawed in the studios. And any place, sometimes he fills in with the LA Philharmonic and they need extra violin. Well I'll tell you, talking about music can be interesting, but it's kind of like sex. It's a lot more fun to actually do it. So why don't we step aside and let everybody hear the fabulous work that you do. We are talking with Strunts and Farah, Jorge Strunts and Ataxia Farah. And they're gonna play two songs for us with the group, Rio de Chloris, which means River of Color and Vela, which means Vela. Doug McIntyre, this is Jazz. No, it's a room for a treat. Come on back. Plastic's last longer. Pork belly is closed steady due to speculation and demand for bacon-related products. Read me this one, Daddy. The last art kids get. The more it shows. are yours getting enough? Art, ask for more. AmericansForTheArts.org. I'm going to make a little bit of a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm gonna go back to the hotel. I'm gonna go back to the hotel. I'm gonna go back to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to play a little bit of the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of the same thing. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to have to go. I'm going to have a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a Thank you. I'm going to make a little bit of a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to make a hole in the middle of the hole. I'm going to put it little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to go to the next room. I'm going to do a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to play the piano. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a music I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to make a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to do a little bit of a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to make a hole in the middle. I'm going to get to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to have to go. I'm going to get a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to do a little bit of the same thing. I'm going to play a solo in a cram. I got a full-ass soul and a cracked crab for Mr. Studied Higher Math back in school and now can order expensive lunches and charge it to the company. He's in a meeting. I'm his never studied algebra calculus or any other kind of math now I'm stuck in this dead-end job assistant. Can you sign for it? It's about the only thing I'm popped to do. That and answer phones from Mr. AP Calculus and number theory expert with the big office upstairs. Have a good one. You too. I'm excited up baby. Come on. Welcome back to Jazz Notes. I'm Doug McAter, your host and you just heard our guest, Auditio Farah and Jorge Estrunt's playing two compositions, Real Day Chaloris and Vella. And it's got all that Flamengo sound. It's like Charo without the plastic surgery. No, it's a wonderful sound and truly unique. And when I was a kid growing, I mean, look at me on the whitest guy in the world. But when I was growing up, we had record stores. And you'd go in and there'd be some beach boy records in this, some beadal records in your head, your Andy Williams and your Sinatra. And that was pretty much it. And now there's a world music section everywhere. And you can get Ethiopian music and Scandinavian music and everything. And in some ways I think it's got to be just the greatest time to be a musician because everything is open. That's right. It's a great time and the availability of all this world music and music from different cultures and the fusions and the collaborations between musicians of different cultures is I think something that's very interesting and fascinating. It's in its heyday at this point, hopefully it'll be a trend that continues. Now, it's interesting. A lot of musicians, they pick a place to work. And as long as there's an airport, I guess it's okay. But why Los Angeles? Why base yourselves in Los Angeles? Well, we found ourselves here individually. I was here, I mean, I met Artichere here so we didn't know each other before. We moved to Los Angeles. I'd moved out here from the East Coast where I'd lived for a number of years and I went to school there in Washington, DC. And then I decided as a very young musician that I could find the resources I was looking for and musically speaking on the West Coast easier than I could on the East Coast. And so I moved out here and a few years afterwards, I mean I had a band that was called Caldera recorded, four records for Capitol in the late 70s. And then Artichier and I met in the in 79. And the idea of two guitars, two chairs as a beginning of a music, it was very attractive after working with tons of gear. We needed roadies to do rehearsals, you know. It was getting to the point. It just got someone. And field roadies gets very expensive. Very expensive. And how roadies can be used for D. Yeah, that was very disurface. Yeah, that's right. There's also Los Angeles being the city of tremendous diversity that it is. It's also almost like being in the world music section of a record store 24-7 in Los Angeles. Is there any sounds in the city? Let's wait. There's, okay of minority groups of very high caliber musicians, wise in Los Angeles. And from that perspective, it was a very cosmopolitan place. And it's beautiful California. She's the reason why I originally came here to go to the center of music, the center of world music, like you're saying, and to California. And I was accepted in the University of Southern California, originally, which is what brought me here originally. And then after I graduated, I started working as a professional musician. And it was great to be in California because we met and this whole thing happened. You knew you have a new CDL called Desert Guitars, which taps more into the Middle Eastern flavor of what you do. It's a compilation CD. It's a CD that's a collection of the pieces that not all of them, but many of them, many of them probably some of the best pieces. And then in the Middle Eastern vein that we've done over the last 25 years. So it's called from all the recordings we we had going back to 1980. A plus a bonus track which is brand new on it. So it's really a compilation CD. And we're working currently on a production CD. That is a new production of all new pieces to be released early next year. You've also, besides your touring career and your recording career, you've also played with other artists, many in the world music category, but you've also worked with Joan Baez and many times with Jackson Brown. That's right. And I can imagine that other artists would hear this unique sound and say, oh, we gotta have this. We just have to figure out how to make this work. It's true, and it was interesting that we collaborated, or we accompanied Jackson, for for example You wouldn't think that it would have come from the pop world But in that case it did I mean a pop a famous pop singer was intrigued with the sound and had us We did several tours with him and and played on some of his records And it was an interesting mixture of elements as you can see because normally popular music is not that Instrumentally oriented if you know what I mean it tends to be more vocally oriented. And so to have some instrumentalism in it, I think, was kind of a bold move in his part and certainly we enjoyed working with him a great deal. Well, the music of Jorge Struntz and Adesir Afara is not only good for the ears, it's good for the eyes because it's a visual treat to watch them perform this magnificent music and support it. Come out and see them perform live wherever they are and get those CDs so that they'll make more of them. It's been a great pleasure meeting you and listen to an Inscenial work. Thanks for being with us this week and join us again on Jazz Notes is brought to you with the support of Catalina Bar and Grill and the Los Angeles Jazz Society. I'm going to get the I'm going to get the the the the the the the the the the the the the the the the I'm going to defend the American way of life. Every day we take a stand for our nation, for each other, for us all. The view, the proud Today on Community Cookie, we have one of our very own house cooking on the other side. Jeff Cowell-Kommie is here to make a fun brunch menu. We're making pumpkin cream cheese turnovers and an open-face bacon and egg toast with a Rougola. We're cooking with some of the best chefs from right here in our own community. So grab a seat and relax. We have another great show for you. How is that for an intro? That's great for an intro. I love that. Thank you very much. We have to promote you. I love that. Well done. You host the show. You've been on it for years as a guest. So is it a little weird being on the other side today? It's nice being on the other side. There's less pressure on me. This is what I do. This is my element. Making food is my element. So yeah, it's just fun. I love it. And that it's nice to see you again. Well, always great to see you. Your food is always great. Pretty easy, not a ton just fun, I love it. And that it's nice to see you again. Well, always great to see you. Your food is always great. Pretty easy, not a ton of ingredients, but let's talk brunch. Brunch is my favorite. Brunch is amazing. And brunch is also brunch can be for dinner too. A lot of people think, you know, eggs are just for the daytime, but they're not. And also, we're gonna start with our pumpkin turnovers, which one, like I said, easy. We love easy. Tell me. Tell me. Let's go over ingredients in the pumpkin turnovers. All right, so we. We're gonna start with our pumpkin turnovers, which one, like I said, easy. We love easy. Tell me. Tell me. Let's go over ingredients in the pumpkin turnovers. All right, so we have our puff pastry, and I got this cool puff pastry that's actually already cut to size. You can find this at a lot of stores. Oh, I love that. I didn't know that they made that. They totally make this easy to find and then I have our pumpkin puree which you can usually get you around cream cheese powdered sugar this is a little bit of cream. It's actually creamer that I took from the break room. And I have an egg white here because I'm saving the yolks because I have an event later that I'm using egg yolks for. So I don't waste anything. I love it. You don't. And then is that cinnamon over there? This is actually a pumpkin pie spice. So which is like cinnamon, nutmeg, and clove. You can usually find the little, I'm sure you have like three of them in your cabinet and you don't even know if they're there. Because you buy it every year to make pumpkin pie. But yeah, it's just a little bit. So we can go ahead and just dump that in. To make pumpkin pie? How else do you know me? I know you do. I don't know. No. And I'm like, yeah, everyone makes pumpkin pie, right? No. I hire someone like you to do it So anyway, so um, and the pumpkin yes, it's just pumpkin puree. You can get that anywhere in a can't anywhere And this is actually you could use any kind of puree Um, I've made this turnover with like leftover butternut squash. Oh, yeah. Anything, any kind of squash that you have leftover, you can totally make that with. So this is cream cheese, and you can see it's very soft. Yeah, so you have to leave it on your counter. I tend to ski a lot. So when I'm there, leaving stuff on the counter doesn't work. Yeah, you can leave it on the counter or you can just pop this on the microwave for like 30 seconds. And that's what I did just to warm it up. And because you wanted to mix and cream cheese is known for leaving chunks and being kind of hard to work. or you just pop this in the microwave for like 30 seconds. And that's what I did, just to warm it up. And because you wanted to mix and cream cheese is known for leaving chunks and being kind of hard to work with. But actually, it's a little bit of time in the microwave. And this isn't, oh, this isn't brain science right here. Like, look at that. Yeah, he gets easy things when I'm around. I knew what you meant. It tastes to me and my brain. All right, so you see how quickly that mixes up. And then we have a powdered sugar, which is going to need a duty because we're also making frosting. A little cream cheese frosting. Cream cheese and frosting, that's what I grew up on. That's what my mother made for everything. Cream cheese frosting is the best frosting. Oh yeah. Yeah. It's something I can. No. No, it's understandable. So, do you like how to act a golem with my measurements? Yes, well, and that's what I love to you. People get so and I used to be one of those... Yeah, it's just from a can. No. No, it's understandable. So do you like half-decked? Go lay on with my measurements? Yes. Well, and that's what I love to you. People get so and I used to be one of those people stressed out about I need exactly one half a teaspoon of this and a half a cup of that but you know I balling it is good. So mix up for me and what I like about this too is I'm using the same ingredients to make the frosting that go in the filling. So there's not a lot of extra, there's not a lot of waste. We like that. And few ingredients. Few ingredients. That's where you're at. This too is I'm using the same ingredients to make the frosting that go in the filling. So there's not a lot of extra, there's not a lot of waste. We like that. And few ingredients. Few ingredients, that's where I roll. Few ingredients, we love it. So we have this muscle good. We have our puff pastry here. And I always like to just give it a little bit of a roll. Yeah, puff pastry, don't be afraid of it. Puff pastry is your friend. Puff pastry makes things look super fancy. Yeah, people are so impressed when they come over and they're like oh what is this and you're like oh, yeah, I made that and you really just like pulled the frozen pastry out of the fridge You just let it thaw on your fridge and then right here my very Greek grandmother used to make Filo dough and puff pastry from scratch. Without the fancy thing that you run it through, like you make pasta out of your. Yeah, I have made laminated dough. It's called laminated dough, because the process is actually make the dough, and you take a brick of butter that you mix flour in, and then you, they call it an envelope fold, so you do one fold over, another fold over like this. And then you roll it out, you throw it in the fridge. then you take it out, you do another fold, you roll it out, throw it in the fridge, and it's a process. So I've only done that a few times. when you roll it out, you throw it in the fridge. Then you take it out, you do another fold. You roll it out, throw it in the fridge, and it's a process. So I've only done that a few times. You can buy this anywhere. Like, anyone else has made this in their kitchen and they've just had it for you. It's ready for you. I'm all busy. So I'm just gonna take a little egg wash here. Okay. And I'm just going to seal the edges. So the turnover zone explode. Exactly. And they probably will, because they explode on me anyways. Egg wash here. Okay. And I'm just gonna seal the edges. So the turnovers don't explode. Exactly. And they probably will, cause they explode on me anyways. But turnovers are one of my favorite things. But I like this, cause it's pumpkin instead of like a jelly or jam or, you know. I'm more of a custard person. I'm actually not a big fruit dessert person. So I'm with you with that. All right, so. It's just not for the holidays. You're round. I'm actually going to give one to you. Okay. So you're gonna you're gonna fill one So I'll show you with that. All right, so. Well, I'm pumpkin is just not for the holidays. You're round. I'm actually going to give one to you. OK. So you're going to fill one, so I'll show you how to do it. So and less is more. Less is more, everyone. Less is more. It less is more. So do a little in yours in the center. And I'm going to do this with you. Thank you. There we go. All right, that's great. So I just wanna do this. I know. Well, there's no egg in there. You've totally could if you wanted to. You could get some graham cracker. I'm gonna do this with you. Thank you. There we go. All right, that's great. So I just wanna do this. I know. Well, there's no egg in there. You've totally cooked if you wanted to. You get some graham crackers instead of the couch. Oh, don't give me sin cry. I hope I be crying. Tears of joy. Yeah. So we're gonna take this. Just gonna fold it oh because you want the filling just gonna fall down in there and if it can ever open it it's okay oh look I told you it's everywhere it's gonna happen it's fine yeah but it's actually my my motto in the kitchen all the time. It's everywhere. It's gonna happen, it's fine. Yeah. But it's fine. That's actually my motto in the kitchen all the time. It's fine, it's fine. It's fine. Well then you do this, because these are clean fingers. And there's no egg, so you don't have to worry about it. It's just, yeah, cream cheese pumpkin and sugar. So I'm just gonna crimp my edges, just like this. I'll let you crimp mine. Okay. I'll let you crimp my edges. There you go. Mm. All right. And I'm gonna have a little grease cookie sheet here. I'll let you crimp mine. I'll let you crimp my edges. There you go. Mmm. Alright, and I'm gonna have a little grease cookie sheet here, and I covered it with foil because you know I hate doing dishes. Foil is your friend. Foil is your friend, and I know a lot of people are like, oh, but it's aluminum. The pan's aluminum. Yeah. It's already happening. And recycle it, you're good. Yeah. You're sicely. So it's gonna put this. Super easy, super, super easy. You can make a bunch of these just like this and then throw in the freezer. So then when you have guests come over, you pop them out and then you just pop it in the oven and everyone thinks you spend all this time but you can make this ahead of time. You could make this like six months ahead of time. We do that with little cheese triangles. And can you pop them in the oven when they're still frozen? Absolutely. See that? You want puff pastry to be cold. months ahead of time. We do that with little cheese triangles. And can you pop in the everyone when they're still frozen? Absolutely. See that's awesome. You want puff pastry to be cold. Yeah. Because those layers of butter, you want them to stay cold or else it's just going to melt out and it's not going to puff up. Yeah. So it's ideal to keep it frozen. Oh, that that's the way to do it. The way to do it. Alright. So we're going to A little egg wash, just give a little shiny coat on there. And also if you put it on the right, so we're going to put a little egg wash. Just give it a little shiny coat on there. And also, if you put it on the edges, it helps seal the edges too. Because mine already exploded. It's fun. It's done. It's fun. It's fine. I'm just going to take this home with me. The vat of pumpkin and. So if you saw that in the oven. I will pop that in the oven. About how hot is the oven? The oven's at 400 degrees. Okay. Yeah. And now. Now I'm not going to say we only made two for us, but whatever. So now we still have frosting. Very important. I know you didn't forget about the frosting. I got the creamer. Wonderful. My mom put cream in our cream cheese frosting. I kind of like that. Well cream cheese frosting you can it can be made many ways. Like a lot of times I just take cream cheese and butter, equal parts, and I powdered sugar and whip it up together. Yeah. And so this one, it's gonna be more, we're using a little bit of creamer to thin it out so it can drizzle a little more. Oh, okay. That makes sense. off in cream cheese. You can see how soft that is. Oh yeah. Which is exactly what you want, because everything will incorporate better. And then powdered sugar. And so you can- We used to do it with a hand mixer. Oh yeah. Powdered sugar. It's okay. We used to do it with a hand mixer. Oh yeah. Powdered sugar everywhere. Powdered sugar everywhere, yeah. But it was fun. It was part of cooking. I'm surprised it's actually not already on the high level. I usually get powdered sugar and flour all over me every time I cook. So how did you get into cooking and now shopping and catering? I've always loved to cook. When I was a kid, I used to stay home with my mom and I would bake bread or like I've tried to make bread and I was I was a crafty kid Like I used to make candles and I would candy almonds and I love that yeah Never make candy and temper in the microwave. I learned that the hard way as a child, boiling sugar, plastic. Yeah, yeah, no, that's good. It's a very, very bad idea. That's hilarious. So already see how quickly that comes together. The powdered sugar and the cream cheese. And so like I said, we're only using this creamer just so we can drizzle a little better. It's all about consistency. If you don't want it drizzly, you wanted to be a thicker frosting then. Just say. Again, Graham crackers or something. Exactly. Graham crackers set on the couch. Coal your cat. We would be very. consistency. If you don't want it drizzly, if you wanted to be a thicker frosting then just say. Do you want me with again, Graham crackers or something? Exactly. Little Graham crackers set on the couch. Coal your cat. We would be very chubby together. Let me tell you, I can just, I'll just, and because I did take this from the break room, it's a hazelnut creamers, so now we have hazelnut flavored frosting. That's kind of fun though. That's gonna go good with the pumpkin. Oh yeah. Don't be afraid. Like, if I don't have something on hand, I'm gonna make it work. Yeah. That'd be kind of fun though. That's gonna go good with the pumpkin. Oh yeah. Don't be afraid. Like, if I don't have something on hand, I'm gonna make it work. And that's just what I do. That's what I do with catering. Catering is just like making it work. So I love that. Look at that. Look how good that is. Instant frosting and it's nice. You don't have to use the mixer. No, nope. There's no mixer involved. Yes. This is all very easy. Except Jack, Jeff is the mixer. I am the mixer. But super easy. Do you want to? Oh. I know that you want to. Wait, no, I got myself a spoon. I was preparing for this. It's so simple. Yum. So cream cheese, softened microwave, powdered sugar, and cream ring. You know what? I like the hazelnut. I think it's good. See kitchen mistakes are good. It's like kismet right? Yeah. Yeah. Especially with the pumpkin. Yeah. And because my mom used to add a little vanilla when she do cream cheese frosting for cakes, but I'm into the hazelnut. Yeah. I'm digging it. Ooh. Yeah. It was happy. Turn over, over. Chocolate cake. Yeah, and those are going to take only like maybe 10, 15 minutes. Oh, yeah. Yeah. All right, well, we're going to let them bake in the oven. And when we come back, open-faced breakfast sandwiches on a homemade bread. I baked this bread fresh just for you. It's because I love you. Thank you, that's a big reason why. Yeah. We love to have you, so don't go anywhere and we come back open. This bread fresh just for you. It's because I love you. Thank you. That's a big reason why. Yeah. We love to have you. So don't go anywhere and we come back. Open-faced sandwich to complement our turnovers for brunch. We'll be back. You're watching Community Cooking. Hey, guys. I'm Joel Cameron, host of scraps on A&E and FII. And welcome to Meal Prep University Cooking Scrappy. This week it's all about ugly vegetable pasta. It's gonna be unbelievable. This dish is so simple. It's a perfect clean out of frayed recipe that stays delicious for days. Start by browning your chopped veg and olive oil, add garlic and chili for spice, and toss that together with al dente pasta using a two to one ratio of veggies to pasta, it doesn't matter how bruised or imperfect they might have been, once they're sauteed, they look and taste amazing. This dish is great for meal prepping too. Make a big batch and then divide it into daily portions. About a cup and a half is a great size for lunch. Top of your favorite fresh herbs and you're good to go. You have more recipes, tips, and tricks, head to SaveTheFood.com. Welcome back to Community Cooking. If you're just joining us, I'm here with host, chef, caterer, extraordinary chef, CalCamy. Thank you. I love that introduction. I love introducing you, because it's so much fun to have you here. You're on the other side cooking today and not hosting. On the other side. On the other side. The dark side. Our turnovers are in the oven. They smell awesome. So now we're going to an open-faced egg bacon, arugula with- Deliciousness. Okay, brunch, because it's all about brunch, we love brunch. And when you're making something that's simple, you find the best ingredients. Well, you bet you- Big bacon, a rucola with... Deliciousness. Okay, brunch, because it's all about brunch. We love brunch. And when you're making something that's simple, you find the best ingredients. Well, you bake your own bread for us. The best ingredients start with homemade bread, yeah. So I would think homemade bread, absolutely not. There's a nice baker into how I'm just gonna go. All right. But you say it's easy. It's easy. I have issues, I love to bake. Like I really, it's just, it's a hobby of mine. Like I love to bake. So pretty that is. Yeah. But you say it's easy. It's easy. I have issues. I love to bake like I really I It's just it's a hobby of mine like I love to bake So pretty that is yeah, I could just take it and start non-linear. I love and I made this last night I have a sourdough starter and so it's um, you know, that means nothing to me It's a living yeast culture and so I grow my own yeast which sounds weird, but that's what makes bread. And it has more flavor. This is just simply flour, water, salts, and the starter. And that's it. See, that's amazing because I am not gluten free. Neither am I. Yeast is gluten. Like, so I mean, that's. Second, like, paper covers rock. Yeast eats gluten. Yeats eats gluten. That's it. That's what yeast is eating gluten is the protein That's in the flour and the yeast is eating that and then it's burping and it's giving CO2 That's the nice. We're not going there. I know before you're putting the butter in let's go over the ingredients real quick Though you have your bread so the beautiful bread right here I Bragging and then have a little bit of butter. I'm gonna mix butter and olive oil to cook this in because butter has good flavor But olive oil will lower the smoke point. Okay. Yeah, and then I have some nice Bacon that I pre-cooked, but I'm gonna crisp it up in the pan. Okay, and then I know it says parmesan in the recipe But I found this beautiful It's an aged Gouda. An aged Gouda has those tyrosine crystals in it. So when you're eating it, you know, like it crunches, it still is young. Yeah. But I found this beautiful. It's an aged gouda. An aged gouda has those tyrosine crystals in it. So when you're eating it, you know, like it crunches, it still is just. Yeah, I love gouda. Yeah, two eggs, a rougalat lemon. And the dressing for this is gonna be the lemon olive oil salt and pepper. Oh, I'm Greek, so I'm no stranger to that dressing. Well good, then I will have you make that dress. Oh, well done. So that in your cup. You got to make sure. I always see this to my boyfriend's like, what are you doing to that poor lemon or lime? I'm like, you got to get the juice out. Okay. Well good, then I will have you make that dress. Oh, well done. So then you're gone. You gotta make sure. I always do this to my boyfriend's like, what are you doing to that poor lemon or lime? I'm like, you gotta get the juice out. Yeah, you gotta break those things off. So I do butter and olive oil for my chicken in a pan. Okay. It's so the butter, like you said, adds flavor. Do I really mush that? May I still a knife for me, sir? Absolutely. Here, you can take this one. I am not using it. I'll see how we handed it to you. It's not your first rodeo. Not my first rodeo. So what I like about this too is I'm trying to do everything in one pan. We like that. You're like easy. And boy is that a pan. It's huge. It's a huge pan. And so I'm putting the bread, you know, right down in the oil and the butter, and then I'm going to take some eggs. And I have this on a low heat because we're cooking these sunny side up. Okay. So I'm trying to rapidly cook this. We're gonna be gentle. So eggs, you don't crack them on the side of the pan, you crack them on the surface. Exactly, because I was always told, if you crack it on the edge of something, pushing the shells in. So this way you're just cracking open the egg without pushing the shells inside. I crack open an egg on the surface sometimes and I crack it on the edge of something, you're pushing the shells in. So this way you're just cracking open the egg without pushing the shells inside. I crack open an egg on the surface sometimes and I crack it so hard that it stays on the cutting board. I've done that. I've done that. I've done that. Yeah. I do that a lot. I'm like, boo, I'm like son of a gun. There it goes. So I'm just going to go ahead and let this go. Okay, and I'm not putting the bacon in yet. So I like to cook my bacon in the oven I think we've talked about this. Yes, I love that because you So I'm just gonna go ahead and let this go. Okay. And I'm not putting the bacon in yet. So I like to cook my bacon in the oven. I think we've talked about this. Yes, I love that because you can put foil for less cleanup. Yes, yeah. You know, I'm always washing dishes. So that one pan, so we got one thing to clean. And then also if I'm putting something in the oven, foil line it, put the bacon on there. If you do it right, you can pick everything up and it's clean. Yeah. So, do you just put the bacon right on the foil or do you put like um uh great so to speak I'm not it's not the matter. No because I don't want to wash the the rack. I know what you're talking about. So everything is dripped down but what I do um I like to build so I take I take I love it story. I take the rack and I put it on the counter and then I put heat pads beside it so when I take the pans out of the oven they sit at an angle so the baking of the bad drain okay and then once it's cool I take the rack and I put it on the counter and then I put heat pads beside it So when I take the pans out of the oven they sit at an angle So the bacon with a bad drain, okay, and then once it's cool I take it off and I put it on a paper towel plate and I bake this this bacon I baked it's probably about ten 15 to 20 minutes, okay at 350 for you know until you just want to make sure I don't turn it Nothing, you're just like a litigate. And it comes out straight and beautiful. When I do it in a pan like that, and it starts to get curls up. And splatters everywhere. Yeah. Until you just want to make sure I don't turn it, nothing. You just let it go. And it comes out straight and beautiful. When I do it in a pan like that, and it comes up. Yeah, curls up and splatters everywhere. Yeah. The oven's fine. That's self-cleaning. I love a good pan, because look at this. See all those eggs are just moving. My sister would love it. I actually like sunny side eggs. I usually do them over so cooked that you can't. But it's all part of it. So I have the arugula, which I love, because it's spicy. Yes, I love arugula. It's one of my favorite greens and I think it compliments this because it's a little peppery and it's going to compliment the yolks because you also when you cut that yolk it's going to be like a sauce. You want it to drip down and the arugula's gonna hold it. So it's not escaping. No escaping. You're not going anywhere. You're not going anywhere. So little lemon juice. Uh huh. And I usually do it cuts, yeah, you just look at you. You know what you're doing. Well, I usually have a little juicer. I love those things. Okay, you're gonna laugh. video the other day because I saw a video and they were doing the juicer side up and I'm like that I need to know if I'm doing it right but yeah isn't it funny they're like no you do it this way but you said you do it upright so you don't get the no yeah no seeds the seeds and then I'm just flipping this so both sides get toasted you know okay I'm gonna put a few more pieces in there just because I'm like hello what do you do with you turn two? Do you turnovers to I know you and I but I you know this pan is big enough that we can just eat more toast Again not gluten-free carbohydrates are my friends carbs are your friend I do tend to eat more in the morning They say then you can burn them off. Well, yeah, that's that's the healthy way. Yeah, you eat more in the morning When your body is, you know, hungry. So half a lemon or do you want the whole lemon? I think half a lemon is perfect. So we're going to go ahead and take these off. Well, yeah, that's that's a healthy way. Yeah, you eat more in the morning When your body's you know hungry, so half a lemon or do you want the whole? I think half a lemon perfect. So we're gonna go ahead and take these off As those eggs are almost done. Yeah, cuz you want them yokey Yeah, you want the yoke is like a custard if you cook it gently it becomes as custard. It's just delicious and velvety and decadent Okay, so so that, that, that, that's a salt and pepper mixture. I like it. I like it. I like it. I like it. And now I'm going to reheat our bacon. And okay, this is, I used to do two spoons to toss my salad. You've always turned me on to the tongs and... I'm a tong person. So my cheese... You see me like moving everything with my fingers. Yeah, well, that's because you have no feeling. I am not healing my hands. I'm sure, but tongs even for serving. Mm-hmm. It makes things easier. But also when you're working with meat too, I always like to use tongs because then I can just pick stuff up and I'm not worried about cross contamination. Yeah, that's true too. And they have fancy looking tongs but these kitchen tongs are the best. So once you have a nice little pile on both pieces of toast, I'll pile it up. Well, the lemon and olive oil soften it a little too. Yeah. Actually, if you want to set that aside, I'm going to put this on your stage. Because I'm going to have you take the grater to our beautiful, give me another, some sharp. I'm making you work for your brunch. I've got, well, all right. But there are no bloody mirrors or mimosas, but that's another show. So this little grater is kind of cool. Oh, it's side, you know what's funny? A lot of people, I don't even think about it anymore. I've been using that for so long, but a lot of people, you find it weird. Long strips, right? Oh, that's good. Yeah, yeah. People are so obsessed with parmesan cheese, and I feel like, did you know that Romano was the number one selling cheese for like 30 years? And then all of a sudden parms came up and became like this huge thing. Oh, that's good cheese. Yeah, it's nutty and it's very rich. I was just taking this home too with my pumpkin and cheesecake. So I'm lactose intolerant, and when you get a nice aged cheese, the lactose age is out of it. So this is also something. Oh really? This is something I can eat. Well it's good used. You can always make stuff that you can't eat and I can. I'll take your portion. Alright I think that looks pretty. Would you like to have that for me. I'll let you keep the cheese. Okay. I'll just eat it right out of the deal. So this bacon, you can see it's already sizzling. So yeah, reheating the bacon, I'm assuming it's key. Oh my god, look at that. Look at that. Those big strips of bacon. And two. I'm not being chinsy with our breakfast sandwiches. Good. with the cheese, but extra bacon will help that out. That's just because I know you're gonna take that cheese home with you. I know. I know what's happening. I see you. I know you're gonna take that cheese home with you. I know. I'm like, I know what's happening. I see you. I know. I know. I wanna see that. Oh, those are perfect eggs. And it is the lower heat. The lower heat. Yeah, you just let it gently cook. A lot of people are trying to rush stuff. Yeah. don't rush this. I have a little patience in the kitchen, even I have patience in the kitchen, which is shocking. Oh my gosh, look how good that looks. Oh, that's beautiful. So now, ooh, that's, we got to cross this. I was gonna say. which is shocking. Oh my gosh, look how good that looks. Oh, that's beautiful. So now, ooh. That's, oh, we got to say, we have frosting. I keep eyeballing it and we have turnovers. So yeah, let's grab these turnovers. So, and I like the combination. It's the turnovers are sweet, but still a little savory. Mm-hmm. With pumpkin. Oh yeah, you can be liberal with that frosting. I'm gonna have frosting. I'll see you soon. The turnovers are sweet but still a little savory, with pumpkin, oh yeah, you can be liberal with that frosting. Oh, so it's perfect. See, that's why that's what you have on the... I would make this for breakfast just in the mornings. And that's why you want a little bit of the, remember a little bit of cream? And yes, so you can spread it still a little bit easier. And again, I love the hazelnut creamer. Oh, okay, looks delicious. We're gonna clean everything up. Well, we come back to my favorite part. Eat it, too. Eat it, don't go anywhere. You're watching Community Cookies. Hey guys, I'm Chef Joel Cameron, host of scraps on A&E and FYI, and welcome to my meal prep university, cooking scrappy. So this week it's all about aquafaba, which is the liquid left in the pot after you cook beans or the liquid that's in a can after you strain beans. And we're going to actually make a salad dressing out of this and making the most amazing chop salad with aquafaba ranch. Salads are great for meal prepping. Make a huge batch at once and store all the ingredients for when you need them. To make the ranch pour the aquafaba into a strong blender and put it on high. Add mustard, garlic, onion powder and a little salt and pepper. Turn the blender down and stream in some vegetable oil. Pull some chopped herbs and you've got an amazing scrappy vegan dressing. Prep all your salad ingredients ahead of time but store them separately in the fridge. Then you can quickly toss it all together for a crisp and delicious on-demand salad. While I hope you enjoyed the lesson and if you're interested in even more scrappy cooking you can check out our show Scraps on Aini and FYI. Welcome back to Community Cooking, okay Jeff? Yes. The favorite part, tasty, and I'm doing that one because it has a lot of frosting. Same. Cheers. The pumpkin, cream cheese, turnover with cream cheese frosting. Yeah. Seriously? Hmm. The pumpkin and cream cheese, with the added frosting, makes it sweeter, but not too sweet. Mm-hmm. Oh my gosh. There's not a lot of sugar in this. No. This powdered sugar is actually, did you know that powdered sugar is mostly cornstarch? I didn't know that. Yeah, that's why that's what keeps it from clumping. I? That's also if you, that's why you can't cook with powdered sugar because it'll thicken something, put powdered sugar in something, it'll create make it thick. Okay. Yeah. Oh, those are great. All right, ready? Oh yeah, I'm very, very ready. I'm very ready. So our brunch menu with the homemade bread, I have to say I tasted it during break. It was quite delicious. I don't want to brag but I baked some really good bread. You baked some really good bread. I need a little bite of everything on this one. It's gonna get messy but that's That's okay. You have to do it all. You have to do it. She's little. No. Magnumite flying. Whoops. Come on, Magnum. Come on, back down! A little arugula, little bacon, the leg. Hmm. Hmm. The arugula in the dressing. Mm-hmm. With just adds to it. And by by Parmesan, it's all about the go bit. And then we'll go ahead and do a little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the little bit of the Okay, yum. I can't even talk. I took a little bite because I could keep talking but and even the combination I would not think serving these two together. Mm-hmm. They match so well. They match so well in the weirdest greatest way. Yeah, yeah I this this is a Rugal of salads on my favorite Rugal of salads just on a together. They match so well. They match so well in the weirdest greatest way. Yeah. Yeah. Now I this this is a Rugalis salad on my favorite Rugalis salad is just on its own. Yeah. And then with the this nice bacon. Oh, yeah. And then you think, you know, some people will do avocado, but the Rugalis salad makes this. Yeah, you could make this. If you want to put avocado, if you like, if I'm a mayo guy, like if I wanted some mayo on here you could totally do that but oh this is yeah this is simple perfect and it's I hate to say it's a fresh break Absolutely. If you wanna put avocado, if you, like, if I'm a mayo guy, like if I wanted some mayo in here, you could totally do that. But, oh, this is, yeah, this is simple. Perfect. And it's, I hate to say it's a fresh baked bread, but I would just again, ask you to bake for it. I'd be a lot for fresh baked bread. Let me tell you. You know, for me it's simple, but it does take some time. It's, you know, it's a process. It's gonna take it minimum six hours. Yeah. So, but it's a joy of mine. It's what I love to do. Yeah. Let me know when you need bread. I will. Give me enough time. It's a process. It's going to take it minimum six hours. Yeah, so but it's a joy of mine. It's what I love to do Let me know when you need bread. I will. I will. I will. No, the combination is great Um, thanks so much for coming in and being on the other side and thank you very much. I love it I love it when you're here on behalf of Jeff and our entire crew Thank you for watching another great episode and remember we really do have some of the best chefs right here in our own community. Thanks again and we'll see you next time another great episode. And remember, we really do have some of the best chefs right here in our own community. Thanks again, and we'll see you next time on Community Cooking. I'm going to do a little copy of the recipe seen on this show, send us a self-adjusted stamped envelope to the Office of Cable and Community Relations. That's 3-3-5-0 Civic Center Drive Suite 200, in Torrance, California, 90503. Be sure to note the show number displayed on the screen. And don't forget you can find all the fresh ingredients used on today's show at the Farmers Market. Visit the one here in Torrance at Wilson Park. That's located at 2,200 Crenshaw Boulevard. They're open every Tuesday and Saturday from 8 a.m. until 1 p.m., rain or shine. And if you'd like to be a guest on our show, email us at communitycookingatorenca.gov and check us out online at youtube.com slash torrentcitycable and like us on Facebook at communitycookingtv. I'm going to go to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to the beach. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to go to the next one. I'm going to goowsky, your host of Senior Scene. Do you remember when you were a little kid or maybe even a teenager and you had these dreams. You maybe wanted to be an astronaut, or maybe you wanted a skydive, and then life just happened. You were making a living, you were taking care of your family, and none of those dreams came to fruition. Well, today, on our show, we're gonna meet some seniors who've decided to take action on some of those dreams. [♪ OUTRO MUSIC PLAYING [♪ 67-year-old Torrance Server wasn't always hanging tan on a surfboard. This was a dream of hers fulfilled much later in life. I'm a water baby I've been actually surfing for about five years and I surf every day from about seven in the morning till 10 because I don't want the sun to get on me and don't do weekends, but yeah, I love to surf every day. Karen is just one example of hundreds of older adults trying something new, possibly even something out of their comfort zone. Statistics show that seniors who are active later in life are likely to live longer and healthier. Well, for some, just getting in front of a computer may sound just as daunting as surfing. And for one local instructor, he says it's much simpler than people think. What I'm trying to teach seniors that have no prior knowledge or a limited prior knowledge is, well, you have to kind of teach them a whole new set of paradigms of educational learning. They have to learn these are keyboard, learn these are mouse which is totally foreign to people. That is completely foreign. So we teach them the basics of the mechanics of keyboards and mouse and then we have to figure out where they find things, how they find things. Because usually what they want to do is simple things like email and doing web searches and when they really get good paying bills online. Rocky, a former IBM employee, is a great resource for these students who are giving it a go at computer 101. As a school teacher at Levy Adult School, he's helping seniors who never touched a keyboard before. The fun I have is, okay, this is a second job to me if you'll or maybe even a third job. I've retired from other jobs, came back to this and the reason I do it because I enjoy the technology and I love teaching and working with people. So to me it's like, well enjoyable retirement, put it that way. One of the students in Rocky's class realized that she was missing out on so much by not knowing how to use a computer. She wanted to take advantage of simplifying her everyday life by using a computer for many of her household tasks. She felt that she was missing out so much that happens on the internet. I'm 69 soon to be 70 and I decided I'm not going to wait any longer and this is what I decided I wanted to do for myself is to learn how to use the computer. Male or female, the desire to not wait any longer to come into the computer age continues to be one of those never too late things that seniors want to do. Roger only remembers what computers look like when he was young by what he saw on the television programs. I really can't remember. I know they had great big huge computers when I was just a little kid but nobody had them in general public. When we look at these seniors making their not too late dream of learning how to work computer come true, We can't miss the story of what their instructor, a senior retiree, gets out of this too. The thing I really like about Torrance Adult School is the focus on the adult learner, where there'd be younger adults to the senior adults. And the nice thing about it is that we take the time and the effort to work with senior adults and really help them learn and develop their skills. If you don't have computer skills and you wish to work in today's world, come on down, we'll help you learn those things and we'll have and take the time and the pages to work with to make sure you learn what you need to learn. Both the students and their teacher are so aware of what they wanted to be doing after a career of work. They knew that this was their opportunity to explore areas of events they could do because of the lack of the entitlement of free time. This is one of the wonders of our senior years that younger individuals are not in a position to do. When I retired, I promised myself that I would stay busy. And so I joined the gym and I decided you need more than just working out. just working out. I decided I would do. When I retired I promised myself that I would stay busy and so I joined the gym and I decided you need more than just working out I decided I would do some of the schools that Torrance offers. I'm taking a caregiver class and I'm taking this class and other and I think it's good to keep your mind busy as well as your body and I want to buy a computer for home finally so this would be perfect with an instructor to help me on what kind of stuff to look at and buy and what have you. Retirement, aging, and stepping into new endeavors all equal many benefits for the mind and body of seniors. Local author and columnist Helen Dennis shares with us her expertise on why it's important for older adults like us to try something new at least once in their life. This is wonderful because what you do is you defy the aging stereotype. You defy the fact, quote, you're too old to learn something new, to do something new, to take a risk. And I think these are our heroes and heroines today because they defy the stereotype and they live the reality and the emotional fulfillment and the realization that says, you know, I'm not like what these other people think. I have a lot in me, a lot to give, a lot to do. I think that's called victory. Philip Cohen is a great example of someone who has defy the aging stereotype. In fact, He's become younger at heart for filling a lifelong dream. As a kid, I grew up in New Jersey and in New Jersey we had basements and pretty much every basement in New Jersey had a Lionel train set and my dad would always bring home new trains and cars and engines and we would work on it in our spare time and build the thing. And when we moved to California in 1964, unfortunately the house that we got didn't have a basement. So we ended up selling the trains and that was about the last of it for quite a while. Eventually, Philip will become a volunteer train engineer, the trains at Wilson Park call the live steamers, a fitting role for someone who's always loved trains. I came over on a Saturday and they just happened to be out here working and I introduced myself and they welcomed me with open arms and I came back the following Sunday which was their actual, when they're open to the public. And I saw what it was all about. And I fell in love. And that was the, that's the beginning, I guess. A little did Philip realize what would start out playing with big trains, got him even more than he ever imagined when he gets the feedback from the children and their parents as he ran the train on the tracks, filled with little kids and big ones too. I think the best part of getting involved with this train group here with the Southern California live streamers is the fact that we are all volunteers and volunteering is a big part of it. I think if I had a large estate and I was able to build a railroad on it and just ride around and circles around my estate, it would get pretty boring after a while. But the fact that we're here able to give rides to the folks and the kids and watch the smiles, I mean that's what really does it. With all the happy smiles coming to Philip, he added a new character to his volunteer work. He grows his beard every fall as he becomes a Santa Claus, driving the trains for the children. It was a few months ago where I had just started growing the beard and it was starting to get a little bushy. And a little four-year-old had just finished riding the train and he got off of it and I was running the station and he walks up to me and he looks up and he goes, are you Santa? And I go and don't tell anybody, this is my summer job. And the look on his face just cemented it, right? I mean, it was right there and his parents were standing behind him and watching this and I said if you're a good boy I'll come visit you this Christmas and his parents were just beaming at that. I mean it just made my day, made the kids day, made their day. I mean that's what it's all about. Timothy Brothers works his day job as an LA County Sheriff, and he's starting a little younger at age on his never too late list. His fascination with trains began at an early age. This gave him a chance to be around the trains that he was so happy with. So it isn't a surprise that he became a volunteer president of the nonprofit life steamers and spends all his time there. The thing I wanted to do, which was give rides to the public at Disneyland, we were able to do the same thing here. So, yeah, I just, where I was able to do basically what I wanted to do, but just a little smaller version. What is interesting is how many people use the term bucket list. And everybody knows what everyone else is talking about. So, think the first thing is, regardless of your life stage, this has a message as in years are going by. The other thing in, it's one of the classic definitions of midlife is that you realize you have fewer years from front of you compared to the years that you've already lived. And that's kind of the classic mid-life, classic mid-life crisis. You get the red Porsche with a convertible as in what am I waiting for? You get the trophy wife the whole nine yards. It's never too late to learn how to use the computer. I feel like I don't care how old you are. It's still time. Whatever age you might be, you should really try to learn how to use the computer. A lot of things that you want to do, you know, if you don't give up that dream, you'll find a way to do something that's as rewarding or if not the same thing that you really dreamt about. So you kind of have to leave your mind open, don't be too focused on a particular time and place because if you just like leave your mind open, you know opportunities will come around. The important thing is just never cut yourself short. There's always something new that's just around the corner and until you experience it, you won't know what that something is. But keep your mind open and look for something that's interesting that you have a passion for. And if you have a passion for it, that's a win-win situation. Well, in my opinion, it's never too late to learn. And I do believe that keeping your mind in your body busy is good for you. I hope all these stories that we've heard of the seniors living their dream, going back and saying, I want to do that now this time in my life because it's never too late to learn something new and really be happy about it. I'm Hope with Kowski reminding you, knowledge, it's a powerful tool. Tune in next time for more secrets on successful aging. Thank you. Think you found every hazard out here today? Think again, the spot you missed could be a killer. That spot on your skin could be skin cancer. In fact, if you're a man over 50, you're in a group most likely to develop skin cancer, including melanoma, the kind that kills one person every hour. One in five Americans is likely to develop a form of skin cancer during their lifetime. That's why your best shot is to check for a spot. It's easy. Follow through and check your skin. It could be the save of a lifetime. Go to spotskincancer.org to find out how. A message from the American Academy of Dermatology. I'm Dr. Linda Vaneldic, a biomedical scientist supported by the American Health Assistance Foundation. I'm dedicated to educating the public because it's important for all of us to understand this debilitating disease. I conduct research aimed at discovering new and effective treatments for Alzheimer's disease. This is critical because every 70 seconds someone in America has diagnosed with Alzheimer's, that's more than a thousand people a day. Preliminary data show that exercise, a healthy diet, and keeping your mind active may help reduce your risk. At our website, ahf.org, experts will answer your questions and address your concerns. Find out about promising research the foundation funds and learn how to live with or care for someone with the disease. Call 1-800-437-2423 go go to aahf.org for a free brochure on Understanding Alzheimer's Disease. That's 1-800-437-2423. Hi, I'm Hope Wikowski, your host of Senior Scene. Most of us spend more time looking at our very special outfits, the outfits that we were to work, and the outfits that we were for special events. We look at those little labels inside and we make sure that when we clean them, that we're gonna make sure that nothing possibly bad could happen to them. But do you take advantage and do you take special care for that special outfit, your skin? Let's go visit Dr. Valentine and learn all the tips that we can do to protect our skin. Dr. Philip Valentine is a torrented dermatologist. He's somewhat of a skin expert, studying his patients' spots, moles, and potentially detecting dangerous signs of melanoma skin cancer. Hi, Ms. Carlson. How are you doing? Oh, I'm doing pretty good. Great. Good to see you here. Oh, boy. How have you been overall? Had a good summer so far? Yeah. Oh, good. Did you have a good Labor Day weekend? Right. Good. How's all the family doing? There's no fun. Oh great, great. Well, it's time for our examination, of course. And we hope we don't find any melanomas or anything that looks like that. I keep hoping and praying you won't find a fine note. But you've found them before. I know. I hope this time we won't. So we're just gonna take a look here, my looking at the face here, and that looks very good. And we're coming all the way around here, and that looks very good. And we're coming all the way around here, and that looks good. And then we're going to take a peek inside your ear, and look on the outside of it, and behind it. And we're going to go to the other side as well. Take a peek here, and look behind it. And then we're going to go ahead and look at your neck here on the left side and the front on the right side. Look at your chest here and let's look at your arm. Clara Coulson is a patient of Dr. Valentine. She's a product of the Gidget and the Beach Boy era where silvery, flectors and baby oil with a common beach accessory. Now at age 83, she's much wiser and much more vigilant about her skin care, especially after enduring four surgeries to remove melanoma skin cancer. First on her leg, then on her face and cheek. When I was young, we used to go to the beach and we thought we were getting tan and beautiful, but then I'd get melanoma 50, 60 years later. Clara's story of her life in the sun matches so many people her age when it wasn't known the damage that sun can do. I have all this because I wasn't more careful probably when I was young and going to the beach and all that. Another patient who is just getting ready to enter her senior years at age 58 had to learn the hard way that her lifestyle did to her skin. I have been coming regularly to the dermatologist because I knew all my years of sunbathing and being fair skinned and having moles that I knew I had to get checked out. And so when I came in, Dr. Valentine checks me and I'm on the sixth month schedule now. And when he finds something that is suspicious, I go in and then I have the biopsy. And then once in a while you get a phone call saying, well, something came back positive for melanoma. My first melanoma was on the top of my right foot. A place I didn't even think about putting sunscreen. But all those years of wearing flip flops in the sun, that's what happens. Who would have thought that you can get skin cancer on the top of your foot? If there is anything good to come from this illness, it's the story that Tara tells us about her son. One of my sons is 24 years old. And he was actually in the room with me here when I found out I had my melanoma. And I remember he put his arms around me and he was there for me. But he still thought it couldn't, things like that couldn't happen to him. He's too young. And he started going to Tanning Salon, works out at the gym, wanted to have a nice tan. And he saw what happened when I went through my surgery. And I'd also shown on Facebook. I just, every once in a while, I would mention something to him about, you know, it's in our family. You need to be checked out. You need to be careful about this. And then one day, he came up to me and it was so touching. He said, Mom, I canceled my tanning membership. Skin cancer doesn't discriminate. While we've only talked to women so far, Dr. Valentine sees patients both women and men, young and old. When it came to protecting my skin, you know, this was in the 70s and unfortunately at that time. They're really not their awareness when it came to protecting my skin, this was in the 70s and unfortunately at that time there wasn't really their awareness when it came to skin protection. So probably things that people do today, I was probably doing the opposite. I was putting on baby oil. I was probably not putting on anything at all. And I would be out in the beach for eight or nine hours. And so whether it be coming in and out of the water and reapplying, I wasn'tlying anything so unfortunately I had a lot of burns I had blisters at times and at the time it really wasn't something that was communicated to me that I should be aware of and so unfortunately I paid the price for it. I went into my general practitioner for just a routine physical and my wife the night before I had noticed something on my chest And it was, it looked like what I had thought to be from playing basketball, a cut. And it was a little bit irregular in skin color, it was brown, and you know, went into my general practitioner and asked him to take a look at that. And his comment to me at the time was very nonchalant, saying this doesn't look like there's anything to be concerned about. And so he took the biopsy. And then I received a call 24 hours later from Dr. Valentine asking me to come in. And basically what it was, it was early stages of malignant melanoma. And so within three days after hearing from Doctor Valentine, I was at Norse Cancer Center in a six hour surgery. Rex Jones also learned the hard way now as a cancer survivor. He says he uses sunscreen products with an SPF of at least 50 when spending time in the sun. I don't take any chances. I'm always applying, whether it even be going to work, or whether it be going out in coaching kids' sports, or whether it be going down to the beach. I'm always applying protection in addition to I'm wearing long sleeve shirts with ultraviolet as well as putting towels on my legs when I'm sitting out in the beach as well. Dermatologist recommend using a sunscreen with a minimum SPF of 30. Also, choose a broad spectrum sunscreen that protects against UVB and UVA radiation. Also, we're protective clothing, such as a wide brim hat and sunglasses, long sleeve shirts, and pants to also protect against the sun. And when you're out and about, try to avoid the sun's strongest rays, which occur usually between 10 a.m. and 2 p.m. We're at Torrance Beach and talk to a surfer to see how she enjoys the beach while protecting herself from the sun. Hello there. I just was out here seeing you come in from the ocean, and I can't even believe it. A surfer. How long have you been doing that? I'm a water baby. I've been actually surfing for about five years. And I surf every day from about seven in the morning till 10 because I don't want the sun to get on me. And don't do weekends, but yeah, I love to surf every day. This is so inspirational. I mean, as a 73 year old myself, let me, can I ask you, what is your age? Well, I am 67 years young and fit my whole life here in Torrance and know what the sun can do to you. I remember there's a little girl. We did iodine and baby oil. But I really didn't like the sun because I have such fair skin. So I always am covered as you see. I always have a hat on covered here. People give me a bad time about this a lot, but I've never had not gunwood any kind of pre-cancer or serious cancers like melanoma. So I believe in covering. Dr. Valentine gives us some important information on the people who are most at risk at getting melanoma. The risk factors for melanoma include someone that has fair skin, someone that's had a severe sunburn when they were growing up. Also, anyone that has 50 or more moles or has a higher risk. Also, someone that may have atypical moles can also have a higher risk and also with having close relatives that have a melanoma. These are all risk factors that I've mentioned that go along with melanoma. There are three types of cancer that Dr. Valentine wants to make sure that we understand. And he tells us to not ignore them, but to seek medical attention. Some people will develop sclaimous cell carcinoma, which is a carcinoma, that can develop on the skin. It's also from sun exposure, damaging the keratinocytes. And a small percentage of these can metastasize. So when you have a growth that's abnormal looking, you want to have it examined. There is also a basal cell carcinoma, which is the most common skin cancer that we see that usually does not spread or metastasize to other body parts. And so those are the big three of skin cancers that we pay attention to. Dr. Valentine is my dermatologist, and as a melanoma survivor myself, I get annual checkups by the doctor. While filming his office, he saw something on my hand and diagnosed us as a seborrarch carotosis that was not a dangerous cancer, but needed to be removed. So he conducted a procedure called liquid nitrogen surgery to be done for this show. Here we have a cryoc, and this is the machine that we're gonna use to deliver the liquid nitrogen. As you can see, there's a stream that occurs here. We are about to go ahead and treat this lesion. What happens often is this will burn and sting while we're doing this but that will only last for five to six minutes to 60 minutes. And so as you can see here's the freeze and it's thawing out and this will help to destroy that tissue so that it will peel off and no longer be a problem. Sometimes these lesions also will come back and so sometimes you have to have treatment on another occasion. And I won't lie, it did sting quite a bit, but I knew it had to be done. Leonard Hirschler, who we also met outdoors is a South Bay native and not only plays on the beach, but his work has him outdoors too. It was when he was changing a shirt that his wife noticed something on his back that she never noticed before. I have had a number of basal cell cancers. They're the least serious. I've had squamous cell, forehead, ears, even on my lip. But the worst one obviously is the malignant melanoma. And that one, two of them on my back. And the only way that those were discovered, because I cannot see my back, is I was changing my t-shirt and my wife, who was very skin cancer conscious also, said, you know what, that looks funny. It doesn't look like it did a couple of weeks ago and went in to see Valentine and you could just tell that he knew something because immediately let's buy up see it right now we'll set you up for the surgery point and then had to go to a UCLA medical center to have the melanoma is two of them on my back removed so and that's where I'm at at this point I still have another basal cell on my eyebrow that I'm getting surgery on that October 2nd. So it's an ongoing process. One of our guests on today's show has had an important message that she wanted to give to you. My message to everyone is to please, please go to your doctor, ask your doctor to check you out, make a referral to a dermatologist, check out any suspicious or even any marks you have on your body. It's so worth it. It will save your life. I have a friend who's sister died of melanoma this past year, and if only she would have gone to the doctor's center, she might be today. Here we are at Torren's Beach, a beautiful sunny day. I hope today's show gave you the information that you need to protect your best outfit, your skin. Remember, if you see something that looks suspicious, go see your doctors. All of our people who are on our show today gave you the bad news of what happened to them. Don't let it happen to you. Remember, when you're outdoors, don't forget, wear your sunglasses. Protect your skin. Wear a hat too. I'm Hope with Kowski and I remind you, knowledge, it's a powerful tool. Tune in next time for more secrets on successful aging. Hey guys! What the strongest families are built one moment at a time for more wood. Welcome to LA Parks. I'm Monica Recreation Coordinator. Today I'm with Channel 35 and I'll be teaching Chair Circuit. What you'll need is a sturdy chair, resistance bands and dumbbells, water and a towel. Let's get started with the light march in place. Light on the feet. As you're getting that sturdy chair and your fitness equipment. Don't forget to like and share today's workout on Facebook. We're gonna be opening up those hips in about 20 seconds. Hacing yourself today, and if you need to kick it up, please do self, you need to take please take those breaks four three two knees up reach and pull right here a little march in between opening up those hips stretching out those glutes taking your time ex-selling so that balancing like you want to spread those toes toes and bend that knee. Be more here. Here's three. Give me two more. Really opening up. Last one here. We're going to go to a side tap. Arms across the chest so you're here. it it up. Warming up, back torso. Lengthening through those legs. Lengthening through that spine. Cleansing breath. Breathing into the nose and that's such a mouth. We're going to lift those heels up. Look over our shoulders. Keeping our arms nice and close to our body. So you're here. Rotate, rotate, take the pressure off. You're lower back. You got it. Come on. Slow it down if you need to. Otherwise, do your best to keep up with me here We're gonna widen our legs dance reaching for our toes Little bit more ab work and getting a nice deep stretch Through the back of our legs hamstrings here open up tap and reach tap and reach you got it come on length that spine Quick of those fingers, quick of those toes. Last 20 seconds. Finish off. Got it. Face that core as you stand up, really tighten up that core. Abs lower back. Glutes last time, each side. Shaking out those arms and legs. Let's have a seat. We're gonna go into our march, opposite hand, opposite leg. Circuit style, switching up from cardio to resistance training. Resistance training, utilizing your bands. Dumbbell, swagger bottles, can't go. It's any type of resistance we'll do, including your own body weight. Finish off. Give me about 30 more seconds here. Pick those feet up. Lift those knees up a little bit higher. Sitting up nice and tall. You can always adjust any of these movements. So for example, the seated march. You can do all legs. If your legs need to break, just move those arms. Finish off here. You are a dancer last 10 seconds. Deep inhale, sitting up nice and tall. Deep exhale through the mouth. Get job, nice and tall lengthen. You're going to exhale forward fold. Relax. Roll it up. One vertebrae at a time. Just going to get nice and tall. Breathe in lengthen. We're here for 30 seconds. Collapse. Release. Roll it up. Get posture here. Breathe in lengthen. Exhale forward fold. So think about as you roll up like you're a ragdoll, right? Nice and slow. Elongate to that spine. Couple more here. Release. Take your time. Last one. Oh, release. Oh, opening up here. Good job. We're going to walk our legs feet out using one dumbbell. The arm is in. Chest is lifted, pinching from the hips, neutral spine. We're gonna go into bicep curls. Turn that forearm inward, 30 seconds here. Then we'll switch sides. So strength right now will be a solid minute, and then we'll break it up with some cardio. 15 seconds, Excellent. Excellent. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Lift. Give me both. Good job sitting up nice and tall. Other side, Set up. That arm. Try to step his in. To the inner thigh. Yes. Same deal. All the way up. All the way down. Take your time. Head and neck aligned with the spine. Try not to drop or look up. Keep it as neutral as possible here. You're already halfway. Keep it up. Come on. We're gonna shake out those legs. Quick feet. Two more. Last one here. Excellent job. Place that weight out of your way. Right on time. So quick feet. Arms can be completely relaxed to your sides on the armrest. You want to add that push to incorporate a little bit more arm work with your footwork. More power to you. Quick in and out. We're here for about 45 seconds. Moving those feet as fast as you can. Take that brick, lift it up a little higher if you need to switch it up. Otherwise you're here. Take those options, have fun with it here. 20 seconds to go, come on. That torso is upright, trying not to slouch. Strong core, abs are engaged. Same drill with that breath work. Breathing into the nose, exhale to the mouth. Last few seconds here. Here's four, three, last two. Get job, deep inhale up, basic march. Give me one more. Knees up a little bit higher, breathe in lengthen. Exhale, release. Now we're going to make like a triceps. So we did the single arm with the biceps, let's do triceps. So you're going to shift that body forward a bit on your chair. The elbow is in. Use the opposite arm for assistance to lift that weight. We need a little lift, a little assistance when extending, yes? So at this point your head does come forward a little bit so that you don't hit the back of your head. You want to lower it down as far as you can and then fully extend. 30 seconds each side, when you get to that point where it gets a little too difficult where you cannot complete each repetition, you're just gonna lower that weight down and continue to do the exact same movement, really flexing, making that muscle in the back of those arms, working those triceps. Last here, we're gonna switch sides. So, breathe through that core. Good job. Shake it out. Other side. Same time, Frank, 30 seconds. Begin when you're ready. Checking in, that elbow is not poking out. That head is slightly forward. Full range. Get this full stretch in. Get the full extension in, yes. Cardio is coming up. We're going to exaggerate that jog. Big movements. Two more reps. Ooh. Knees that assistance right here. Little lift, little push. Good job. Carefully lower that weight down out of your way. Opposite hand, opposite leg. Pump it out. 45 seconds. It's a toe tap. We'll drop those heels in another round. As you lift those knees up, exaggerate a bit. Round that back just a little bit. Really squeezing those abs. So you get the best of both worlds right now. Cardio and ab work in the comfort of your own chair. Gonna be working back using that resistance band. By all means, if you are good to go using those dumbbells instead, more power to you. We're just gonna switch it up. Pick up that pace. Pick up that range 15 seconds. We got those fingers chose. You got it. Come on. A little bit higher. Every knee up. Excellent to the mouth. Good job. Deepen, hold up. up. Excellent push out release. One more time. Deepen, hold up. Lengthen. Excellent. Now I'm going to grab my resistance loop band for this one. Yes. A regular band holder. Just fine. Same hand, same leg. So you're here. You're going to place that band on that foot. Leg is almost straight. That chest is lifted. Neutral spine. Palm down as you pull, use your back. You got it. A little range of motion. Think about bringing that elbow, that arm, as far back as you can. Towards the chair, right? Towards the back of that chair. You got it breath. Exhale, little pause at the top. We'll be here just a little bit longer than 30 seconds and 20 we will switch sides. So as we're working the back you also want to think about assisting by utilizing your abdominals to pull that weight to Pull that band. Less strength from the arms, the biceps. More. by utilizing your abdominals to pull that weight, to pull that band. Less strength from the arms, the biceps, more in the back and core abdominals. Yes, good job. Carefully, switch sides. Set up. Leg is close to straight, put your relax roll back. 45 seconds is your time. Lengthen. Bring it all the way back, little pass at the top. Control movement the entire time. Options when we go right into cardio. If you have a lighter set of dumbbells or utilizing just one weight, we're going to work chest right along with our cardio. Switching it up Last few seconds here, few more reps. Take your time. Last one, shoulder is relax and roll back, right? Good job. Carefully take that band off to the side out of your way. So we're going to go back to that march. Real basic here. We're gonna take that weight forward and back. Arms are dropping down to your sides. They're not out. Yes, relax them here. Relax those shoulders forward and back. Chest, triceps and shoulder work. Draw the elbows back. A little bit of back work. yes. So the lighter the weight, you probably can move a little bit quicker. The heavier weight, I don't expect you to move just as fast, right? Working at your own pace. Same time, 45, 45 seconds. At any point during this drill, this movement, you need to take a break with that weight. Please lower that weight to the floor. Continue to push forward and back. Keep rocking that march. Finishing off. Last 20 seconds. How's your grip on that weight? Keep it going, come on. Breaking that sweat. Best of both brooks. Resistance training. And cardio. You got it. Four. Three. Last two. One more, one more. You get job. Let's take a quick water break. Tile off with me here. How are we doing? I don't know about you, but I'm feeling great right now. Keep it up, keep it going. Woo! All right, lip it more leg work. Tosne knees out. You want the ankles and knees aligned. You can use that chair for assistance to come up and to come down. Or we're going to stand all the way up, sit all the way down. Use those arms. Press up and have a seat. Take your time. 45 seconds. X, X, X, X, X, X, X, X, X, X, X, X Knees are slightly bent. Your course engaged. Abs lower back, especially the glutes. As you lift yourself up, you're down to your last 20 seconds. Keep it up, come on. Extensions, we're gonna go into kicks, cardio, a little bit more abs concentrating here. Give me one more squat, on obliques. Those love handles, shake it out, ready, ready. Opposite hand, opposite leg. Don't worry about touching those toes. This focus on lifting that leg up, the soles of your feet facing me, and then that torso, adding a little bit of rotation here so that you get those abdominals in. Right along the side, extend and reach, breathing out to the mouth, breathing in to the nose. 45, through about halfway on this drill already. Breathing in through the nose. 45. Surround halfway on this drill already. Working shoulders in about 15 seconds. Keep it up. Looking good. Shake it out. Deepen it. Release. One more time. Breathe in lengthen. And relax. Options with your weights. You can definitely use your dumbbells. One or both, or maybe you have that band and you wanna switch it up. Rock that band with those handles, yes. You're gonna step onto that band, making sure those handles are nice and even, yes. You walk your feet in to make the work out a little bit easier, less resistance, you walk your feet out to make it a bit more challenging, right? Poms in. You're going to alternate. Lift all the way up. All the way down. Sitting up nice and tall. Now, if you're like Monica, I'm ready to stand up. You can do this exact same movement out of your chair. So flex your options. Benning those knees if you're up with me here, check that Teflon under. Straight arm, control as you lift, control as you lower. Abs are nice and tight. Foundation at any time you are working a body part and you are definitely getting to those last few seconds, those last few reps. If you acknowledge that core, you've braced to those abdominals. It will be a little bit easier, not completely. Definitely feeling the difference. Last few seconds, walk those feet out to create that resistance. Bend those knees. Last time each side. Who's ready? Ready. Or cardio. Ooh. Take that band. Or those dumbbells off to the side. We're going to tap out. A couple of options here. You can press up side tap or rock-flake legs at the same time. Yes, full on track or single leg. Ready, ready? I'll let you know in your halfway on this 45 second drill. case you want us switch it up by increasing that intensity level or by just taking it down a bit. Yes. Look at those fingers toes really race those arms to get that heart rate up. And you're already halfway. Kick it up. Come on. Definitely could be pace. Yes, range of motion or if you're up for those jacks. Let me see it here. Last 10 seconds. You got it. Come on. Breathe. Keep it up. We're going to go back to those squats. Some hip mobility. Good job. Shake it out. Deepen. Hello. Exhale. Good work. All right. This time using one or two weights. Narrow stance on those squats. Options you can sit all the way down or hover. Almost sitting down. Regular squats yes. So, flex here. Same time frame. 45 seconds. Slow on your way down. Slow on your way up. Keep it up. Come on. Shut out to your quadriceps with a narrow stance. You work more of those quads versus those hamstrings. So if you think to be mindful of, we'll be going to a wider stance. We hit different angles, different muscle groups on those legs. Finish off less than 15 seconds. Ooh. I need to know who's sitting all the way down. That reset. It does require a little bit more work to get out of that chair. Yes. One more rep. Quickening out. Good job, shake out those legs. All right, options. You can have a seat for this one, or remain up. Basic side tap. Hands, spread those fingers. Make a fist, flip back. Yes. Half on with it here. You can drop down or you can stay up. Ooh, who's ready to switch it up now? Arms. Towards me. Arms elbows straight back back as far as you can. You got it. It's that high row. Finish off 15 seconds if you can hear that beat. Catch it, catch it. Come on. Looking good. Last few seconds. Going back to resistance training. All abs. Your own body weight. Tell off. Grab a drink of water. Right on time, how are you doing? Minute of abs. And we'll call it today. Great full body workout. Widen your leg stance. Round that back. Really squeeze those abs in. Sitting up nice and tall. So every time you come down to round that back, you definitely want to focus on engaging your belly button to your spine and releasing excellent amount. When you're about halfway on the drill, I'm going to ask that you switch arms, yes. So, both of you to switch right now. We are down to our last 20, 25 seconds here. I don't know about you, but I'm really loving this lower back stretch. Taking your time. Any type of resistance training? Yes. Yes. Slower is better. Keep it up. See more reps. Last one here. Good job. Deepen hell up. Exhale, forward fold. We're gonna do a heel tap. We did those toe taps earlier, nice and tall lengthen and hold up. Exhale, so you're here, arms across. Draw the elbows back. Release, squeeze those upper back shoulder blades here. Humps down. We gonna go into a hamstring stretch. And less than 20 seconds. Then we'll be out of our chair. Some hip mobility. Quot stretch. And then we'll go into our famous Album Pose. You got it. Rider left leg, it doesn't matter. Deep and halop, straight leg, exhale. Forward, full. Think about lowering from the chest versus the head. Listen to your body if you're shaking. You're gonna back off slightly, yes. Couple of deep breaths here. That chest is lifted, lengthen and halop. Switch. Any pain, discomfort. Listen to that body. You're shaking. You would definitely want to back off on that stretch. I can't stress enough. Carefully come up. Lesson to your body before you listen to me. Yes, it's the hips. There are all stance, hip mobility here. Full range, your range. You seconds, we'll change directions. And Bob, get ready. Ready, change, change. This just broke real good. Taking your time, just a few seconds, quick in and out. Bend those knees, deepen a lot. Exhale, shake out those legs. Let's use that chair, We're going to open up. Nice deep lunge. You're here. Sit into it. Tuck that tub on under. Both knees are bent. Options. You can stay here if this feels good. Otherwise, let's take the arms behind. Draw those hands down, gazing up. So you have not just your hips, but your chest and shoulders here. Carefully release those hands. Back leg bring it in for the quads. Knees together, bouncing leg. Spread those toes and bend that knee. Squeeze your hamstrings, shut out to your quadriceps. Yes. Use that chair for support. You like to try and balance a bit. Raise that arm up. Shake it out. Other side. Deep lunge. Hips. Once again, flex your options that this heel's good right here. Utilize neck chair for support. Please stay here. Otherwise, calm space you. Round that back. Pull away, pull away. Chinatest. Carefully release. Shake it out. Back leg. bring it in for those quads. We're here for a few seconds and we'll go right back into our chair for that album pose. Deep inhale, deep exhale once again. Use that chair otherwise. Let's see how your balance is today. if if it's just for a few seconds, and then you hold, yes. Be patient with yourselves. Be kind, release, let's have a seat. Ride over laughter, left over rights. Breathing in, exhale, strike a pose. Deep inhale, exhale, really open up, gently pressing on those thighs. You can rotate those ankles. Point, flex if that feels good. Yes, release. Shake it out, other side, strike a pose. Deep inhale. Exhale, open up here. Listen to your body if you have a side that's a bit tighter. You always want to acknowledge it by adding extra repetitions if it's a resistance or cardio move. Or just pausing a little bit longer. Release. Deep inhale up. Exhale, I appreciate you all. I'll look forward to seeing you soon. You rock. I'm sorry. The County of San Bernardino, California is proud to support this program and encourages everyone to recycle, reduce, and reuse every day. Can you guess what this is? Any guesses? I'll give you a hint. You ride on four of these when you're in a car. That's right, this is the steel belt inside the tire. The thing that binds and holds the tire together. And it is recyclable. You want to know what all this is? Well, I give you a hint. People ride in these every day. I'm Joel Green and welcome to CuriosityQuest Goes Green, the show that explores noities. Well, today we got a quest letter from Cheyenne and San Jose and she wrote, dear Joel, I have always wondered what happens to cars when they don't work anymore and you can't fix them. Well Cheyenne, because of you, we are going to find out how cars are recycled on today's Curiosity Quest goes green. What happens to a car? What happens to a car when you are done with it? Well, you know, if it doesn't work, you send it to the junk and I guess they recycle and make new cars. Okay, I don't know anything. Are you sure? Um, it should go to a junk yard. So I can be safe for other people to use, like maybe in a used car. Um, it gets for cycles and when it's for cycles, it becomes a new car. You know? Yeah. All right, so we're out here at Pacific Coast recycling with Brian. Now Brian, you're going to teach us how to recycle the car, right? Absolutely. How does it all start? Well, it all starts when somebody's tired of their car. They trade it in. It's no longer something that they want to drive around. It goes through an auction process. and eventually winds up at an all-reversi-cler. They'll take the car in, drain all the fluids out of the car, take any hazardous material out of the car, then they'll use it for parts. So they'll take what usable parts are off of it, refurbish those, sell those back to the public as a cheaper alternative to somebody going out and buying something new. When all the parts have been picked off the car and it's no longer usable, they'll flatten the car and they'll bring it over to us. And then that's when we take care of the shredding process. turn a diff to somebody going out and buying something new. When all the parts have been picked off the car and it's no longer usable, they'll flatten the car and they'll bring it over to us. And then that's when we take care of the shredding process. So the first part of recycling in a car is actually reusing, shurying them that can be reused on the car. Absolutely. There's a lot of good components on a car that can still be used even after it's end of its useful life as a complete car, there's a lot of parts that can pull off and recycle them south. Okay, all right, so after the car is flattened, then it comes to you. Then it comes to us. They're flattened, they come in on the truck, we unload them, and then they go into our shredding machine. And we use a mix of flattened car bodies, appliances and sheet metal. They go into a machine that basically grinds it all up and then separates out the metal from the non-metal. So wait a minute. You're gonna take these cars, and you're gonna to shred them like sticking them in a blender. Exactly. They're going to come out about the size of your hand. Fun facts fun facts fun facts. Here's your fun fact. Auto recycling reduces air pollution by 86%. This yellow or this orange cover mesh what does that for? Well that's actually just to protect the other people in the highway These cars are smashed so a lot of things get cracked and broken during the process of flattening them So they wrap this material around there just so that parts don't fall off while they're taking it down the road All right, and you don't need to take that off before you remove them No, that'll get ground up in our process and you won't ever see it again. I want to see it again All right. Now he basically is taking these cars right to the front of the line. Sure we'll be putting those in the shredder here in just a few minutes. Really? So we're going to... Yeah. It was the last time we're going to see it in this form. Huh? Shortly we'll no longer be a car. My goodness, I can't wait to see it. So, not only is the steel and the metal coming out of the cars, but what other products are coming out of the cars? All kinds of things. You can imagine there's plastic in the cars, there's the cushions, there's the leather seat covers, there's foam, the dashboard material, the glass, anything that you can think of that would be in a car, it's separated out to this process. So, all at all, what about 80, 90% of the car is recyclable how would they probably about 75 to 80% in a really good scenario is recyclable wow so instead of sticking a huge car in a landfill you bring it to a place like yours and you'll shred it for us uh absolutely bring it on over bring it on over huh Eddie. So now we're going to follow the process of steel. Since 70% of it is steel. Sure. We're going to go follow that. Yep. It's on the other side of the facility, so let's walk over there and take a look at it. All right. It's out good. Let's go. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I'm going to see you. I brimed, we're on the back side of the shredder now and obviously piles of metal behind us, huh? This is all the steel that's left over after we've shut up the cars. In fact, here's a piece of a car frame that was shredded up. Wow, it's heavy too. Wow. So the grinder just beat this to death, huh? That's right, it grinds it up until it's small enough to fit through these big grates that are inside the shredder that are made out of manganese. They're very hard and very thick. So when the pieces are small enough, they fit through the grate and they come out. And that's what you have. What's going on? two cars that just went through. Right, it kind of picks up and slows down as the process grinds the cars up. But this is how the... and that's what you have. What's going on? We have a few cars that just went through. Right. It kind of picks up and slows down as the process grinds the cars up. This is how the material comes out in the end. This is clean steel, the very good shift to our customers. It's going to take it and make new steel products. OK. You know, this customer wears it out, right behind me. Right behind me. Yeah, we have to have our own steel mill right next door. That's not ours. It belongs to a company called TANCO. We ship a lot of our product right next door to them. So I want to... Yeah, we're happy to have our own steel mill right next door. That's not ours. It belongs to a company called TAMCO. We ship a lot of our product right next door to them. So I wonder what all these cars are going to be called. That's a way to find out. Maybe it goes just to the new house. Oh, really? Oh, OK. All right, so let's drive over to TAMCO. But not in this. Fun fact, fun fact, fun fact, here's your fun fact. Every year we save enough energy recycling steel to supply a city as big as Los Angeles with nearly a decade's worth of electricity. So what do you think? A trunk? A fender? A hood? I don't know. All right, so I'm over at Tamco with Jamie. Now Jamie, you had us put on these lab coats. Why do we have these lab coats on? They're flame retardant. So when we go into the melt chop and we melt all this scrap steel down, If any sparks come out, you don't get burned. Thank you very much for having us put these on. Keep us protected. You're welcome, Joe. I said, now Pacifico showed us how they turn the car into what's behind us. What are you going to do with this? We take the scrap metal and we melt it down and then turn it into rebar. Rebar, what's rebar? Rebar is what's used in the construction industry for building buildings and bridges and highways. When the car is recycled, what new product can it become? New parts. Another car can be made out of that. Those pieces of the car's in pound and Another new car So an old car Will end up in somebody's house or on a freeway Building a free well it's pretty interesting and we're gonna see that process here We're gonna see how we belt scrap and it into rebar. All right. It's a Jamie. In addition to recycling cars, you also recycle railroad wheels. When a rail car is used up, you can see these wheels are worn out. They'll disassemble the rail car and sell it to us. You have quite a few wheels here. Yeah, there's quite a few rail cars tied up in this. Wow. Can you actually get whole rail cars? No, we don't, but there's companies that disassemble. Disassemble. Now, in addition to these, I see behind me all these 10 cans? 10 cans, that's right. Wow. So you will take these and put these through the melting process as well, huh? That's correct. put those in the electric guard furnace and turn them into rebar. So this is not aluminum cans. This is your cups of soup and... Yeah, you can see in here. There's soup cans, there's aerosol spray cans. That's glass cleaner. Yeah, anything that's any of these containers that are made out of steel will go through the collection facilities and get separated out. So when you put a tin can and you're recycling bin in your kitchen, ultimately it's gonna end up here. All right, pretty cool. So let's go and see the furnace process. Okay, let's see the furnace. Yeah, look at my new Pogo shoes. No, I'm kidding. This is a shock off of a car, a spring off of a car. And guess what? It's recyclable too. Oh, that's a big truck. 35 times. Oh my goodness. So in addition to doing scrap dumping you also do larger pieces like this right? Yeah. That's just different kind of scrap that comes from a backroom. Once it's dumped in the bucket, what happens from here? We'll pick that scrap bucket up with a crane, and then we'll open up the roof of the hard furnace, and we'll drop it in the furnace. And from there it gets melted. Fun fact, fun fact, fun fact. Here's your fun fact. In one year, the United States recycling of steel saved enough energy to heat and light 18 million homes. What happens if I touch this button right here? You better not touch any of that stuff, Joel. Oh, no. You don't want an accident here. We don't want to wreck anything today. All right, so we're in the, what, control tower? This is the control room of the arc furnace. And I assume below us is the arc furnace. That's correct. We use electricity to melt the steel. Wow. Now, I see it. the control room of the arc furnace. And I assume below us is the arc furnace. That's correct. We use electricity to melt the steel. Wow. Now, I see it. It looks like a lot of a porn out right there. What a f- and I assume below us is the arc furnace. That's correct. We use electricity to melt the steel. Wow. Now, I see it. It looks like a lot of a point out right there. What are we looking at? That's slag. So anything that isn't metal floats to the top and then gets poured off onto the ground. Now, you earlier I was asked you about these cool glasses. You have right there? Sure. So that's how you can... you can what are those for if you flip those down then you can look at any of the hot things like that without hurting your eyes You can look through if you want those down, then you can look at any of the hot things like that without hurting your eyes. You can look through if you want. If I want. Yeah, here we go. So I just, uh, would I clip these on? Sure you can go. Oh, those on and now. Ha ha. Ha ha. You can look at the hot steel. Yeah. All right. So we're shutting it. Now, do you wear these glasses? Yeah, wicked, huh? It's pretty cool, huh? So do you wear these glasses all the time? You have to wear them. You only wear them if you're looking at the molten. Now, do you wear these glasses? Ooh, yeah, wicket, huh? It's pretty cool, huh? So do you wear these glasses all the time? You have to wear them. You only wear them if you're looking at the molten stuff. You can see Pedro here is using his glasses to look at the slag and look in the furnace. What does it mean to tap the heat? Explosion? Or, I don't know. Water, maybe tap water you got me there I got a good one that's a good one okay but I will research you get back to me I'll get back to you give me your number the steel that's in the furnace is called the heat and then what he's gonna do is tap it, and that basically means pour it out. Ooh, so, ooh, I like tech turns. Yeah. Tap the heat, all right. All right, so Jamie, I pulled my glasses, your glass is back down. And what are these things right here? Those are the electrodes, and they're the things that make the electric arc. It's made out of graphite. Same stuff is in your pencil. Really? That's right. So your pencil is fireproof? Is that what you're telling me? Yeah, it's like a big 24 inch round piece of pencil left. So this is like where everybody clears the floor and... Oh, yeah. They all get out of the way at this point. There we go. Whoa! Oh, my goodness. It's like a volcano. Hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey, hey a volcano. Hey, hey, hey. You guys see this all the time? What? It's like no big deal for you guys. It's like you. Oh my goodness. Every time it takes about an hour to make a batch of steel or a heat as we call it. Mm-hmm. And so we do that about every hour. Okay, Joel, you want to turn the furnace on? Do I want to turn the furnace on? Show me what to do. Right here? Pull that lever right there, and it's going to turn it on. Like this? All right, like this. There you go. There it goes. Now lights lit up. Actually, now they're going to go in and melt everything up, huh? That's right. Oh my goodness. Those gotta be hot. Oh! Whoa! So the arc is being created at the end of those electrodes. That's right. And the arc is about 10,000 degrees, and that's what melts the steel. And that's about the same temperature as the surface of the sun. So when you set it an hour, this is the part that takes an hour to melt. Now, the whole process, from melting it to pouring it out to the time when you load it up a scrap and melt another one, takes about an hour. music I'm It looks like one gigantic volcano again. Yeah, actually it's hotter than a volcano. A volcano is only about 1500 degrees and that's 3,000. Wow. And where will this ladle end up going now? We're going to take it up to the continuous caster where we're going to turn it into villains. What is a villain? A dog without a tail. When it nuts, it's hunting. When it explodes? Okay, a random wheel. There you go. It hasn't told me. What's happening here? What's happening here? We're pouring the molten steel into a machine called the continuous caster. And that's going to turn that liquid steel into solid chunks of steel called filets that we used to make reef on. So what's a billet? A billet is a big 20-foot long by 5 inch square chunk of steel that we've solidified on the caster and it weighs about one ton. All right. So cars become an ability. A car is becoming a building. See? Even in Gone Green. The I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. I'm going to get the car. that's hot. Don't touch it. All right, Jamie. That's a billet, huh? That's a billet. So this is, you say each one of these ways, 1,000 pounds, about 2,000 pounds? So about one ton. One ton, 2,000 pounds. Now, you said they're going to squeeze it. What we're going to do is we're going to watch them bring that into the rolling mill. They'll run through rolls, and it'll squish it elongated and it's going to go through a bunch of different steps in the rolling mill that when it comes out the end it's going to be about this bigger round. So we're going to take something that's about this big around and squeeze it down to be in that this big around. Wow, Jamie, you guys actually recycle your byproducts also, that's correct, making steel, obviously, you can see in the furnace, makes a lot of spoken dust. And so we have a giant bag house which is the machine that you see behind us. All the ductwork coming down through some fans into this bag house, it's like a giant vacuum cleaner. And it's got thousands of bags and it kind of like the bag in your vacuum cleaner. And what that does is it pulls all the dust out of the melt chop and then we collect it. Fun fact, fun fact, fun fact. Here's your fun fact. During World War II, salvaging metal scraps from corsets saved enough metal to build two warships. OK, so we've needed to build it back up to 2,000 degrees, and it's coming into the rolling mill. Woo! Wow. It's going to go through these stands and these big rolls are going to squeeze the billet and elongate it and stretch it to a smaller size. Wow, wow. Every time it goes through one of these stands it gets a little smaller. I can see that. And what's all the water is, what's the water to it? Cooling it, the water's keeping the rolls cool at all the machinery cool. I see it twisting, yeah? It's twisted and going into another, there's grooves in the roll that help shape the piece of steel into the correct shape. How long did it end up being? A 20-foot village will turn into three pieces in almost a thousand feet long. Oh my goodness. It's like the size of this building. Yes. Oh my goodness. Oh my goodness. Oh my goodness. That was one million. Wow. That's a 20 foot long village have turned into a thousand feet long rebar, huh? That's right. Wow, these things are flying! Yeah, it's going about about 25 or 30 miles an hour when it comes out of the mill. There's obviously we can't fit a thousand feet on this cooling bed so it cuts it into 240 foot pieces and this and this machine helps take that bar that's going 30 miles an hour and stops it And then now it walks across the bed so it cools off So they've already been cut when they're coming out of here, right? That's right So these are 240 feet long single pieces. That's right and each basically each group had the entire billet in it. So we stretched out all three of these in equal to 1,000 feet. It would equal a four of these would equal 1,000 feet. Four of these would equal 1,000 feet, which is one billet. That's right. And each one of these has three pieces of rebar, and it's a really, there's 3,000 feet of rebar that comes from one billet. Oh my goodness. They're huge. Yeah, obviously they're really hot still. Yeah, they're cooling down as they walk across this machine. And by the time they get to the other side, they're cool enough that they're no longer like a piece of spaghetti. And we can cut it into 20 foot or 40 foot or 60 foot pieces, which is what our customers want to buy. Okay. So now obviously the last one's right there now. Well, this end up rolling. Oh, yeah, it's just gonna walk its way off, huh? That's right. Oh. So when he gets enough bars, he'll run it over and it'll go through a machine that'll just cut them, just like a scissors. Really? Yep, right in front of us here? Down there also they go further down. Yep. Yep. These there's conveyor rolls and it'll take that whole layer of Rebar and roll it on down to the machine, which will cut it. Sixty-foot pieces are the most common end use for our company. OK, new builds for freeways and buildings and everything above. You gave me one of these pieces, huh? There's a piece of rebar. That's what it is. That's a rebar. And this is what holds up the buildings in the freeway. That's what you put in concrete. And that's what reinforced concrete is. That's, which is in buildings and freeways, has concrete. And the rebar is what gives it its strength. I can't bend it. It's pretty tough stuff. It's not 2000 degrees. You could cool it down for me. We cool it down and now you can't bend it anymore. But you know what though, I could play drums with it. But it's still flexible enough that if there were an earthquake, they actually bend pretty well. Oh, okay, it keeps things from pumping apart if you have an earthquake as well. Wow. Well, Jamie, thank you very much for taking us to the crosses. It's hard to believe that this was once a car. That's right. In metal and all the other things, huh? And so we melted it down and we turned it into rebar. Thank you very much. You're welcome. Wow, just look at all these cars. I wanted to bring Brian from Pacific Coast and Jamie from Tamco for teaching us how they turn cars into rebar. And I especially want to thank you, Shion, for sending us on today's Curiosity Quest. You know, if you're curious about something and you want to send us on a green quest, go to kvcr.org, click on the Curiosity Quest link, and simply tell me what you're curious about. And who who knows it could be you that sends us on our next great adventure Well, remember it is our planet and it's our responsibility to take care of our planet So I'm curious have you gone green? I'm Joe green and I'll see you next time. I can't exactly drive away in these can I? Oh well. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go back to the next video. I'm gonna go end, including this car. The County of San Bernardino, California is proud to support this program, and encourages everyone to recycle, reduce, and reuse every day. To order a copy of this episode that you've just seen, or if you're interested in previous Curiosity Quest episodes, log on to kvcr.org and click on the CuriosityQuest link. The cost is $19.95. you you you The Nature Conservancy Protecting Nature Preserving Life Nature Conservancy, Protecting Nature, Preserving Life. These are just a few of our spectacular and diverse California state parks, providing clean air and clean water and magnificent treasures for all of us to enjoy. The incredible diversity of California is what we at the Nature Conservancy care most about. And so as we've looked to conserve a representative sample of what makes this state unique, we can't think of a better partner than the state parks system. For 50 years, the Nature Conservancy has worked to strengthen our state parks, protecting these and other parks around the state, adding and helping to manage more than 100,000 acres of state parks. Nature Conservancy has been a partner of our department for decades and they play a really crucial role in identifying lands for conservation and working with us to set those places aside that are just magical, fabulous pieces of land that we need to conserve. The nature conservancy has helped secure land for endangered species such as Big Horn and Anza Barrego stayed park and a supported park with critical planning, policy and scientific expertise. Thank you.