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"content": "\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When Sutro Tower was first proposed in San Francisco, nearly everybody hated it. How did it get built? \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em> This question comes from Craig Rubens, who wanted to know:\u003c/p>\n\u003cp>\u003cstrong>What is the story behind the construction and approval of Sutro Tower?\u003c/strong>\u003c/p>\n\u003cp>Back in the 1960s, San Francisco had \u003cem>really \u003c/em>bad television reception. By many accounts, it was the worst of any city in America.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Good reception required a clear line of sight from the broadcast tower to your TV antenna, and in hilly San Francisco this was a challenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Broadcasters began the hunt for a location to build a very tall tower that could send a clear TV signal far and wide.\u003c/p>\n\u003cp>ABC already had a 588-foot tower on top of Mount Sutro, and it started lobbying for the new tower to be built there.\u003c/p>\n\u003cfigure id=\"attachment_10566922\" class=\"wp-caption alignright\" style=\"max-width: 481px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-10566922\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro1.png\" alt=\"Early design renderings of Sutro Tower included a restaurant at the top.\" width=\"481\" height=\"641\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1.png 481w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro1-400x533.png 400w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early design renderings of Sutro Tower included a restaurant at the top. \u003ccite>(Courtesy of Christine Linnenbach.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Designs were drawn up, and ABC started showing off a tower that looked like a sleek golden Seattle Space Needle. It even included a restaurant at the top.\u003c/p>\n\u003ch3>Scared Into Silence\u003c/h3>\n\u003cp>ABC invited residents around Mount Sutro to discuss the plans during two meetings. Initially, neighbors had concerns over safety, property values and the city skyline.\u003c/p>\n\u003cp>“What the people were told was very simply this: Either you go away and you let us build our tower, or we will make sure the open space around Mount Sutro is torn down and all of the green belt is removed,” says Christine Linnenbach, a lawyer who has fought Sutro Tower Inc. in court and whose childhood home is a few blocks from the tower.\u003c/p>\n\u003cp>Linnenbach says ABC delivered an ultimatum: a tower and a park or no tower and no park.\u003c/p>\n\u003cp>The neighbors didn’t know that this was an empty threat. The park was already included in the city’s plan for a green belt. But their fear of losing the park caused residents to keep quiet, and ABC used the “lack of neighborhood opposition” to help push the Mount Sutro site through.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/131040168?title=0&byline=0\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>Getting Government Approval\u003c/h3>\n\u003cp>Among the loudest opponents of Sutro Tower was the San Francisco Chronicle. Lawyers representing the paper fought the tower at hearings in front of the San Francisco Planning Commission and the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The paper argued Sutro Tower would ruin the skyline, and it questioned the logic of placing a tower within striking distance of an elementary school, reservoirs and hundreds of homes.\u003c/p>\n\u003cp>But the Chronicle wasn’t an impartial observer. The paper had its own television station and wanted to see the tower built on San Bruno Mountain.\u003c/p>\n\u003cp>Ultimately, the Federal Aviation Authority rejected the proposal because it was too close to the airport.\u003c/p>\n\u003cp>In 1966, the San Francisco Planning Commission approved the site at Mount Sutro, passing the decision on to the San Francisco Board of Supervisors.\u003c/p>\n\u003cp>The supervisors voted 6-to-4 against building the tower, but two more votes were needed to overturn the Planning Commission’s approval.\u003c/p>\n\u003cp>The decision was final; a tower would be built on Mount Sutro.\u003c/p>\n\u003ch3>Designing the Tower\u003c/h3>\n\u003cp>Leading up to construction, the tower’s design underwent huge changes by Los Angeles architecture firm \u003ca href=\"http://www.acmartin.com/\" target=\"_blank\" rel=\"noopener\">AC Martin and Associates\u003c/a>. It became more skeletal-looking with a broader top and waist.\u003c/p>\n\u003cfigure id=\"attachment_10567235\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002.png\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567235 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/image002-400x510.png\" alt=\"Later architectural drawings of the tower show the red and white stripes we've come to know today. \" width=\"400\" height=\"510\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002-400x510.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/image002.png 481w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Later architectural drawings of the tower show the red-and-white stripes we’ve come to know today. \u003ccite>(Courtesy of Christine Linnenbach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Dausman, general manager of Sutro Tower, says the architect’s decision to taper the center was entirely aesthetic.\u003c/p>\n\u003cp>“All the engineers since then want to shoot him. It made it a more difficult structure to maintain, and it is a more difficult structure to keep perfectly upright and in a great condition,” says Dausman.\u003c/p>\n\u003cp>The other major change was the color. Original plans showed a tower with a golden hue, but aviation regulations required the tower be painted alternating stripes of red and white to ward off possible plane collisions.\u003c/p>\n\u003ch3>Construction\u003c/h3>\n\u003cp>By the 1970s, public interest in Sutro Tower had ebbed and few news outlets were reporting on it. The tower’s fiercest opponent, the Chronicle, had warmed to the tower after its television station became a partner in building it.\u003c/p>\n\u003cfigure id=\"attachment_10567312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-10567312\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5882-800x533.jpg\" alt=\"By the time the public was largely aware the tower was being built, it was too late to stop construction.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5882-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">By the time the public was largely aware the tower was being built, it was too late to stop construction. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When construction finally began in 1971, the local media were silent. Television stations involved had made a gentleman’s agreement not to report on the tower. Some called it a media blackout.\u003c/p>\n\u003cp>In their defense, the four stations, KTVU, KPIX, KGO and KRON, claimed it was so that nobody would have the jump on advertising the new tower.\u003c/p>\n\u003cp>But an editorial that ran in the San Rafael Daily Independent Journal suggested the group was silent because they knew the tower would be unpopular.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>Fun Facts about Sutro Tower\u003c/h2>\n\u003cul>\n\u003cli>The legs are anchored in 15 million pounds of cement.\u003c/li>\n\u003cli>The tower is composed of 3.5 million pounds of steel.\u003c/li>\n\u003cli>It is 977 feet tall. The highest point is 1811 feet above sea level.\u003c/li>\n\u003cli>Construction cost $4 million in 1971.\u003c/li>\n\u003cli>The tower hasn’t been painted in over 20 years. “The biggest problem with painting is that we also painted a lot of the neighbors’ houses and cars. … The crew is as careful as they can be, but they’re 700, 800, 900 feet in the air, and a drip goes a long way,” says Dausman.\u003cstrong> \u003c/strong>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>When bulldozers began taking out trees on top of Mount Sutro, KQED Newsroom reporter Tom De Vries and cameraman Charles Rudnick hiked up to the construction site.\u003c/p>\n\u003cp>“We started taking pictures and a man came running out of the work office, running towards us saying, ‘You can’t film here! There’s an agreement!’ … Well, the story just got way better,” says De Vries.\u003c/p>\n\u003cp>KQED-TV ran the story, sparking new efforts to stop the tower by University of San Francisco law students and two San Francisco Supervisors.\u003c/p>\n\u003cp>None were successful.\u003c/p>\n\u003ch3>Final Touches\u003c/h3>\n\u003cp>Sutro Tower beamed out its first transmission on July 4, 1973.\u003c/p>\n\u003cp>In designing the tower, engineers realized that the antennas would sway in strong winds, so they added girders and a network of cables to keep it in place.\u003c/p>\n\u003cp>“Unfortunately, one of the byproducts was that wind would rush through these newly created guide wires, and the whole tower would sound like a moaning harp,” says Linnenbach.\u003c/p>\n\u003cp>The cables have since been redesigned and are not as loud.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10567311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854.jpg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10567311 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/JV0A5854-800x533.jpg\" alt=\"Reporter Jessica Placzek and Sutro Tower Spokesman Dave Hyams near the top of the tower.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/JV0A5854-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Reporter Jessica Placzek and Sutro Tower spokesman Dave Hyams near the top of the tower. \u003ccite>(Adam Grossberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sutro Tower Today\u003c/h3>\n\u003cp>Dausman says he understands people who consider the tower an eyesore. If it were up to him, the tower wouldn’t even be here.\u003c/p>\n\u003cp>“This is the wrong place for a broadcast tower to serve all of the Bay Area as it has emerged in the last 40 years,” Dausman says. “It’s not really in the center.”\u003c/p>\n\u003cp>He thinks the ideal spot would be somewhere in Hayward. But at this point, the tower is isn’t going anywhere.\u003c/p>\n\u003cp>These days Sutro Tower is used for more than just television. Emergency responders, traffic control, taxi dispatchers, law enforcement and radio all use the structure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And many residents have come to love Sutro Tower.\u003c/p>\n\u003cp>You can find the icon in boutiques and even tattooed onto people’s bodies. Newcomers use the tower’s prominence to navigate the city, while other San Franciscans profess to love the structure that many tourists find ugly and strange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When fog swirls in around the foot of the tower, people describe it as a ship sailing atop the clouds, a ladder to the blue skies always just out of reach in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10568088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds.jpeg\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-10568088 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg\" alt=\"sutro in the clouds\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1440x810.jpeg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/sutro-in-the-clouds-960x540.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sutro Tower in the fog. \u003ccite>(Olivia Allen-Price/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Calling All Choir sang sweetly recently for a small crowd in The \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, a tiny jewel of a park in the heart of San Francisco’s \u003ca href=\"http://en.wikipedia.org/wiki/Tenderloin,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Tenderloin\u003c/a> — a neighborhood better known for single room occupancy hotels and drug deals than for choral splendor.\u003c/p>\n\u003cfigure id=\"attachment_10753149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg\" alt='The Calling All Choir performing at a \"Friend-Raiser\" for Counterpulse' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Calling All Choir performing at a “Friend-Raiser” for Counterpulse \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was a fundraiser for San Francisco dance presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse\u003c/a>. But Executive Director Tomas Riley said it was also something more.\u003c/p>\n\u003cp>“It’s a fundraiser yes,” Riley said. “It’s also a friendraiser.”\u003c/p>\n\u003cp>A friendraiser, because Counterpulse is moving into a new home just around the corner on Turk Street.\u003c/p>\n\u003cp>“This event is free and open to the public,” Riley said. “We invited all our potential collaborators from the community serving organizations in the neighborhood just to introduce ourselves and let them know we’ll be here in the fall.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Counterpulse’s new home is a former porn movie theater, The Dollhouse. The dance company will eventually own the building.\u003c/p>\n\u003cp>So how did this little arts organization end up finding the right space at an affordable price in boom town San Francisco?\u003c/p>\n\u003cp>It got a loan from a team led by \u003ca href=\"http://krfoundation.org/arts/cast/\" target=\"_blank\" rel=\"noopener\">CAST- the Community Arts Stabilization Trust\u003c/a>. The organization purchases and leases space for the exclusive use of nonprofit arts groups.\u003c/p>\n\u003cp>Counterpulse’s move to The Tenderloin is the unexpected culmination of a two-year process that makes the group’s artistic director Julie Phelps feel like one of the luckiest arts presenters in the city.\u003c/p>\n\u003cfigure id=\"attachment_10753146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg\" alt=\"Counterpulse's current home on Mission Street \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Counterpulse’s current home on Mission Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When we began to consider what our next move was going to be, it was beyond our wildest dreams that we would purchase a building, do a $3 million renovation on it, and have our dream home at the end,” Phelps said recently while sitting in Counterpulse’s current performance space located on a dingy block of Market Street.\u003c/p>\n\u003cp>Two years ago, Counterpulse faced a problem common in a \u003ca href=\"http://ww2.kqed.org/news/series/boomtown/page/2\" target=\"_blank\" rel=\"noopener\">fast-rising real estate market\u003c/a> like San Francisco’s. The company couldn’t get its landlord to negotiate a lease extension, because, Phelps thinks, he had other plans for the property, located just a block away from the social media company Twitter’s headquarters on Market Street.\u003c/p>\n\u003cp>“You can look around at the number of cranes in this neighborhood and take a pretty good guess that their property will probably be developed to the height limit and be condos,” Phelps said.\u003c/p>\n\u003cfigure id=\"attachment_10753285\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10753285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\" alt=\"Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin Foundation\" width=\"289\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation-32x32.jpg 32w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin FoundationTrott said what she learned is that you can’t stabilize an arts organization with just rent subsidies, you have to give them control over their space. \u003ccite>(Courtesy Kenneth Rainin Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s CAST’s Formula: Match a well-run arts group in danger of losing its lease with a landlord willing to sell. Buy the property. Then have the arts group rent to own for seven to 10 years, while it raises the money needed to pay off the CAST loan…with no interest.\u003c/p>\n\u003cp>“When they purchase the building from us they’re purchasing it at the price that we originally purchased it,” said Shelley Trott, director of arts strategy and ventures at San Francisco’s \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>. CAST is a project of the Foundation, which is backing the program with $5 million. The trust has also tapped the expertise of the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, which has been consulting for Counterpulse and other arts groups for years.\u003c/p>\n\u003cp>“They’re really good at looking at a distressed piece of real estate and seeing it’s potential,” said NCCLF’s Senior Real Estate Consultant Liesa Beckham of the majority of cultural organizations. But they’re not good, Beckham said, at figuring out how to finance their dreams.“We always say, ‘our clients are really good at what they do and real estate is not what they do.’ That’s where we come in.”\u003c/p>\n\u003cp>NCCLF played matchmaker, hooking Counterpulse up with CAST. CAST is also working with the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Arts Commission\u003c/a> and the mayor’s office to develop this subsidized ownership model for arts groups.\u003c/p>\n\u003cp>The city is providing tens of thousands of dollars more in the form of lease subsidies and relocation help for Counterpulse and another of NCCLF and CAST’s very willing guinea pigs: \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">The Luggage Store Gallery\u003c/a> (which developed The Tenderloin National Forest).\u003c/p>\n\u003cp>The gallery is currently undergoing a major renovation.\u003c/p>\n\u003cp>CAST provided $1 million to Luggage Store Gallery co-owners Laurie Lazer and Darryl Smith to purchase and upgrade The Luggage Store’s building in the Mid-Market neighborhood, now a booming tech corridor, even as the property doubled in value.\u003c/p>\n\u003cp>“We’re not paying any more monthly than we did before the deal,” Smith said.\u003c/p>\n\u003cp>Another reason Smith and Lazer like the CAST model is that in years to come, the building’s future will be secure, even if the two quit the arts scene.\u003c/p>\n\u003cp>“There’s a deed restriction on the property,” Lazer said. “So this building can only be used for non-profit arts and nothing else.”\u003c/p>\n\u003cp>In fact, Smith and Lazer will rent the first floor of their building to \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, which provides arts programs to people with low incomes and the homeless.\u003c/p>\n\u003cp>A property trust for non-profit arts is so compelling an idea that Clay Lord, Vice President of Local Arts Adancement with the group \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a>, invited some of the CAST principals to a national conference in Chicago last week.\u003c/p>\n\u003cp>“We get a lot of questions about how to help artists and arts organizations to maintain their place in communities that are fast gentrifying,” Lord said in a phone interview, adding Lord said that San Francisco is facing a bigger crisis than most cities.\u003c/p>\n\u003cp>One bonus for these projects is that they bring the arts to under served communities.\u003c/p>\n\u003cp>Remember that Counterpulse friend-raiser? The friends now include the families and single room occupancy residents of the Tenderloin. The community is represented by Pratibha Tekkey of \u003ca href=\"https://www.facebook.com/CentralCitySROCollaborative?fref=nf\" target=\"_blank\" rel=\"noopener\">Central City SRO\u003c/a>, a non-profit organization that represents Single Resident Occupancy housing in the Tenderloin area. “They find it very hard to get out of their house in the night to walk around and explore this neighborhood,” Tekkey said.\u003c/p>\n\u003cp>Tekkey said that Tenderloin residents are scared of the rough crowd of panhandlers and drug dealers, and that art galleries and dance presenters are not a sign of gentrification, but rather of a healthy community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It might be a place where it’s a real inner city,” Tekkey said. “Where there’s a mixture of lower and middle class folks living together.”\u003c/p>\n\n",
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"excerpt": "With a loan from the Community Arts Stabilization Trust (CAST), San Francisco cultural organizations get on track to own their spaces, in spite of the prohibitive Bay Area real estate market.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Calling All Choir sang sweetly recently for a small crowd in The \u003ca href=\"http://www.luggagestoregallery.org/tnf/\" target=\"_blank\" rel=\"noopener\">Tenderloin National Forest\u003c/a>, a tiny jewel of a park in the heart of San Francisco’s \u003ca href=\"http://en.wikipedia.org/wiki/Tenderloin,_San_Francisco\" target=\"_blank\" rel=\"noopener\">Tenderloin\u003c/a> — a neighborhood better known for single room occupancy hotels and drug deals than for choral splendor.\u003c/p>\n\u003cfigure id=\"attachment_10753149\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753149\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg\" alt='The Calling All Choir performing at a \"Friend-Raiser\" for Counterpulse' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_2460-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Calling All Choir performing at a “Friend-Raiser” for Counterpulse \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was a fundraiser for San Francisco dance presenter \u003ca href=\"http://counterpulse.org/\" target=\"_blank\" rel=\"noopener\">Counterpulse\u003c/a>. But Executive Director Tomas Riley said it was also something more.\u003c/p>\n\u003cp>“It’s a fundraiser yes,” Riley said. “It’s also a friendraiser.”\u003c/p>\n\u003cp>A friendraiser, because Counterpulse is moving into a new home just around the corner on Turk Street.\u003c/p>\n\u003cp>“This event is free and open to the public,” Riley said. “We invited all our potential collaborators from the community serving organizations in the neighborhood just to introduce ourselves and let them know we’ll be here in the fall.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Counterpulse’s new home is a former porn movie theater, The Dollhouse. The dance company will eventually own the building.\u003c/p>\n\u003cp>So how did this little arts organization end up finding the right space at an affordable price in boom town San Francisco?\u003c/p>\n\u003cp>It got a loan from a team led by \u003ca href=\"http://krfoundation.org/arts/cast/\" target=\"_blank\" rel=\"noopener\">CAST- the Community Arts Stabilization Trust\u003c/a>. The organization purchases and leases space for the exclusive use of nonprofit arts groups.\u003c/p>\n\u003cp>Counterpulse’s move to The Tenderloin is the unexpected culmination of a two-year process that makes the group’s artistic director Julie Phelps feel like one of the luckiest arts presenters in the city.\u003c/p>\n\u003cfigure id=\"attachment_10753146\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10753146\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg\" alt=\"Counterpulse's current home on Mission Street \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/IMG_452127336-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Counterpulse’s current home on Mission Street \u003ccite>(Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When we began to consider what our next move was going to be, it was beyond our wildest dreams that we would purchase a building, do a $3 million renovation on it, and have our dream home at the end,” Phelps said recently while sitting in Counterpulse’s current performance space located on a dingy block of Market Street.\u003c/p>\n\u003cp>Two years ago, Counterpulse faced a problem common in a \u003ca href=\"http://ww2.kqed.org/news/series/boomtown/page/2\" target=\"_blank\" rel=\"noopener\">fast-rising real estate market\u003c/a> like San Francisco’s. The company couldn’t get its landlord to negotiate a lease extension, because, Phelps thinks, he had other plans for the property, located just a block away from the social media company Twitter’s headquarters on Market Street.\u003c/p>\n\u003cp>“You can look around at the number of cranes in this neighborhood and take a pretty good guess that their property will probably be developed to the height limit and be condos,” Phelps said.\u003c/p>\n\u003cfigure id=\"attachment_10753285\" class=\"wp-caption alignright\" style=\"max-width: 289px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10753285\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg\" alt=\"Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin Foundation\" width=\"289\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation.jpg 289w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Shelley-Trott-Director-Arts-Strategy-and-Ventures-Kenneth-Rainin-Foundation-32x32.jpg 32w\" sizes=\"(max-width: 289px) 100vw, 289px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shelley Trott, Director Arts Strategy and Ventures Kenneth Rainin FoundationTrott said what she learned is that you can’t stabilize an arts organization with just rent subsidies, you have to give them control over their space. \u003ccite>(Courtesy Kenneth Rainin Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So that’s CAST’s Formula: Match a well-run arts group in danger of losing its lease with a landlord willing to sell. Buy the property. Then have the arts group rent to own for seven to 10 years, while it raises the money needed to pay off the CAST loan…with no interest.\u003c/p>\n\u003cp>“When they purchase the building from us they’re purchasing it at the price that we originally purchased it,” said Shelley Trott, director of arts strategy and ventures at San Francisco’s \u003ca href=\"http://krfoundation.org/\" target=\"_blank\" rel=\"noopener\">Kenneth Rainin Foundation\u003c/a>. CAST is a project of the Foundation, which is backing the program with $5 million. The trust has also tapped the expertise of the \u003ca href=\"http://www.ncclf.org/\" target=\"_blank\" rel=\"noopener\">Northern California Community Loan Fund (NCCLF)\u003c/a>, which has been consulting for Counterpulse and other arts groups for years.\u003c/p>\n\u003cp>“They’re really good at looking at a distressed piece of real estate and seeing it’s potential,” said NCCLF’s Senior Real Estate Consultant Liesa Beckham of the majority of cultural organizations. But they’re not good, Beckham said, at figuring out how to finance their dreams.“We always say, ‘our clients are really good at what they do and real estate is not what they do.’ That’s where we come in.”\u003c/p>\n\u003cp>NCCLF played matchmaker, hooking Counterpulse up with CAST. CAST is also working with the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Arts Commission\u003c/a> and the mayor’s office to develop this subsidized ownership model for arts groups.\u003c/p>\n\u003cp>The city is providing tens of thousands of dollars more in the form of lease subsidies and relocation help for Counterpulse and another of NCCLF and CAST’s very willing guinea pigs: \u003ca href=\"http://www.luggagestoregallery.org/\" target=\"_blank\" rel=\"noopener\">The Luggage Store Gallery\u003c/a> (which developed The Tenderloin National Forest).\u003c/p>\n\u003cp>The gallery is currently undergoing a major renovation.\u003c/p>\n\u003cp>CAST provided $1 million to Luggage Store Gallery co-owners Laurie Lazer and Darryl Smith to purchase and upgrade The Luggage Store’s building in the Mid-Market neighborhood, now a booming tech corridor, even as the property doubled in value.\u003c/p>\n\u003cp>“We’re not paying any more monthly than we did before the deal,” Smith said.\u003c/p>\n\u003cp>Another reason Smith and Lazer like the CAST model is that in years to come, the building’s future will be secure, even if the two quit the arts scene.\u003c/p>\n\u003cp>“There’s a deed restriction on the property,” Lazer said. “So this building can only be used for non-profit arts and nothing else.”\u003c/p>\n\u003cp>In fact, Smith and Lazer will rent the first floor of their building to \u003ca href=\"http://hospitalityhouse.org/\" target=\"_blank\" rel=\"noopener\">Hospitality House\u003c/a>, which provides arts programs to people with low incomes and the homeless.\u003c/p>\n\u003cp>A property trust for non-profit arts is so compelling an idea that Clay Lord, Vice President of Local Arts Adancement with the group \u003ca href=\"http://www.americansforthearts.org/\" target=\"_blank\" rel=\"noopener\">Americans for the Arts\u003c/a>, invited some of the CAST principals to a national conference in Chicago last week.\u003c/p>\n\u003cp>“We get a lot of questions about how to help artists and arts organizations to maintain their place in communities that are fast gentrifying,” Lord said in a phone interview, adding Lord said that San Francisco is facing a bigger crisis than most cities.\u003c/p>\n\u003cp>One bonus for these projects is that they bring the arts to under served communities.\u003c/p>\n\u003cp>Remember that Counterpulse friend-raiser? The friends now include the families and single room occupancy residents of the Tenderloin. The community is represented by Pratibha Tekkey of \u003ca href=\"https://www.facebook.com/CentralCitySROCollaborative?fref=nf\" target=\"_blank\" rel=\"noopener\">Central City SRO\u003c/a>, a non-profit organization that represents Single Resident Occupancy housing in the Tenderloin area. “They find it very hard to get out of their house in the night to walk around and explore this neighborhood,” Tekkey said.\u003c/p>\n\u003cp>Tekkey said that Tenderloin residents are scared of the rough crowd of panhandlers and drug dealers, and that art galleries and dance presenters are not a sign of gentrification, but rather of a healthy community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It might be a place where it’s a real inner city,” Tekkey said. “Where there’s a mixture of lower and middle class folks living together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Café du Nord to Reopen as Sit-Down Bar with Quiet Music",
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"content": "\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n",
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"excerpt": "The new owners of the former rock club announced Monday that the cafe will be opening within days, but the loud bands won't be coming back. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new owners of \u003ca href=\"http://www.cafedunord.com/\" target=\"_blank\" rel=\"noopener\">Café du Nord\u003c/a> announced Monday that the popular Upper Market concert venue, which closed in January 2014, will reopen on June 17 as a cocktail bar, restaurant and, yes, a place to hear music.\u003c/p>\n\u003cp>But the former underground rock club (literally underground — you walk down several steps to enter it) where locals could catch groups like Thee Oh Sees, Sic Alps and Frightwig before it shuttered, won’t be hosting loud punk bands.\u003c/p>\n\u003cp>According to a press release published Monday, the kind of groups that patrons might catch in the cafe’s 30-table, newly-christened “Viking Room” will be local artists that are a “complement to guests’ drinking and dining experiences.” In other words, the repertoire will focus on jazz, blues and cocktail piano.\u003c/p>\n\u003cp>For those following the sale and redevelopment of the cafe, this is not news.\u003c/p>\n\u003cp>The new owners, restaurateurs the Bon Vivants and Ne Timeas Restaurant Group, have been clear about their intentions to make Café du Nord more about the food since \u003ca href=\"http://sf.eater.com/2014/9/12/6156971/more-details-on-cafe-du-nords-revival-arriving-late-fall\" target=\"_blank\" rel=\"noopener\">September of last year\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The reopening and re-branding of Café du Nord comes at a time when other loud rock venues such as the \u003ca href=\"http://ww2.kqed.org/arts/2015/04/22/its-official-elbo-room-to-close-in-november/\" target=\"_blank\" rel=\"noopener\">Elbo Room have announced that they are closing up shop\u003c/a>. Meanwhile, the Swedish American Hall, which sits above the cafe, only offers \u003ca href=\"http://ww2.kqed.org/arts/2015/02/15/ghosts-royals-and-singing-swedes-108-years-of-the-swedish-american-hall/\" target=\"_blank\" rel=\"noopener\">acoustic shows\u003c/a>.\u003c/p>\n\u003cp>The local music community has expressed mixed feelings about the new du Nord on social media. Some, such as Ryan Coseboom of Bay Area electronic groups Halou and Stripmall Architecture, are excited to see a new cocktail bar by the restauranteurs behind Flour + Water.\u003c/p>\n\u003cp>“I played there probably ten times. Great venue and great people worked there, ” said Coseboom. “However, things change and I certainly never presumed to have any sort of say in what they chose to do with the property or what kind of business they should do.”\u003c/p>\n\u003cp>Others, such as East Bay Express’ music editor Sam Lefebvre (who has also played drums for local bands Cold Beat and Warm Soda), had a decidedly more critical take.\u003c/p>\n\u003cp>“File under: More reasons not to believe restauranteurs who buy historic venues and say things like, ‘My ultimate goal would be to have a better live music experience than exists now,'” said Lefebvre, referring to a quote from du Nord owner Dylan MacNiven in a Dec. 2013 article in the \u003ca href=\"http://www.sfweekly.com/shookdown/2013/12/04/new-ownership-renovations-coming-to-cafe-du-nord-future-of-live-music-unclear-updated\" target=\"_blank\" rel=\"noopener\">SF Weekly’s music blog All Shook Down\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cafe will be a boon for those looking to catch a late night bite as the \u003ca href=\"http://sfist.com/2015/06/15/cafe_du_nord_reopens_wednesday_with.php\" target=\"_blank\" rel=\"noopener\">kitchen will be open nightly\u003c/a> until 1:30am, with drinks being served until 2am.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland's Teen Singing Champs Channel Kanye, Mumford",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org\" target=\"_blank\" rel=\"noopener\">Oakland School for the Arts’\u003c/a> singing group Vocal Rush has been a powerhouse on the national \u003cem>a cappella\u003c/em> circuit since its founding four years ago. The high school ensemble, which started out as an after-school club, quickly grew into a serious ensemble, winning three International Championships of High School A Cappella (ICHSA), including the title this spring.\u003c/p>\n\u003cp>Vocal Rush has a decidedly Oakland sound and style, incorporating beat-boxing, vocal percussion, stepping, and other dance routines into their energetic repertoire of pop and jazz songs. But the 11 high school students of the 2014-2015 group wanted to make a special point in this year’s ICHSA competition in New York. So they dedicated their effort to \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a>, a national movement founded in 2013 to challenge police killings and other disparities African Americans face.\u003c/p>\n\u003cp>“Being an African American girl and living in Oakland, California, I have to be very aware of who I am and cautious of who I am,” said Barbara DeVeaux-Griffith, Vocal Rush member. “Black Lives Matter really brings that back into focus.”\u003c/p>\n\u003cp>In the video above, we see powerful performances by Vocal Rush from “Lost in the World” by Kanye West to Mumford and Sons’ “Awake My Soul” captured at one of the group’s last concerts of 2015 at Sweet’s Ballroom in Oakland back in May.\u003c/p>\n\u003cp>As Vocal Rush began crafting its competition last fall, the ensemble’s attention was also keenly focused on the world outside the classrooms of their campus — Oakland’s Fox Theater. The fatal police shooting of Michael Brown in Ferguson, MO and the death of Eric Garner last year in New York had ignited street protests throughout the Bay Area. The group also responded to Oakland’s own painful history of police shootings of African Americans, including the fatal shooting of Oscar Grant in 2009 by a BART officer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The students said we need to talk about this,” said Lisa Forkish, founder and director of Vocal Rush and Oakland School for the Arts vocal music teacher. “We’ve had conversations about identity, being a young person, and what is our role in the world at large and especially as an artist.”\u003c/p>\n\u003cp>Vocal Rush’s rise in the \u003cem>a cappella\u003c/em> world has been steered by Forkish, who previously worked as the music director for the University of Oregon’s award-winning \u003cem>a cappella\u003c/em> group Divisi. That group inspired journalist Mickey Rapkin’s best-selling book, \u003ci>Pitch Perfect\u003c/i>, made into a movie in 2012 with the same title, and the sequel released this spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Never underestimate a group of teenagers,” said Forkish. “Some of these kids have a lot more courage than a lot of adults I know.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org\" target=\"_blank\" rel=\"noopener\">Oakland School for the Arts’\u003c/a> singing group Vocal Rush has been a powerhouse on the national \u003cem>a cappella\u003c/em> circuit since its founding four years ago. The high school ensemble, which started out as an after-school club, quickly grew into a serious ensemble, winning three International Championships of High School A Cappella (ICHSA), including the title this spring.\u003c/p>\n\u003cp>Vocal Rush has a decidedly Oakland sound and style, incorporating beat-boxing, vocal percussion, stepping, and other dance routines into their energetic repertoire of pop and jazz songs. But the 11 high school students of the 2014-2015 group wanted to make a special point in this year’s ICHSA competition in New York. So they dedicated their effort to \u003ca href=\"http://blacklivesmatter.com\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a>, a national movement founded in 2013 to challenge police killings and other disparities African Americans face.\u003c/p>\n\u003cp>“Being an African American girl and living in Oakland, California, I have to be very aware of who I am and cautious of who I am,” said Barbara DeVeaux-Griffith, Vocal Rush member. “Black Lives Matter really brings that back into focus.”\u003c/p>\n\u003cp>In the video above, we see powerful performances by Vocal Rush from “Lost in the World” by Kanye West to Mumford and Sons’ “Awake My Soul” captured at one of the group’s last concerts of 2015 at Sweet’s Ballroom in Oakland back in May.\u003c/p>\n\u003cp>As Vocal Rush began crafting its competition last fall, the ensemble’s attention was also keenly focused on the world outside the classrooms of their campus — Oakland’s Fox Theater. The fatal police shooting of Michael Brown in Ferguson, MO and the death of Eric Garner last year in New York had ignited street protests throughout the Bay Area. The group also responded to Oakland’s own painful history of police shootings of African Americans, including the fatal shooting of Oscar Grant in 2009 by a BART officer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The students said we need to talk about this,” said Lisa Forkish, founder and director of Vocal Rush and Oakland School for the Arts vocal music teacher. “We’ve had conversations about identity, being a young person, and what is our role in the world at large and especially as an artist.”\u003c/p>\n\u003cp>Vocal Rush’s rise in the \u003cem>a cappella\u003c/em> world has been steered by Forkish, who previously worked as the music director for the University of Oregon’s award-winning \u003cem>a cappella\u003c/em> group Divisi. That group inspired journalist Mickey Rapkin’s best-selling book, \u003ci>Pitch Perfect\u003c/i>, made into a movie in 2012 with the same title, and the sequel released this spring.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Never underestimate a group of teenagers,” said Forkish. “Some of these kids have a lot more courage than a lot of adults I know.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Albums from the Golden State: Dawes, Los Tres Amigos-Snuviko and Part Time",
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"content": "\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100977\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_Vz2qlIdnO0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/210100977&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/210100977'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210079236\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/210079236&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/210079236'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/210100493″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s the second U.S. poet laureate to come out of Fresno and the second to walk into KQED’s Central Valley Bureau to record an interview with the San Francisco office.\u003c/p>\n\u003cp>Four years ago it was \u003ca href=\"http://www.poetryfoundation.org/bio/philip-levine\">Philip Levine\u003c/a>. Now enter \u003ca href=\"http://www.juanfelipepoet.com/\">Juan Felipe Herrera\u003c/a>.\u003c/p>\n\u003cp>Herrera says he usually wears colorful clothes. But today he’s dressed in black pants, black shoes, black shirt. A local photographer didn’t want his lively garb to take away from the shape and essence and expression of his face. So Herrera first wore the black clothing for an outdoor photo shoot, standing in front of warehouses with graffiti, the poetry of the street. He says his son had to go out and buy him a couple of black shirts — Herrera didn’t have any.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/210100493″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/210100493″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But the black works. It makes room for the canvas that is his face, ever changing in response to what he sees or hears, his eyes twinkling, noting possibility everywhere. He sits down for his interview, headphones on, a microphone in front of him.\u003c/p>\n\u003cfigure id=\"attachment_10560675\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10560675\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg\" alt=\"Herrera drafting his poem.\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1440x1080.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5841-960x720.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera drafting his poem. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scott Shafer, the host of The California Report Magazine, asks Herrera if he brought a poem to read. Herrera checks his pockets and looks around as if he might find one in the air. He asks for a sheet of paper and a pen. And even as he talks with Shafer, he starts writing. At first, it seems like he is just recalling a poem from memory, but then it’s clear he’s crafting a new one. He tells Shafer he’s good at doing two things at once.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clearly, he is.\u003c/p>\n\u003cp>Later, he says the poem started that morning, when he took his dog for a walk. He saw two birds on a barbed wire fence, and the image stayed with him. He’s an observer and a listener too. If you tell him something, he may repeat what you say as if he’s really taking it in, mulling it over for consideration.\u003c/p>\n\u003caside class=\"alignright\">\u003cstrong>It is a turquoise\u003c/strong>\u003cbr>\n\u003cem>By Juan Felipe Herrera\u003c/em>\u003cbr>\nit is the turquoise\u003cbr>\nit is the sky — however\u003cbr>\nthe sky and the sound\u003cbr>\nof the tiny two doves\u003cbr>\nthe fence casts\u003cbr>\na shadow\u003cbr>\nThe shadow\u003cbr>\nis made of the\u003cbr>\ngrain, the footsteps\u003cbr>\none, 2, 3\u003cbr>\n1, 2, 3\u003cbr>\n2, 2, blue\u003cbr>\n\u003cem>June 11, 2015\u003cbr>\nFresno, CA\u003c/em>\u003c/aside>\n\u003cp>He even considers his appointment: U.S. poet laureate. He asks me and Central Valley Bureau Chief Sasha Khokha what we think it really means. We suggest that it gives him a platform, the chance to let the disenfranchised have their voices heard, especially here in the Central Valley where there’s so much anguish, pain and poverty.\u003c/p>\n\u003cp>“There’s so much to say,” I tell him, and he repeats it like a poem: “So much to say. So much to say.”\u003c/p>\n\u003cp>And then he takes that phrase and runs with it, fanning out from something small to something big and whimsical and full of humanity. Soon, we have an idea: a school bus with the words “So Much to Say” boldly printed on the side and poems written by children splattered all over the bus.\u003c/p>\n\u003cp>Herrera says he’s bewildered by social media and the press that camped outside on his lawn when the announcement of his appointment was made. His dog is mad at him, he says, because of all the chaos, all the people in the house, the phone constantly ringing. He makes a face to resemble his dog, sulking.\u003c/p>\n\u003cfigure id=\"attachment_10560672\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10560672 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg\" alt=\"Herrera's poem was inspired by two birds he saw while walking his dog earlier in the morning.\" width=\"400\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-400x533.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1440x1920.jpeg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/IMG_5859-e1434137104691-960x1280.jpeg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Herrera’s poem was inspired by two birds he saw while walking his dog earlier in the morning. \u003ccite>(Sasha Khokha/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He’s probably writing poetry in the corner to deal with it,” I say.\u003c/p>\n\u003cp>Herrera doesn’t miss a beat. “In couplets,” he adds.\u003c/p>\n\u003cp>“Cutlets,” Sasha says.\u003c/p>\n\u003cp>He likes the play on words. “Cutlets and couplets, cutlets and couplets,” he says.\u003c/p>\n\u003cp>And then, somehow, there’s a new image: The dog is sitting on the bus that reads “So Much to Say.” And the dog is writing poetry with the children.\u003c/p>\n\u003cp>“Cutlets and Couplets,” Herrera says again, laughing. “Cutlets and couplets.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on June 12, 2015.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ornette Coleman's Shape of Jazz in the Bay Area",
"headTitle": "Ornette Coleman’s Shape of Jazz in the Bay Area | KQED",
"content": "\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n",
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"excerpt": "While inextricably affiliated with the New York jazz scene, Ornette Coleman — who died Thursday at age 85 — enjoyed an ongoing affair with the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Ornette Coleman’s \u003ca href=\"http://citysound.bohemian.com/2009/11/09/live-review-ornette-coleman-at-davies-symphony-hall/\" target=\"_blank\" rel=\"noopener\">final appearance in San Francisco\u003c/a>, in 2009 at Davies Symphony Hall, it seemed for just one very short moment that age might have caught up with the jazz giant.\u003c/p>\n\u003cp>As his quartet launched into “Blues Connotation,” the lead-off track from the 1959 album \u003cem>This Is Our Music\u003c/em>, Coleman himself laid out of the rapid-fire melody in the head. When it came back around as the outro, the saxophonist, then 79, struggled to keep up with the tempo.\u003c/p>\n\u003cp>Remarkably, that was the evening’s only sign that Ornette Coleman, an undisputed genius of jazz and giant of 20th century music, might someday leave us. For the rest of the concert, Coleman, who \u003ca href=\"http://ww2.kqed.org/arts/2015/06/11/ornette-coleman-pioneering-jazz-genius-dies-at-85/\" target=\"_blank\" rel=\"noopener\">died today\u003c/a> at age 85 in Manhattan, proved himself just as nimble, unpredictable, and visionary as ever — and playing mostly new compositions at that. \u003c/p>\n\u003cp>Plenty has been written about Coleman’s conception of \u003ca href=\"http://en.wikipedia.org/wiki/Harmolodics\" target=\"_blank\" rel=\"noopener\">harmolodics\u003c/a>, of the ways he guided jazz away from melody, and how he helped reimagine song structure and key to influence not just jazz but all forms of music that followed. That’s all true, but it’s also academic; too much so, really, for one whose music billowed with more humanity than theory.\u003c/p>\n\u003cp>Perhaps the simplest way to put it – and the greatest tribute to the man – is that there is no other human being on the planet, past, present or future, who could create the music that Ornette Coleman did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And over the years, he made much of it in the Bay Area, bringing his humble spirit with him.\u003c/p>\n\u003cfigure id=\"attachment_10753296\" class=\"wp-caption alignright\" style=\"max-width: 451px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg\" alt='Ornette Coleman performs his \"Tone Dialing\" premiere at the Masonic Auditorium, 1994. ' width=\"451\" height=\"640\" class=\"size-full wp-image-10753296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994.jpg 451w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-400x568.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Ornette1994-423x600.jpg 423w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman performs his “Tone Dialing” premiere at the Masonic Auditorium, 1994. (Photo: Stuart Brinin / Courtesy SFJAZZ)\u003c/figcaption>\u003c/figure>\n\u003cp>Randall Kline, Executive Director of SFJAZZ, remembers his many encounters with Coleman vividly, including an afterparty for the aforementioned 2009 concert at Davies Symphony Hall. Coleman walked into the room, came up to Kline, and kissed his hand.\u003c/p>\n\u003cp>“I told him, ‘I should be kissing your boots at this point!’” Kline said Thursday, still surprised by the gesture. “But that’s who he was. He had no airs about him whatsoever.”\u003c/p>\n\u003cp>SFJAZZ booked Coleman six times over the years, beginning in 1994 with a now-legendary premiere at the Masonic Auditorium called “Tone Dialing,” which involved on-stage body piercing, multiple projection screens and philosophical spoken-word. It was, one could say, an only-in-San-Francisco event.\u003c/p>\n\u003cp>“We took it as a personal challenge,” said Kline of the concert’s logistics. “We felt his music was very important to present, and we would figure out how to bring a big enough audience to make it work.”\u003c/p>\n\u003cp>Most of the time, those audiences were big indeed — Coleman regularly played San Francisco halls twice the size that he’d play in his home base of New York. His most recently scheduled date at Davies, in 2012, was canceled for health reasons. Even so, Kline remembers dropping by Coleman’s Manhattan apartment shortly afterward, where the saxophonist continued to host weekly Thursday-night jam sessions, even after falling ill.\u003c/p>\n\u003cp>“Here he is in his 80s,” Kline remembered, “and he’s still exploring!”\u003c/p>\n\u003cp>Coleman’s appearances in the Bay Area go back to his earliest days playing his trademark plastic alto saxophone. Tim Jackson, Artistic Director of the Monterey Jazz Festival, notes that Coleman first performed in Monterey in 1959, the year the saxophonist’s groundbreaking album \u003cem>The Shape of Jazz to Come\u003c/em> was released. He would return to the festival four more times, between 1960 and 2007.\u003c/p>\n\u003cp>“In the two times that I worked with him,” Jackson said Thursday, “he was just a really quiet, humble guy. You didn’t get a sense of this ‘titan of American culture in the 20th century,’ except that he had a lot of friends from the festival over the years, and always had a receiving line of people backstage. It was almost like a meeting with the Pope.”\u003c/p>\n\u003cp>Jackson agrees that Coleman’s music wasn’t for everyone, and remembers some people leaving during his 1994 set, with his electric band Prime Time.\u003c/p>\n\u003cp>“But what I love is that, particularly with Ornette’s music, it engenders dialogue,” Jackson remarked. “Even with people who were leaving. It stirs feelings in people, both positive and negative, and you hear people talking about it — the people who didn’t like it, and how vehement they were, and then the people who loved it, and were as committed in their feelings.”\u003c/p>\n\u003cfigure id=\"attachment_10753432\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg\" alt=\"Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959.\" width=\"1100\" height=\"653\" class=\"size-full wp-image-10753432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/OrnetteMJF1960-960x570.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Ornette Coleman and Don Cherry perform with a large band at the Monterey Jazz Festival, 1959. (Photo courtesy Monterey Jazz Festival)\u003c/figcaption>\u003c/figure>\n\u003cp>Also in the Bay Area, Coleman’s path famously crossed with what might seem unlikely collaborators: the Grateful Dead. Jerry Garcia had guested on Coleman’s 1988 album \u003cem>Virgin Beauty\u003c/em>, and the band later invited Coleman’s group to open for the Grateful Dead in 1993 at the Oakland Coliseum.\u003c/p>\n\u003cp>True to spirit, Coleman \u003ca href=\"http://www.jambase.com/Articles/125402/Throwback-Thursday-Ornette-Coleman-Joins-Grateful-Dead\" target=\"_blank\" rel=\"noopener\">came back out on stage that night and sat in with the Dead\u003c/a> for the songs “Space,” “The Other One,” “Stella Blue” and “Turn On Your Lovelight.” \u003c/p>\n\u003cp>“He’s quite simply one of the architects of modern music, and every member of the Grateful Dead was certainly aware of that,” says Grateful Dead historian and former publicist Dennis McNally. “So to have him at the show was an occasion for reverence, if that’s the right word. Everyone was incredibly mindful that here is one of the most important musicians in American history, and oh my God, here he is on our stage.”\u003c/p>\n\u003cp>McNally noted that though the Dead played with other jazz greats like Miles Davis and Branford Marsalis, having Coleman on stage was special for the band. “Particularly outside of what you’d call rock and roll,” he said, “Ornette was truly a giant, and they knew it. Boy, did they know it.”\u003c/p>\n\u003cp>Fred Berry, lecturer and director of the jazz orchestra at Stanford University, first became aware of Coleman while playing with avant-garde saxophonist Roscoe Mitchell in Chicago as part of the Association for the Advancement of Creative Music.\u003c/p>\n\u003cp>Though Berry never played with Coleman, “I saw him as being a very evolved player, both spiritually and technically,” he said. “And you could hear the blues all through his playing.”\u003c/p>\n\u003cp>Later, as a young student at Stanford in the late 1960s, Berry would finally see Coleman perform in Berkeley.\u003c/p>\n\u003cp>“He was extremely controversial to a lot of people, but I saw him as being one of the beacons and forerunners of the movement,” Berry said Thursday. “It was his way of approaching the music, not particularly the music itself, that was the thing.” \u003c/p>\n\u003cp>Randall Kline, who can’t help but talk about Coleman without using phrases like “one of the great creators of the 20th Century,” noted Coleman’s philosophical spillover into other areas as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His whole harmolodic concept of music is not something he just applied to music, he applied it to life,” Kline said. “And it’s hard to say this without sounding pretentious, but a lot of our philosophy was formed directly from Ornette – his idea that everything can work together, and his openness of spirit.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYTc1Jv7w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSVMG0Y-Dvs\u003c/p>\n\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, the American saxophonist and composer who liberated jazz from conventional harmony, tonality, structure and expectation, died early on Thursday of cardiac arrest in Manhattan. He was 85.\u003c/p>\n\u003cp>Coleman was an American icon and iconoclast — a self-taught musician born poor and fatherless in Fort Worth, Texas, in 1930, who went on to win the Pulitzer Prize, the Japanese Praemium Imperiale, two Guggenheims, a MacArthur, honorary doctorates and a National Endowment for the Arts Jazz Master honor.\u003c/p>\n\u003cp>Ornette Coleman played his alto saxophone the way someone whistles to themselves walking down the street, unconcerned with rules about how a song is supposed to go. In 1997, Coleman told NPR that he believed in the unfettered, imaginative, original, expressive powers of melody.\u003c/p>\n\u003cp>“As a music, it allows every musician to participate in any form of musical environment without them changing their own personality, their own tone or their way of phrasing,” Coleman said.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QSmYTc1Jv7w'\n title='//www.youtube.com/embed/QSmYTc1Jv7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he put that belief into practice when he could. Coleman was raised by his single mother and sister. He learned music on his own and left home as a teenager to tour the deep south with a minstrel show. On the road, he faced rejection and even assault for an unorthodox, free style built on Texas blues. He wound up in Los Angeles, working as an elevator operator and trying to get a hearing in jam sessions. He finally made his \u003ca href=\"https://www.youtube.com/watch?v=Lp60JUI55Pg\" target=\"_blank\" rel=\"noopener\">first recording\u003c/a> as a leader in 1958, \u003cem>Something Else\u003c/em>.\u003c/p>\n\u003cp>Some praised Coleman for returning jazz to the kind of collective improvisation its earliest players used. Others heard only cacophony.\u003c/p>\n\u003cp>“In jazz before Ornette Coleman,” \u003cem>New York Times\u003c/em> writer Jon Pareles told NPR in 1985, “people would devise solos that were designed to fit on top of the tune. If the tune was 32 bars long, the improvisation was 32 bars long, and it fit into whatever 32 bars of chords were in the tune. Ornette came along and said, ‘We don’t have to do it that way, we can take an improvisation that tells its own kind of story, that elapses according to the freedom of the song.’ He basically showed people a new kind of freedom. He broke them out of the maze of harmony.”\u003c/p>\n\u003cp>Coleman himself described his system as “sound grammar” or “harmolodics.”\u003c/p>\n\u003cp>“It’s the scientific form of sound based upon the human emotion of expression,” Coleman said. “That’s basically what it is and what it does.”\u003c/p>\n\u003cp>Coleman’s principle idea — that anyone can make music with anyone, and they don’t have to know much about each other to do it — made him able to retain his cry of the blues even \u003ca href=\"https://www.youtube.com/watch?v=ao9Y_uZLcx0\" target=\"_blank\" rel=\"noopener\">while jamming with the Master Musicians of Jajouka\u003c/a> from the mountains of Morocco. Musicians flocked to Coleman like he was the Pied Piper — and he played with\u003cem> \u003c/em>them: \u003ca href=\"http://www.npr.org/artists/15360402/yoko-ono\" target=\"_blank\" rel=\"noopener\">Yoko Ono\u003c/a>, Jerry Garcia and the \u003ca href=\"http://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener\">Grateful Dead\u003c/a>, \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a>, not to mention the many jazz musicians who graduated from his bands. Yet Coleman himself was unfailingly modest. He was shy about cameras and might be oblique in conversation. It wasn’t that his vocabulary was peculiar, but his point of view was unique, coming from all directions, seeming to take in everything, imagistic and fundamental. But his musicians understood him.\u003c/p>\n\u003cp>“It was very easy for me to follow him,” said longtime bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> in 1997. “And it’s always been easy for me to follow him because he’s very articulate, just in his own language, just as he is in his music.”\u003c/p>\n\u003cp>In December of 1960, Haden was part of Coleman’s radical experiment in collective improvisation — two quartets playing simultaneously — titled \u003cem>Free Jazz\u003c/em>.\u003c/p>\n\u003cp>The recording inspired, licensed — or provoked — many better-established jazz musicians of the ’60s. But his experiments didn’t stop there.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zSVMG0Y-Dvs'\n title='//www.youtube.com/embed/zSVMG0Y-Dvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I never have classified music as being in different categories, so I started writing music which consists of violins and stuff like that,” Coleman said. “I think most people classify you as what you do when they see you in the contents of drums and things like that everybody they call that jazz. But when they see a violin or French horn something they call that classical music. And I really believe that any instrument can become the soloist instrument in any kind of contents.”\u003c/p>\n\u003cp>This work, too, was scorned until 1986, when conductor John Giordano of the Fort Worth Symphony worked closely with Coleman on a revision. Performances by orchestras in Europe and the New York Philharmonic followed.\u003c/p>\n\u003cp>Ornette Coleman said that he liked to tell people, “‘I’m a composer who performs.’ Whenever I would hear a band with guitars and bass the melodic line sounded so full, it sounded like a full orchestra. So I said, well, if I could expand the melodic writing into a much fuller sound, I would be able to express more music.”\u003c/p>\n\u003cp>In the mid-1970s, Coleman re-invented himself again, forming an electric band that often included his son, Denardo. In a 2008 interview, Denardo Coleman explained that his father’s philosophy suffuses his art, is part of his bands’ rehearsals and comes to fruition in performance.\u003c/p>\n\u003cp>“I think it’s beyond just scale, key, all that,” he said. “Everything he’s talking about is what he always talks about, with us, as well. So we’re bringing everything — the performance is everything.”\u003c/p>\n\u003cp>It was Ornette Coleman’s life to express feeling freely and directly, in music, and also to ask the big, confounding questions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Does music have life?” he asked. His many fans and followers answer in the affirmative. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Lee, Star in 'Dracula,' 'Star Wars,' Dies",
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"content": "\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll leave you with a video from The Telegraph that encapsulates Lee’s career:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cscript height=\"349px\" width=\"620px\" src=\"http://player.ooyala.com/iframe.js#ec=VlNWpsdTpQ6sYppM0ZZRNqjs_w20_0p0&pbid=7dfd98005dba40baacc82277f292e522\">\u003c/script>\u003c/p>\n\n",
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"excerpt": "Lee's career was varied and vast: He made his name as Dracula for decades, but then went on to play roles in Hollywood blockbusters like \u003cem>Lord of the Rings\u003c/em>. Lee was 93 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Christopher Lee, the actor best known for defining the role of Dracula on the big screen, died on Sunday at the age of 93.\u003c/p>\n\u003cp>An official for the Royal Borough of Kensington and Chelsea in London confirmed the death.\u003c/p>\n\u003cp>For a younger generation, Lee is best known for his role as Saruman, the white-maned villain in the\u003cem> Lord of the Rings\u003c/em> franchise. Lee also played Count Dooku, another villain with superhuman powers, in the \u003cem>Star Wars\u003c/em> series.\u003c/p>\n\u003cp>But, as \u003ca href=\"http://www.theguardian.com/film/2015/jun/11/christopher-lee-dies-at-the-age-of-93-dracula\">The Guardian\u003c/a> reports, Lee was born to play the Count:\u003c/p>\n\u003cblockquote>\n\u003cp>“… When Lee’s Count Dracula first walked down to the stairs to greet his visitors in the first Hammer movie version it was a revelation. He was tall (six foot five), handsome and well-built, with an easy athleticism and a frank, direct manner. His deep, melodious voice completed the effect: commanding. There was nothing unwholesome-looking about this vampire, not at first: he looked more like a British or at any rate Central European version of Gary Cooper. So it was even more powerful and shocking when this patrician figure disclosed his Satanic qualities: and that face became pale and contorted, when the lips peeled back to reveal the fangs, the eyes turned red and the lips dripped with blood — and his whole being oozed with forbidden sexuality. \u003ca href=\"http://www.theguardian.com/film/christopher-lee\">Christopher Lee\u003c/a> \u003cem>was\u003c/em> Dracula; he had taken over the character as clearly as Sean Connery took over James Bond.\u003c/p>\n\u003cp>“He took the role in a string of other Dracula sequels, which became increasingly seedy and humiliatingly preposterous for this sensitive and thoughtful actor. But there was no doubt about it. Along with his similarly refined colleague Peter Cushing, Lee had virtually invented the lucrative Hammer horror brand. He made other pictures for a studio with which he was associated for 20 years, before getting out in the late 70s to avoid typecasting. Modern PR types call it detoxifying your image. This was more like devampirifying it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://www.imdb.com/name/nm0000489/bio?ref_=nm_ov_bio_sm\">According to an IMDB biography\u003c/a>, Lee was born in London in 1922. After starring in a string of successful British films, he moved to Hollywood in the ’70s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
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"content": "\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>[contextly_sidebar id=”FNcbG4jWzzd1Hm8kCad0TKDD9g1ucwsD”]\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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