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"content": "\u003cp>What are these structures popping up along the sidewalks of Berkeley? Big birdhouses? Doll houses? Or are they homes small enough to actually be affordable in this crazy real estate market? Nope. None of the above. They are actually part of a worldwide phenomenon called Little Free Libraries.\u003c/p>\n\u003cp>Berkeley now has \u003ca href=\"http://ww2.kqed.org/news/2014/10/29/Berkeley-little-free-libraries\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/10/29/Berkeley-little-free-libraries\" target=\"_self\" title=\"Berkeley Residents Love Their Little Free Libraries\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The selection of TV host Bill Maher to deliver a December commencement address at UC Berkeley has come under fire from people who believe his views on Islam are racist.\u003c/p>\n\u003cp>More than 2,500 people have signed \u003ca target=\"_self\" href=\"https://www.change.org/p/university-of-california-berkeley-stop-bill-maher-from-speaking-at-uc-berkeley-s-december-graduation\" rel=\"noopener\">a petition on Change.org\u003c/a> asking that the university withdraw its offer. The petition \u003ca href=\"http://ww2.kqed.org/news/2014/10/28/bill-maher-cal-berkeley-student-protest\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/10/28/bill-maher-cal-berkeley-student-protest\" target=\"_self\" title=\"Petition Targets Planned UC Berkeley Speech by Bill Maher\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Negativland Is Still Culture Jamming and Taking on Our Masters",
"headTitle": "Negativland Is Still Culture Jamming and Taking on Our Masters | KQED",
"content": "\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n",
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"excerpt": "We spoke with Negativland about the release of their new album, \u003ci>It's All in Your Head,\u003c/i> and a bunch of other stuff that they've never talked about before.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s understandable that you might know Negativland only for the controversial moments of their career — the \u003ca href=\"http://en.wikipedia.org/wiki/Fair_Use:_The_Story_of_the_Letter_U_and_the_Numeral_2\" target=\"_blank\" rel=\"noopener\">mockery of U2,\u003c/a> which got them into legal trouble, or their \u003ca href=\"http://en.wikipedia.org/wiki/Dispepsi\" target=\"_blank\" rel=\"noopener\">satire on the soft-drink industry \u003c/a>in the album \u003cem>Dispepsi.\u003c/em> And maybe you’ve even heard about their \u003ca href=\"http://en.wikipedia.org/wiki/Helter_Stupid\" target=\"_blank\" rel=\"noopener\">pranks on the news media\u003c/a>. If you’re a longtime Bay Area resident, maybe you’ve caught their radio show, \u003cem>Over the Edge,\u003c/em> on KPFA, though you might not have known who the masterminds behind it were.\u003c/p>\n\u003cp>If that describes your level of awareness, here’s something else you need to know: Negativland is a great band. They are a truly talented group of media slice-and-splice magicians that originally came from Contra Costa County and are now spread as far away as Seattle and North Carolina. And their newest album, \u003ci>It’s All in Your Head,\u003c/i> is proof positive that they have the skills. A powerful media collage that comes in the form of a radio show savaging organized religion — specifically fundamentalism — the album features audio wizardry that blows \u003cem>Radiolab\u003c/em> out of the water. And it was done live in front of several audiences.\u003c/p>\n\u003cp>\u003ci>It’s All in Your Head\u003c/i> was officially released today. It comes packaged in a Bible. To highlight the group’s first album in six years, we checked in with three members of Negativland — Mark Hosler, Peter Conheim and Don Joyce — and asked them questions about the new release and future plans for the band.\u003c/p>\n\u003cp>\u003cstrong>How long have you been performing \u003cem>It’s All In Your Head\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Conheim\u003c/strong> – \u003cem>It’s All in Your Head\u003c/em> was birthed as a live performance in 2005 with two shows in Canada, having been drawn from our member Don Joyce’s\u003cem> Over the Edge\u003c/em> radio series, which he had been doing for 20-odd weeks. So much of the material was already there to work with. It’s always been the same show, but like all of our work has been, it evolved gradually through improvisation and discussion over the five years we performed it. And new material was brought in, which would sometimes throw us interesting curveballs, but the arc of the show remained the same.\u003c/p>\n\u003cfigure id=\"attachment_10144619\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144619\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_1.jpg\" alt=\"Some the members of Negativland back in 1985.\" width=\"640\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-400x577.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_1-415x600.jpg 415w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Some the members of Negativland back in 1985.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Why record an album this way?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Mark Hosler\u003c/b> – Negativland’s first record came out in 1980 and our first performance was in 1980. We got asked by a local club in the San Francisco Bay Area to perform after our record came out. They mistakenly assumed because we were “a band” that we had a set that we could do. But we had never played live in our lives! I was still in high school; we made this stuff in our bedrooms. So when we were asked to perform live, we were thrilled to have the opportunity but we didn’t know what the hell to do because there was no way to replicate our record on stage. This was 1980; the technology did not exist.\u003c/p>\n\u003cp>So we got together in a room with the instruments that we had and we said, “What can we come up with three-or-four of us in a room? What can we do?” And it sounded like what we were doing, but it was its own unique thing. So from the very first performance Negativland ever did, it had nothing to do with our records whatsoever. Nothing.\u003c/p>\n\u003cp>But why should we be duplicating our records on stage, even if we could? That’s just kind of boring; [that’s] not interesting to us. It’s not playing around and being creative enough. We just like to mess with things and do things in an out-of-the-box, unconventional way. If any of us have an idea that’s different, that isn’t normal, we always want to look at that and consider it. That goes for how we do promotion, how we do PR, our press releases, our press photos… Every aspect of what we do, we think of it as part of the art.\u003c/p>\n\u003cp>When we started developing this show that we would eventually call \u003cem>It’s All In Your Head\u003c/em>, we realized that what we were crafting was so interesting to all of us, we thought that perhaps we would make a finished studio project that was sort-of done in reverse to how we would normally do it. We would actually take the recordings as we’d done them in front of an audience and use that, because what we were doing live had its own quality to it that’s very different from our studio recordings. It’s something that we came up with that’s all of us on stage, performing in real time. We’re not using laptops; it’s all being mixed and layered and cut up and collaged right in front of you, in real time. It became an interesting, different approach for us to take; essentially it’s a carefully-constructed studio recording, but we’re building it out of parts that we all recorded live in front of audiences.\u003c/p>\n\u003cp>\u003cstrong>Besides what you perceive as the obvious detrimental effects of organized religion, were there any direct inspirations for the piece? What are the origins of the work?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144616\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_14.jpg\" alt=\"Negativland, from 1997\" width=\"640\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_14-400x221.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, from 1997. Photo by Rose Whitaker and Negativland. \u003ccite>(Photo by Rose Whitaker and Negativland.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Don Joyce\u003c/strong> – There’s no “besides”; taking these ancient mythologies as fact \u003cem>does \u003c/em>cause all kinds of big and little problems in modern societies — all the way up to summary execution for not believing them.\u003c/p>\n\u003cp>I’m fascinated with human gullibility and the dangers it poses. I’ve been creating religious collages of various kinds all the way back to the beginning of \u003cem>Over the Edge\u003c/em> broadcasting. Thirty years, and it still hasn’t changed much.\u003c/p>\n\u003cp>The effect [of religion] is that for masses and masses of people, intellectual integrity does not require truth. That worries me.\u003c/p>\n\u003cp>\u003cstrong>What is the scariest part about organized religion for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – The God concept. This concept of a “Creator” of all this, with a personality and all, is obviously the ancient human’s personification of evolution and their “reason” for existence.\u003c/p>\n\u003cp>Unfortunately, it is such a potent form of causal imagination in the human psyche that taking this lie seriously has been stuck in us right up to now. Organized religion has successfully institutionalized and legitimized this misguided form of mass delusion.\u003c/p>\n\u003cp>But all in all, thank God for religions of old, which were probably responsible for taming the brutish cave man in us and making gatherings of people living together in towns and cities workable.\u003c/p>\n\u003cp>Many of Christianity’s medieval absurdities were weeded out in the Renaissance to keep it going and plausible as times modernized (though Islam has never done that), so we continue to comfortably pay undue respect to our organized religions with no end in sight.\u003c/p>\n\u003cfigure id=\"attachment_10144618\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144618\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_5.jpg\" alt=\"Negativland, back in 1989. Photo by Cyrnai and Negativland.\" width=\"640\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_5-400x328.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1989. Photo by Cyrnai and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – I think Islam has modernized a lot more than you think, Don. It just doesn’t get good press in our country because our mainstream media prefers its own dumbed-down good/evil narrative. And I think Don’s other comments kind of imply that our project is straight up atheist and that his points of view are the points of view of the work itself. \u003cem>It’s All in Your Head \u003c/em>tries to express a wide range of critical perspectives on belief, and with some compassion and empathy for the fact that religion arises from a very human need to know why we are here, why we exist, why do good and bad things happen to us, what does all of this mean. Religion then gets hijacked for all sorts of terrible and violent and controlling things, but I don’t think religion’s basic origins are bad or hard to grasp.\u003c/p>\n\u003cp>Me, I cant stand fundamentalism of any kind, and that includes atheism.\u003c/p>\n\u003cp>If you read any polls, it’s all kind of going away in the West anyway, and rather rapidly. So-called “Millennials” here and in Europe don’t believe in this stuff nearly as much anymore. In a few more generations, religion as we know it may largely be gone from the West.\u003c/p>\n\u003cp>\u003cstrong>For such a serious subject, there’s some truly silly bits in \u003cem>It’s All in Your Head,\u003c/em> with “Wildlife Tonight” being the silliest. It’s practically a Monty Python sketch. Is there some commentary there that I could be missing, or do you guys just like to be straight up goofy, even when tackling such serious subjects? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – It was much more exciting to have a live chimp on stage for those sections, actually being shaved, then to use samples or canned sound effects, that’s for sure. You said it, which is that our work is shot through with humor. That’s what we do. In the case of “Wildlife Tonight,” this was pure Don Joyce, insofar as it is very much in keeping with the flow of \u003cem>Over the Edge\u003c/em>, our radio show, and \u003cem>It’s All in Your Head\u003c/em> was designed to be \u003cem>Over the Edge\u003c/em> live on stage” (and indeed, the v.1 CD release has that as a subtitle).\u003c/p>\n\u003cp>You have to laugh at horror. That’s the only way to get through it. And furthermore, we thought some levity was needed in a show like that. We’re basically presenting you with an “aural documentary” or even – perish the thought – a lecture, so some humorous illustration seemed worth bringing to a live audience. And also, we realized that it sets the listener up to basically have the rug pulled out from under them, from an emotional standpoint, in Act II, which comes right after that and is tonally completely different.\u003c/p>\n\u003cfigure id=\"attachment_10144620\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg\" alt=\"Negativland live at the Alamo Drafthouse in 2014. Courtesy of Negativland.\" width=\"640\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_Live_Austin-400x278.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland live at the Alamo Drafthouse in 2014. Photo by Paul McAniff and Negativland.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MH\u003c/strong> – We performed that show (I think) 35 times and I was the chimp. And to do the chimp sounds, for as long as I have to do them each night — it’s 10 minutes of the show — it’s excruciatingly painful, as it turns out. As we were developing that portion, the original idea was that the chimp would be prerecorded. and I just for the hell of it, I said “I wonder if I can make chimp sounds.” And I tried it and thought “Oh, that actually sounds pretty good! But then I thought, “Oh my God, I’m committing to do this every night and it’s going to kill me!” And it did.\u003c/p>\n\u003cp>I think sometimes the audience could tell the endurance part of it when they were watching that part of it during the live performance. I hope there was some laughs to be had not just from the dialogue (which I think is great). But you’re watching me slowly just completely dissolve into physical pain, just to keep being the chimp through the whole thing. It was kind of a nightmare. I really did want a banana afterwards.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – I’d say shaving the chimp is evolutionistic silliness added to a serious treatment of a subject that is already full of silliness.\u003c/p>\n\u003cp>\u003cstrong>Was the audience blindfolded for the “Head” shows? If so, did people actually keep them on? Also, you now work with a video artist — was that to enhance the live shows or were there other motivations?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – Yes. We handed out paper “piñata” blindfolds at each show. Depending on the show and the city, the audience might remain 50 percent blindfolded or more. But oddly, in Boston, NO ONE wore them. It was almost a statement of defiance on their part. But the entire concept of the blindfolds was to directly remind the audience that they are listening to “radio.” Indeed, one of the lines in the introductory script was, “there’s nothing to see here. This is radio.”\u003c/p>\n\u003cp>Working with Steev Hise on video collage in our current show is just a way to bring imagery back into our live show, as visuals were historically critical in our live work, all the way up until we deliberately plunged audiences into the darkness inside their own heads for \u003cem>It’s All in Your Head.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10144534\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144534\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg\" alt=\"Negativland, live at Bumpershoot 2014\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Negativland_Bumbershoot-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, live at Bumbershoot 2014\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In a recent interview, Peter mentioned that one of your pieces was created after he and another member heard Marc Maron rant in his podcast about the idea of content. Is this typically how the pieces start? What about in the beginning, when you were dealing with tape?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>PC\u003c/strong> – That’s one way it happens. Sometimes you find the material and sometimes the material finds you. Steev [Hise, a new band member] and I simultaneously had the same response to Maron’s particular rant on the subject and wanted to do something with it, and it turned out to feel so strong that we led off the show with it. Indeed, the show became named “Content!” as a result. But certainly, especially in Don’s case and my own case, material for \u003cem>It’s All in Your Head\u003c/em> was definitely sought out. We needed material which addressed faith, monotheism, your brain, etc. Don tends to have multiple sources of audio (and sometimes TV) playing in his room all at once, grabbing what seems interesting to him as he goes, and has a monstrously huge backlog of content from 34 years of preparing radio shows. I tended to seek out relevant content from specific sources.\u003c/p>\n\u003cp>A good example that I love is Voice of America’s \u003cem>Special English\u003c/em> radio program, in which announcers read very simple stories and… read… them… very… slowly… and… deliberately for listeners to whom English is a second language. It’s often pure gold. In this case, I would seek out stories which were about the brain or about “God.” On the other hand, a record found me in a rummage sale which became a crucial theme throughout the show, called \u003cem>A Child’s Idea of God.\u003c/em> It’s a privately-pressed record which appears to be from the late 1950s on which a teacher or other adult figure asks children to discuss their ideas of what god is. Fantastic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – As for me, my weekly five-hour radio show, \u003cem>Over the Edge\u003c/em>, has me constantly collecting raw material from many sources, which then provides a huge base of raw material that can be honed down into specific stuff for Negativland projects. OTE has been a major spawning ground for Negativland releases.\u003c/p>\n\u003cp>\u003cstrong>Do you ever worry that you’re preaching to the converted?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144617\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144617\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_8.jpg\" alt=\"Negativland, back in 1991\" width=\"640\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_8-400x293.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland, back in 1991\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>PC\u003c/strong> – It’s an unavoidable question or concern, insofar as we are a strange group with a strange and relatively specific audience, not a pop group with mainstream exposure. But one of the most interesting dances we did while creating \u003cem>It’s All in Your Head\u003c/em> was trying to steer away from material which might come off as too mocking, too obvious, too easy to target. In that sense, we were trying to avoid preaching to the converted because we’re trying to make you think about a variety of viewpoints and how they mesh, on perhaps THE most hot-button topic.\u003c/p>\n\u003cp>\u003cstrong>DJ\u003c/strong> – Yes, given what we know about our audience of “fans” out there, we are preaching to the converted. I hope at least we’re doing it in a clever way.\u003c/p>\n\u003cp>\u003cstrong>MH\u003c/strong> – I don’t think it’s that simple. I like to recall what our longtime associate and culture critic Mr. Crosley Bendix once said: “Intelligence is temporary.” Hearing stuff we already know, but in new ways and in new contexts and in new mediums, can actually be… new. And as Negativland worked over the years creating \u003cem>It’s All in Your Head\u003c/em>, we made it to challenge \u003cem>ourselves\u003c/em> first of all, hoping that if it did, it would be thought-provoking to our fans and those who heard it.\u003c/p>\n\u003cp>\u003cstrong>Will any of the original members have to be associated with the group for it to continue, or is Negativland a concept that will live forever, no matter who is involved?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144626\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144626\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/negativland_4.jpg\" alt=\"Negativland back in 1987\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/negativland_4-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Negativland back in 1987\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>MH\u003c/b> – One of our members is now almost 71 years old. And I started working with Richard and David 36 years ago. [Laughs] So if someone had told me then that we’d all still be doing this now in 2014, I would not have believed them. But we are, and as dysfunctional as this group can sometimes be — and boy can it be — we all seem to be committed to staying in this weird, dysfunctional marriage for the sake of the baby. The baby is Negativland and the problem with the baby is that it never grows up. You never get to say, “Well, you’re out of high school now and you get to leave the house! Go to experimental music college and leave us alone. Your father and I can get a divorce now.” We can’t do that because we have to keep taking care of this disabled little baby; it’s got too many special needs to be out on its own.\u003c/p>\n\u003cp>So there is that question — which has honestly come up given how long we have been at this and how extended the Negativland “family” is these days— of what might it take for us to finally say, “Okay, we’re done, we’re pulling the plug”? Would it be if any single one of us died? Or, if a particular member died, but enough other key members were still around, that we’d keep going? Well we don’t know — we’re not really sure. But the original members of the group are still part of this group to this day — each in their own way, doing what they feel most comfortable doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This edited interview is based on a conversation with the band and email exchanges. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Resident Petitions Authorities to Punish Park Vandal",
"headTitle": "Berkeley Resident Petitions Authorities to Punish Park Vandal | KQED",
"content": "\u003cp>A Berkeley resident filed a petition on Whitehouse.gov Wednesday requesting that authorities pursue charges and the maximum punishment allowed for a New York artist who vandalized at least 10 national parks.\u003c/p>\n\u003cp>\u003ca href=\"https://petitions.whitehouse.gov/petition/press-charges-casey-nocket-finesmax-community-servicejail-timeetc-httpgooglhy4yqj-defacing-np-nm/1y8xJBGm\" target=\"_blank\" rel=\"noopener\">The petition\u003c/a>, which has garnered over 2,300 signatures as of 3 p.m. Thursday, states that a graffiti artist named Casey Nocket has traveled to several national parks and defaced them with her own acrylic paintings.\u003c/p>\n\u003cp>“Please don’t allow her to receive a slap. Please pursue the most serious of charges for these offenses,” reads the petition.\u003c/p>\n\u003cfigure id=\"attachment_10144442\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144442 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg\" alt=\"The SFIst took several screenshots of the creepytings Instagram account before it was removed.\" width=\"400\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-416x600.jpg 416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SFIst took several screenshots of the creepytings Instagram account before it was removed. \u003ccite>(SFist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The news of Nocket’s activities — and they are crimes, according to the \u003ca href=\"http://home.nps.gov/news/release.htm?id=1649\" target=\"_blank\" rel=\"noopener\">National Parks Service\u003c/a> — was broken by two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\" rel=\"noopener\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\" rel=\"noopener\">Calipidder.com\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>.\u003c/p>\n\u003cp>Before she made her Instagram account “creepytings” private, Nocket had posted several photos of her “works” at notable national parks such as Yosemite, Joshua Tree and Death Valley. On one of her Instagram posts, she admitted that she was using acrylic paint (and not chalk), later stating in the same thread, “I know I’m a bad person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the news of her vandalism spread across the Internet, Nocket shut down her Facebook and Tumblr pages, which she used to share her Instagram photos of her graffiti. Her Tumblr account has \u003ca href=\"http://creepytings.tumblr.com/\" target=\"_blank\" rel=\"noopener\">since been reactivated\u003c/a> and after first posting “i dun fucked uuuuuuup,” the feed has since been populated with snarky responses to her critics, including one post that reads, “IT’S ART NOT VANDALISM. I AM AN ARTIST”\u003c/p>\n\u003cp>Is what Nocket doing to these beautiful landscapes art? Under the headline, “\u003ca href=\"http://news.artnet.com/in-brief/street-art-comes-to-national-parks-is-it-vandalism-141998\" target=\"_blank\" rel=\"noopener\">Street Art Comes to National Parks—Is It Vandalism?\u003c/a>” art market newswire \u003ca href=\"http://news.artnet.com/\" target=\"_blank\" rel=\"noopener\">artnet News\u003c/a> has described Nocket’s actions as having “left her unwanted graffiti art in at least 10 national parks” and stating that “Graffiti isn’t just for the urban landscape anymore.” But unlike notable artists such as \u003ca href=\"http://ww2.kqed.org/arts/2014/04/17/andres-amadors-earthscapes-art-that-goes-out-with-the-tide/\" target=\"_blank\" rel=\"noopener\">Andres Amador\u003c/a> and \u003ca href=\"http://www.morning-earth.org/ARTISTNATURALISTS/AN_Goldsworthy.html\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, both of whom use nature as their canvas, Nocket’s work is permanent and, well, not good.\u003c/p>\n\u003cp>Our question to our readers: Would you be on Nocket’s side if the work was actually good?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you SFist for use of the images in this story. Read their post from Wednesday \u003ca href=\"http://sfist.com/2014/10/22/despicable_new_york_woman_defaces_y.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Berkeley resident filed a petition on Whitehouse.gov Wednesday requesting that authorities pursue charges and the maximum punishment allowed for a New York artist who vandalized at least 10 national parks.\u003c/p>\n\u003cp>\u003ca href=\"https://petitions.whitehouse.gov/petition/press-charges-casey-nocket-finesmax-community-servicejail-timeetc-httpgooglhy4yqj-defacing-np-nm/1y8xJBGm\" target=\"_blank\" rel=\"noopener\">The petition\u003c/a>, which has garnered over 2,300 signatures as of 3 p.m. Thursday, states that a graffiti artist named Casey Nocket has traveled to several national parks and defaced them with her own acrylic paintings.\u003c/p>\n\u003cp>“Please don’t allow her to receive a slap. Please pursue the most serious of charges for these offenses,” reads the petition.\u003c/p>\n\u003cfigure id=\"attachment_10144442\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144442 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg\" alt=\"The SFIst took several screenshots of the creepytings Instagram account before it was removed.\" width=\"400\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-400x576.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands-416x600.jpg 416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/creepytings_canyonlands.jpg 450w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The SFIst took several screenshots of the creepytings Instagram account before it was removed. \u003ccite>(SFist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The news of Nocket’s activities — and they are crimes, according to the \u003ca href=\"http://home.nps.gov/news/release.htm?id=1649\" target=\"_blank\" rel=\"noopener\">National Parks Service\u003c/a> — was broken by two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\" rel=\"noopener\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\" rel=\"noopener\">Calipidder.com\u003c/a>, after Nocket’s Instagram feed was posted on \u003ca href=\"http://www.reddit.com/r/Yosemite/comments/2jvbst/graffiti_artist_with_no_regard_for_her_actions/\" target=\"_blank\" rel=\"noopener\">Reddit\u003c/a>.\u003c/p>\n\u003cp>Before she made her Instagram account “creepytings” private, Nocket had posted several photos of her “works” at notable national parks such as Yosemite, Joshua Tree and Death Valley. On one of her Instagram posts, she admitted that she was using acrylic paint (and not chalk), later stating in the same thread, “I know I’m a bad person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the news of her vandalism spread across the Internet, Nocket shut down her Facebook and Tumblr pages, which she used to share her Instagram photos of her graffiti. Her Tumblr account has \u003ca href=\"http://creepytings.tumblr.com/\" target=\"_blank\" rel=\"noopener\">since been reactivated\u003c/a> and after first posting “i dun fucked uuuuuuup,” the feed has since been populated with snarky responses to her critics, including one post that reads, “IT’S ART NOT VANDALISM. I AM AN ARTIST”\u003c/p>\n\u003cp>Is what Nocket doing to these beautiful landscapes art? Under the headline, “\u003ca href=\"http://news.artnet.com/in-brief/street-art-comes-to-national-parks-is-it-vandalism-141998\" target=\"_blank\" rel=\"noopener\">Street Art Comes to National Parks—Is It Vandalism?\u003c/a>” art market newswire \u003ca href=\"http://news.artnet.com/\" target=\"_blank\" rel=\"noopener\">artnet News\u003c/a> has described Nocket’s actions as having “left her unwanted graffiti art in at least 10 national parks” and stating that “Graffiti isn’t just for the urban landscape anymore.” But unlike notable artists such as \u003ca href=\"http://ww2.kqed.org/arts/2014/04/17/andres-amadors-earthscapes-art-that-goes-out-with-the-tide/\" target=\"_blank\" rel=\"noopener\">Andres Amador\u003c/a> and \u003ca href=\"http://www.morning-earth.org/ARTISTNATURALISTS/AN_Goldsworthy.html\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, both of whom use nature as their canvas, Nocket’s work is permanent and, well, not good.\u003c/p>\n\u003cp>Our question to our readers: Would you be on Nocket’s side if the work was actually good?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you SFist for use of the images in this story. Read their post from Wednesday \u003ca href=\"http://sfist.com/2014/10/22/despicable_new_york_woman_defaces_y.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep’s ‘Party People’ Puts Black Panther Movement to Music",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker’s report on \u003ci>Party People\u003c/i>\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/RDnews/2014/10/MusikerPartyPeopleArtsFeature.mp3\u003c/p>\n\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Party People’\u003c/h4>\n\u003cdiv class=\"event-desc\">Staged history of the Young Lords and the Black Panther Party.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-Nov. 16, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Rep\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Picture this: Thirty black men and women briefly storm the floor of the California State Assembly armed with rifles, in 1967. They’re protesting a proposed measure that would outlaw the carrying of loaded firearms in public.\u003c/p>\n\u003cp>That’s one lasting image of the \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party for Self-Defense\u003c/a>, formed by Huey Newton and Bobby Seale in Oakland in 1966 as a response to what they saw as the failure of the non-violent civil rights movement. The two developed a strategy for the organization that mixed militancy with radical politics on behalf of social justice for the African American Community.\u003c/p>\n\u003cp>Now, \u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\u003c/p>\n\u003cp>“They were really united thinking they were going to change the world,” says Steven Sapp, one of the members of \u003ca href=\"http://www.universesonstage.com/\" target=\"_blank\" rel=\"noopener\">UNIVERSES\u003c/a>, the New York City based theater that developed the play. Sapp’s two colleagues in Universes are his wife Mildred Ruiz Sapp, and her brother William. The three have spent the past few years interviewing former Black Panthers and their fellow radicals, \u003ca href=\"http://en.wikipedia.org/wiki/Young_Lords\" target=\"_blank\" rel=\"noopener\">The Young Lords\u003c/a>, shaping the script for \u003ci>Party People\u003c/i>, which includes composite characters based on those interviews, and preparing to star in the play.\u003c/p>\n\u003cfigure id=\"attachment_10144338\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\" alt=\"Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Party People\u003c/i> opens with a riveting 15 minutes of music, poetry, dance, and video in a kind of beat-box version of Panther history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Now the guns were for self-defense,” says one character. “Because the fallout from the civil rights movement was even more police brutality and oppression. And it was our legal right to defend ourselves.” The actors raise their rifles and shotguns in the air, and ask, “Do we have your attention?”\u003c/p>\n\u003cp>And then they pose another question that many in the white and black community asked in the late sixties, “What kind of negroes are these?”\u003c/p>\n\u003cp>The play shows how the Panthers’ fight for black self-determination inspired others, like the Young Lords Organization in Chicago and New York, with a goal of independence for Puerto Rico and political power for an underserved community.\u003c/p>\n\u003cp>UNIVERSES’ William Ruiz says the group began with a protest over erratic garbage collection in East Harlem that included piling garbage in the street to get the attention of city authorities. “The police showed up, and the garbage bags got lit on fire and made even more of a statement,” Ruiz said in a recent interview.\u003c/p>\n\u003cp>These black and brown revolutionaries offered free health clinics, and breakfasts for kids, but they also carried guns and watch-dogged police in sometimes bloody confrontations. And that made group members targets for local police and the FBI, which used illegal tactics, under its Counter Intelligence Program or \u003ca href=\"http://en.wikipedia.org/wiki/COINTELPRO\" target=\"_blank\" rel=\"noopener\">COINTELPRO\u003c/a>, to infiltrate the Panthers and other groups and, according to some, orchestrate the assassination of their leaders.\u003c/p>\n\u003cp>Ruiz-Sapp says the show has parallels with the recent events in Ferguson, Missouri. “It’s a conversation of a nation. It’s a conversation about an era, and what did that do to bring us to where we are today, and then what do we do from here?”\u003c/p>\n\u003cp>UNIVERSES developed \u003cem>Party People\u003c/em> for the Oregon Shakespeare Festival in 2012, under the guidance of director \u003ca href=\"http://www.berkeleyrep.org/about/whoweare.asp#tabbed-nav=leaders\" target=\"_blank\" rel=\"noopener\">Liesl Tommy\u003c/a>, who’s also Berkeley Rep’s assistant artistic director. She grew up in South Africa, the daughter of anti-apartheid activists, and says she was drawn to this tale of political idealists. “I was also really moved by the journey Universes had been on, the years that they spent just listening, that is very rare and very powerful, and to let things come into their hearts and souls, and then create a piece, to me was an extremely spiritual way of making art.”\u003c/p>\n\u003cp>UNIVERSES has listened… One thing they noticed was the strong relationships among the Panthers and between the Panthers and the Young Lords. Ruiz recalls meeting with Young Lords founder Jose Cha Cha Jimenez in Chicago and how he introduced them to the mother of Panther Fred Hampton, who was killed by Chicago police.\u003c/p>\n\u003cfigure id=\"attachment_10144342\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144342\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\" alt=\" (l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias); Photo by Kevin Berne\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Hampton’s mother greets us all warmly, and as soon as Cha Cha’s daughter walks in behind us, Fred’s mother screams out, ‘There you are baby. Why don’t you come over and visit me anymore?’ And she spanks her on the butt and makes her sit on her lap. Now this is a grown girl, 24 or 25 already. And that was a sure sign to us that they were all family to each other, that they were all fighting shoulder to shoulder for the same cause.”\u003c/p>\n\u003cp>Former Panther \u003ca href=\"http://www.erickahuggins.com/Home.html\" target=\"_blank\" rel=\"noopener\">Ericka Huggins\u003c/a> has spent hours with the members of UNIVERSES, talking about her memories of the Panthers. “It [the play] captivated me from the first moment I saw it on stage,” Huggins said during a recent interview at her East Oakland home. Huggins was 16 when she joined the Panthers, later founding the New Haven chapter.\u003c/p>\n\u003cp>Huggins teaches African-American history now at Merritt College in Oakland, but she’s been through a lot. Her husband John, a Panther like her, was killed in a fight allegedly incited by the FBI, and she was tried in New Haven for her role in the torture and murder of a Panther suspected of being an FBI informant. The jury deadlocked in the case, and Huggins went free.\u003c/p>\n\u003cp>“There isn’t a day that goes by, when I don’t remember those times,” Huggins said, “and that young man, that great young man that was killed. However I did not kill him. But harm goes deeper than that. So that’s one of the reasons I continue to do my own work.”\u003c/p>\n\u003cp>Huggins says she’s okay with the fact that \u003cem>Party People\u003c/em> presents a fictionalized version of the events in New Haven, as well as putting the widow of a policeman, a composite character again, on stage to confront Panthers about her husband’s death. “People who are informed about their past, do well in their present moment and can impact the future,” Huggins said. And when I asked her if the play has the power to inspire young people to become more involved in politics, she added, “I think art has that power, and the play is a work of art.”\u003c/p>\n\u003cp>The members of UNIVERSES say they’re a little nervous about bringing this play to Berkeley, so close to the birthplace of the Panthers, and with its own history of radical politics. “I feel like every single night, there will probably be someone in that room who has experienced it all or knows it firsthand,” Steven Sapp says, “And that’s what theatre is supposed to be about, I feel. It’s supposed to be alive. There’s supposed to be an energy crackling in the room.”\u003c/p>\n\u003cp>Sapp says he expects \u003cem>Party People\u003c/em> will thrill audience members one minute and make them deeply uncomfortable the next.\u003c/p>\n\u003cp>\u003ci>Party People\u003c/i> runs through Nov. 16, 2014 at the Berkeley Repertory Theatre. For \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"excerpt": "\u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the Berkeley Repertory Theatre, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Party People’\u003c/h4>\n\u003cdiv class=\"event-desc\">Staged history of the Young Lords and the Black Panther Party.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Oct. 17-Nov. 16, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Berkeley Rep\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/party-people/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Picture this: Thirty black men and women briefly storm the floor of the California State Assembly armed with rifles, in 1967. They’re protesting a proposed measure that would outlaw the carrying of loaded firearms in public.\u003c/p>\n\u003cp>That’s one lasting image of the \u003ca href=\"http://en.wikipedia.org/wiki/Black_Panther_Party\" target=\"_blank\" rel=\"noopener\">Black Panther Party for Self-Defense\u003c/a>, formed by Huey Newton and Bobby Seale in Oakland in 1966 as a response to what they saw as the failure of the non-violent civil rights movement. The two developed a strategy for the organization that mixed militancy with radical politics on behalf of social justice for the African American Community.\u003c/p>\n\u003cp>Now, \u003cem>Party People\u003c/em>, a new musical about the Black Panther Party at the \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>, examines the history of the party and other radical groups, the ideals of their members, the oppression they faced, and some of their crimes.\u003c/p>\n\u003cp>“They were really united thinking they were going to change the world,” says Steven Sapp, one of the members of \u003ca href=\"http://www.universesonstage.com/\" target=\"_blank\" rel=\"noopener\">UNIVERSES\u003c/a>, the New York City based theater that developed the play. Sapp’s two colleagues in Universes are his wife Mildred Ruiz Sapp, and her brother William. The three have spent the past few years interviewing former Black Panthers and their fellow radicals, \u003ca href=\"http://en.wikipedia.org/wiki/Young_Lords\" target=\"_blank\" rel=\"noopener\">The Young Lords\u003c/a>, shaping the script for \u003ci>Party People\u003c/i>, which includes composite characters based on those interviews, and preparing to star in the play.\u003c/p>\n\u003cfigure id=\"attachment_10144338\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144338\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg\" alt=\"Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\" width=\"640\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/blackpanthers-400x261.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Two members of the Black Panther Party are met on the steps of the California State Capitol in Sacramento, May 2, 1967, by Police Lt. Ernest Holloway, who informs them they will be allowed to keep their weapons as long as they cause no trouble and do not disturb the peace. Earlier several members had invaded the Assembly chambers and had their guns taken away; Bettmann/CORBIS\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Party People\u003c/i> opens with a riveting 15 minutes of music, poetry, dance, and video in a kind of beat-box version of Panther history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Now the guns were for self-defense,” says one character. “Because the fallout from the civil rights movement was even more police brutality and oppression. And it was our legal right to defend ourselves.” The actors raise their rifles and shotguns in the air, and ask, “Do we have your attention?”\u003c/p>\n\u003cp>And then they pose another question that many in the white and black community asked in the late sixties, “What kind of negroes are these?”\u003c/p>\n\u003cp>The play shows how the Panthers’ fight for black self-determination inspired others, like the Young Lords Organization in Chicago and New York, with a goal of independence for Puerto Rico and political power for an underserved community.\u003c/p>\n\u003cp>UNIVERSES’ William Ruiz says the group began with a protest over erratic garbage collection in East Harlem that included piling garbage in the street to get the attention of city authorities. “The police showed up, and the garbage bags got lit on fire and made even more of a statement,” Ruiz said in a recent interview.\u003c/p>\n\u003cp>These black and brown revolutionaries offered free health clinics, and breakfasts for kids, but they also carried guns and watch-dogged police in sometimes bloody confrontations. And that made group members targets for local police and the FBI, which used illegal tactics, under its Counter Intelligence Program or \u003ca href=\"http://en.wikipedia.org/wiki/COINTELPRO\" target=\"_blank\" rel=\"noopener\">COINTELPRO\u003c/a>, to infiltrate the Panthers and other groups and, according to some, orchestrate the assassination of their leaders.\u003c/p>\n\u003cp>Ruiz-Sapp says the show has parallels with the recent events in Ferguson, Missouri. “It’s a conversation of a nation. It’s a conversation about an era, and what did that do to bring us to where we are today, and then what do we do from here?”\u003c/p>\n\u003cp>UNIVERSES developed \u003cem>Party People\u003c/em> for the Oregon Shakespeare Festival in 2012, under the guidance of director \u003ca href=\"http://www.berkeleyrep.org/about/whoweare.asp#tabbed-nav=leaders\" target=\"_blank\" rel=\"noopener\">Liesl Tommy\u003c/a>, who’s also Berkeley Rep’s assistant artistic director. She grew up in South Africa, the daughter of anti-apartheid activists, and says she was drawn to this tale of political idealists. “I was also really moved by the journey Universes had been on, the years that they spent just listening, that is very rare and very powerful, and to let things come into their hearts and souls, and then create a piece, to me was an extremely spiritual way of making art.”\u003c/p>\n\u003cp>UNIVERSES has listened… One thing they noticed was the strong relationships among the Panthers and between the Panthers and the Young Lords. Ruiz recalls meeting with Young Lords founder Jose Cha Cha Jimenez in Chicago and how he introduced them to the mother of Panther Fred Hampton, who was killed by Chicago police.\u003c/p>\n\u003cfigure id=\"attachment_10144342\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144342\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/partypeople2.jpg\" alt=\" (l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias)\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/partypeople2-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(l to r) Christopher Livingston, Sophia Ramos (Maruca), and Reggie D. White (Solias); Photo by Kevin Berne\u003c/figcaption>\u003c/figure>\n\u003cp>“Fred Hampton’s mother greets us all warmly, and as soon as Cha Cha’s daughter walks in behind us, Fred’s mother screams out, ‘There you are baby. Why don’t you come over and visit me anymore?’ And she spanks her on the butt and makes her sit on her lap. Now this is a grown girl, 24 or 25 already. And that was a sure sign to us that they were all family to each other, that they were all fighting shoulder to shoulder for the same cause.”\u003c/p>\n\u003cp>Former Panther \u003ca href=\"http://www.erickahuggins.com/Home.html\" target=\"_blank\" rel=\"noopener\">Ericka Huggins\u003c/a> has spent hours with the members of UNIVERSES, talking about her memories of the Panthers. “It [the play] captivated me from the first moment I saw it on stage,” Huggins said during a recent interview at her East Oakland home. Huggins was 16 when she joined the Panthers, later founding the New Haven chapter.\u003c/p>\n\u003cp>Huggins teaches African-American history now at Merritt College in Oakland, but she’s been through a lot. Her husband John, a Panther like her, was killed in a fight allegedly incited by the FBI, and she was tried in New Haven for her role in the torture and murder of a Panther suspected of being an FBI informant. The jury deadlocked in the case, and Huggins went free.\u003c/p>\n\u003cp>“There isn’t a day that goes by, when I don’t remember those times,” Huggins said, “and that young man, that great young man that was killed. However I did not kill him. But harm goes deeper than that. So that’s one of the reasons I continue to do my own work.”\u003c/p>\n\u003cp>Huggins says she’s okay with the fact that \u003cem>Party People\u003c/em> presents a fictionalized version of the events in New Haven, as well as putting the widow of a policeman, a composite character again, on stage to confront Panthers about her husband’s death. “People who are informed about their past, do well in their present moment and can impact the future,” Huggins said. And when I asked her if the play has the power to inspire young people to become more involved in politics, she added, “I think art has that power, and the play is a work of art.”\u003c/p>\n\u003cp>The members of UNIVERSES say they’re a little nervous about bringing this play to Berkeley, so close to the birthplace of the Panthers, and with its own history of radical politics. “I feel like every single night, there will probably be someone in that room who has experienced it all or knows it firsthand,” Steven Sapp says, “And that’s what theatre is supposed to be about, I feel. It’s supposed to be alive. There’s supposed to be an energy crackling in the room.”\u003c/p>\n\u003cp>Sapp says he expects \u003cem>Party People\u003c/em> will thrill audience members one minute and make them deeply uncomfortable the next.\u003c/p>\n\u003cp>\u003ci>Party People\u003c/i> runs through Nov. 16, 2014 at the Berkeley Repertory Theatre. For \u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit berkeleyrep.org.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If attendance at last night’s Arts Town Hall is any indicator of San Francisco policy makers’ interest and investment, the arts are in trouble. Of the eleven city supervisor incumbents and candidates who committed to attending, only three were present for the full discussion, which was about an hour long; four never showed at all, while others were late or left early. Meanwhile hundreds from the arts community gathered to hear incumbents and candidates give their views on supporting the arts in these challenging times. Over the course of the evening, the empty chairs on the stage came to signify the gravity of the challenges ahead.\u003c/p>\n\u003cp>The event was hosted by 75 cultural organizations of varying sizes, across a spectrum of disciplines including dance, theatre, film, music and visual arts. The event was kicked off with a brief introduction by YBCA Executive Director Deborah Cullinan, who talked about how essential the arts are to the character of San Francisco and the need for the community to come together to face the present challenges. Following Cullinan’s introduction, Jazz bassist and composer Marcus Shelby performed Paul Chambers’ “Whims of Chambers” to set the tone, but not before putting on a Giant’s hoodie, to great applause. Laura Sydell, Digital Cultural Correspondent for NPR, moderated the discussion.\u003c/p>\n\u003cfigure id=\"attachment_10144255\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\" alt=\"NPR's Laura Sydell (center) moderates 2014 Arts Town Hall\" width=\"640\" height=\"427\" class=\"size-full wp-image-10144255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">NPR’s Laura Sydell (center) moderates 2014 Arts Town Hall\u003c/figcaption>\u003c/figure>\n\u003cp>Among the candidates fully present were Juan-Antonio Caraballo (candidate D2), Jamie Whitaker (candidate D6) and Tony Kelly (candidate D10). Partially present were Mark Farrell (incumbent D2), Jane Kim (incumbent D6), Scott Wiener (incumbent D8), Malia Cohen (incumbent D10). Absent were Michael Nulty (candidate D6), David Carlos Salaverry (candidate D6), George Davis (candidate D8), and John Nulty (candidate D8).\u003c/p>\n\u003cp>Much of the conversation focused on affordability, sustaining the arts, retaining the presence of artists amidst shifting real estate — at one point Sydell admonished the speakers to keep in mind, “We are losing our arts community to Oakland” — as well as questions about regulating Airbnb and the $25M in back taxes it owes the city, the use of publicly owned buildings and the future of arts education. Sydell also noted that though the city budget has increased significantly in recent years, funding for the arts is down 22% since 2004.\u003c/p>\n\u003cp>The conversation became heated at certain moments, especially on the topic of Airbnb’s back taxes with some supervisors and candidates speaking in favor of collecting the $25M owed to the Hotel Tax Fund and others speaking against the effort. Kelly, a strong advocate for pursuing the money specifically because it would benefit the arts, said, “San Francisco is a great, liberal progressive city until money gets involved.” Jamie Whitaker (candidate D6) countered this as short-sighted, “We are going to spend hundreds of thousands of dollars to hire city attorneys to go to court and hope that we get every bit of that $25 million? Stupid.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the focus of the evening was on the arts, there were times when it was plain that not everyone agreed that San Francisco’s art community was vital. Juan-Antonio Carabello (candidate D2), calling himself “just a tech guy,” stated, “Unfortunately San Francisco is not one of the world’s great art cities, neither for artists or for watching art” and talked about “the need to make San Francisco the greatest city in the world for art.” He later also said, “The only thing that makes me cry in this world, other than personal tragedy, is seeing a beautiful, perfect work of art. And it’s happened to me many times, but not in San Francisco yet,” before going on to discuss the greater importance of STEM, emotional intelligence, the design of the iPhone and innovative private/public partnerships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even as the evening offered the arts community limited information in terms of how invested various incumbents and candidates are in the arts specifically, there was a vital piece of advice shared by Jane Kim (incumbent D6) that was also agreed upon by Scott Weiner (incumbent D8). Kim encouraged the arts community to start meeting in December and to come together to formulate a budget for the board of supervisors to advocate for in the spring, noting that many other sectors are successful in doing this. This, she said, is how the city has been able to advance the conversation around pedestrian safety issues, educational funding and funding for shelters. “It’s hard sometimes,” she said, “to understand what the priority of the arts community is, but if we have it as one gifted package, it is very easy for us to know what to fight for.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If attendance at last night’s Arts Town Hall is any indicator of San Francisco policy makers’ interest and investment, the arts are in trouble. Of the eleven city supervisor incumbents and candidates who committed to attending, only three were present for the full discussion, which was about an hour long; four never showed at all, while others were late or left early. Meanwhile hundreds from the arts community gathered to hear incumbents and candidates give their views on supporting the arts in these challenging times. Over the course of the evening, the empty chairs on the stage came to signify the gravity of the challenges ahead.\u003c/p>\n\u003cp>The event was hosted by 75 cultural organizations of varying sizes, across a spectrum of disciplines including dance, theatre, film, music and visual arts. The event was kicked off with a brief introduction by YBCA Executive Director Deborah Cullinan, who talked about how essential the arts are to the character of San Francisco and the need for the community to come together to face the present challenges. Following Cullinan’s introduction, Jazz bassist and composer Marcus Shelby performed Paul Chambers’ “Whims of Chambers” to set the tone, but not before putting on a Giant’s hoodie, to great applause. Laura Sydell, Digital Cultural Correspondent for NPR, moderated the discussion.\u003c/p>\n\u003cfigure id=\"attachment_10144255\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg\" alt=\"NPR's Laura Sydell (center) moderates 2014 Arts Town Hall\" width=\"640\" height=\"427\" class=\"size-full wp-image-10144255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Arts-9058-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">NPR’s Laura Sydell (center) moderates 2014 Arts Town Hall\u003c/figcaption>\u003c/figure>\n\u003cp>Among the candidates fully present were Juan-Antonio Caraballo (candidate D2), Jamie Whitaker (candidate D6) and Tony Kelly (candidate D10). Partially present were Mark Farrell (incumbent D2), Jane Kim (incumbent D6), Scott Wiener (incumbent D8), Malia Cohen (incumbent D10). Absent were Michael Nulty (candidate D6), David Carlos Salaverry (candidate D6), George Davis (candidate D8), and John Nulty (candidate D8).\u003c/p>\n\u003cp>Much of the conversation focused on affordability, sustaining the arts, retaining the presence of artists amidst shifting real estate — at one point Sydell admonished the speakers to keep in mind, “We are losing our arts community to Oakland” — as well as questions about regulating Airbnb and the $25M in back taxes it owes the city, the use of publicly owned buildings and the future of arts education. Sydell also noted that though the city budget has increased significantly in recent years, funding for the arts is down 22% since 2004.\u003c/p>\n\u003cp>The conversation became heated at certain moments, especially on the topic of Airbnb’s back taxes with some supervisors and candidates speaking in favor of collecting the $25M owed to the Hotel Tax Fund and others speaking against the effort. Kelly, a strong advocate for pursuing the money specifically because it would benefit the arts, said, “San Francisco is a great, liberal progressive city until money gets involved.” Jamie Whitaker (candidate D6) countered this as short-sighted, “We are going to spend hundreds of thousands of dollars to hire city attorneys to go to court and hope that we get every bit of that $25 million? Stupid.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Music Review: HowellDevine's 'Modern Sounds of Ancient Juju'",
"title": "Music Review: HowellDevine's 'Modern Sounds of Ancient Juju'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/172661296\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Bay Area blues scene has thrived ever since World War II brought an influx of African Americans to the region. Two decades later, Bill Graham started presenting blues artists on the same bill as rock bands, introducing the electrified Chicago sound to new audiences. But an older tradition was already in place, an acoustic sound that provides the primary inspiration for the blues band \u003ca href=\"http://www.howelldevine.com/\">HowellDevine\u003c/a>. The trio’s new album \"Modern Sounds of Ancient Juju\" harkens back to the blues’ Delta roots.\u003c/p>\n\u003cp>While the band’s name might seem too perfect, HowellDevine came by their moniker, and their irresistibly rootsy Delta sound, honestly. With Joshua Howell on slide guitar, harmonica, and urgent yet laid back vocals, and the loose but lockstep rhythm section of bassist Joe Kyle Jr. and Pete Devine on stripped-down drum kit and occasional washboard, the band boasts an open, uncluttered sound that taps into the blues’ roots without sounding like mimicry.\u003c/p>\n\u003cfigure id=\"attachment_10344129\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/HowellDevineMSAJweb.jpg\">\u003cimg class=\"size-thumbnail wp-image-10344129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/HowellDevineMSAJweb-400x400.jpg\" alt=\"HowellDevine's new cd "Modern Sounds of Ancient Juju" (Courtesy of Arhoolie Records)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/HowellDevineMSAJweb.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">HowellDevine's new cd \"Modern Sounds of Ancient Juju\" (Courtesy of Arhoolie Records)\u003c/figcaption>\u003c/figure>\n\u003cp>Many white musicians have contributed to this essentially African-American cultural expression, and what makes HowellDevine’s music so engaging is the way they combine their command of the acoustic idiom with an awareness of the entire blues continuum. The effect can by revealingly uncanny, like when they tear into \u003ca href=\"http://www.nps.gov/history/delta/blues/people/bukka_white.htm\">Bukka White\u003c/a>’s “Shake ‘Em On Down” and it sounds like a lost, unplugged side from Jimi Hendrix circa 1967.\u003c/p>\n\u003cp>Since the release last year of their debut album Jumps, Boogies &\u003cbr>\nWobbles, HowellDevine has become one of the busiest blues combos on the Bay Area scene. It was the first blues album in almost three decades released by \u003ca href=\"http://www.arhoolie.com/\">Arhoolie Records\u003c/a>, the storied East Bay roots label whose founder, Chris Strachwitz, is the subject of the fantastic new documentary \"\u003ca href=\"http://nomousemusic.com/\">This Ain't No Mouse Music\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Modern Sounds of Ancient Juju\" makes it even more clear why Strachwitz, who recorded classic albums by the likes of Lightnin’ Hopkins, Mance Lipscomb, and Fred McDowell, was struck by the band’s juke joint grooves.\u003c/p>\n\u003cp>Part of the album’s fun is the way it mixes vintage tunes by long departed blues legends with HowellDevine originals, like a spooky version of Sonny Boy Williamson II’s “She Brought Life Back to the Dead” followed by Howell’s cool dismissal “Let You Go.”\u003c/p>\n\u003cp>Howell learned the blues ropes as a teenager in the early 1990s sitting in at Oakland joints like Eli’s Mile High Club. After earning a degree in philosophy from UC Santa Cruz, he went on to apprentice with Arkansas-born country blues master \u003ca href=\"http://orleansrecords.com/artists/robert-lowery/\">Robert Lowery\u003c/a>, who had settled in the Monterey Bay area back in the '50s. Devine got his start in the late '80s with Bo Grumpus, a band with a vast repertoire of rags, stomps, marches, and early jazz numbers. More recently he’s played jump blues with Lavay Smith’s Red Hot Skillet Lickers, Gypsy jazz with Gaucho, and led his own jug band.\u003c/p>\n\u003cp>He and Howell met about four years ago playing at a Mission District club, and ever since, they’ve been honing a sound that brings the blues back to the front porch. \"Modern Sounds of Ancient Juju\" closes with “Railroad Stomp,” a smokin’ original recorded live at The Baltic in Pt. Richmond. The tune powerfully evokes the trains that played such a big role in the music’s journey from rural landscapes to urban settings, a migration that led to the eclipse of the country blues that HowellDevine plays so well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[bandcamp width=100% height=120 album=730800393 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Modern Sounds of Ancient Juju\" makes it even more clear why Strachwitz, who recorded classic albums by the likes of Lightnin’ Hopkins, Mance Lipscomb, and Fred McDowell, was struck by the band’s juke joint grooves.\u003c/p>\n\u003cp>Part of the album’s fun is the way it mixes vintage tunes by long departed blues legends with HowellDevine originals, like a spooky version of Sonny Boy Williamson II’s “She Brought Life Back to the Dead” followed by Howell’s cool dismissal “Let You Go.”\u003c/p>\n\u003cp>Howell learned the blues ropes as a teenager in the early 1990s sitting in at Oakland joints like Eli’s Mile High Club. After earning a degree in philosophy from UC Santa Cruz, he went on to apprentice with Arkansas-born country blues master \u003ca href=\"http://orleansrecords.com/artists/robert-lowery/\">Robert Lowery\u003c/a>, who had settled in the Monterey Bay area back in the '50s. Devine got his start in the late '80s with Bo Grumpus, a band with a vast repertoire of rags, stomps, marches, and early jazz numbers. More recently he’s played jump blues with Lavay Smith’s Red Hot Skillet Lickers, Gypsy jazz with Gaucho, and led his own jug band.\u003c/p>\n\u003cp>He and Howell met about four years ago playing at a Mission District club, and ever since, they’ve been honing a sound that brings the blues back to the front porch. \"Modern Sounds of Ancient Juju\" closes with “Railroad Stomp,” a smokin’ original recorded live at The Baltic in Pt. Richmond. The tune powerfully evokes the trains that played such a big role in the music’s journey from rural landscapes to urban settings, a migration that led to the eclipse of the country blues that HowellDevine plays so well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[bandcamp width=100% height=120 album=730800393 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Knight Cities Challenge: A $5 Million Innovation Incentive for Urban Success",
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"content": "\u003cp>The Knight Foundation recently announced its new initiative, the “\u003ca href=\"http://www.knightfoundation.org/blogs/knightblog/2014/9/16/knight-cities-challenge-offers-5-million-to-uncover-ideas-to-make-cities-more-successful/\" target=\"_blank\" rel=\"noopener\">Knight Cities Challenge\u003c/a>,” a $5 million offering for innovative ideas aimed at making cities in its \u003ca href=\"http://knightfoundation.org/about/communities/\" target=\"_blank\" rel=\"noopener\">26 Knight communities\u003c/a> more successful. It’s an international call seeking the brightest ideas from all walks of life. Anyone with a great idea — from artists to Zen masters — is encouraged to submit, keeping in mind the Knight Foundation’s key direction, “Cities that want long-term success should stimulate increases in talent, opportunity and engagement.”\u003c/p>\n\u003cfigure id=\"attachment_10143799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143799 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg\" alt=\"Bay Maples: Wild California Gardens\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alan Hackler of Bay Maples rides through downtown San Jose on his utility bike to his next landscaping job. Photo: Brian Eder \u003ccite>(Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose is the only Knight Community in the Bay Area, but even if you live in San Francisco, Oakland, Palo Alto or elsewhere you can apply. The Knight Cities Challenge will accept applications from anywhere on the planet, but winning submissions must take place in a designated community. Consider collaborating with an individual artist or architect, a group of like-minded civic hackers or any organization residing in San Jose that resonates with you and represents the sort of change your idea might manifest. After all, success for San Jose is success for the Bay Area and its culture at large.\u003c/p>\n\u003cp>For years cities like San Jose have lost a good portion of their young creative talent to bigger cities offering a more diverse, urban environment. San Jose, like many others, just didn’t have what they desired to keep them living here in the South Bay. Over the past few years, as things like a vibrant arts and culture scene and highrise urban living have begun to emerge, that exodus has appeared to slow ever-so-slightly. But that’s just a start…\u003c/p>\n\u003cp>Creating more opportunities for economic success is critical for everyone in a city. However, there are some potential downfalls of lop-sided growth to consider. We saw it as the local economy pressed upward during the first dot-com boom and we’ve been watching it take place again for the past few years as talent clustering has taken over popular neighborhoods in San Francisco, forcing some long-time residents and small business owners out of the area. There’s a growing divide between the high-paying creative jobs and the lower-paying service industry. It’s a reality one needs to keep in mind.\u003c/p>\n\u003cp>My partner and I often share that we don’t visit other cities to see what their version of J Crew or the GAP look like; we visit a city to see and experience how its people live. The citizens of a city are what bring life to its streets. A vibrant, diverse and engaged community attracts talent and visitors. It’s as simple as that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you think you have a winning idea on how to manifest successful change in San Jose, be sure to visit \u003ca href=\"http://www.knightcities.org/\" target=\"_blank\" rel=\"noopener\">KnightCities.org\u003c/a> and apply. The deadline for submitting your big idea ends at 5pm ET on Friday, Nov. 14, 2014.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Knight Foundation recently announced its new initiative, the “\u003ca href=\"http://www.knightfoundation.org/blogs/knightblog/2014/9/16/knight-cities-challenge-offers-5-million-to-uncover-ideas-to-make-cities-more-successful/\" target=\"_blank\" rel=\"noopener\">Knight Cities Challenge\u003c/a>,” a $5 million offering for innovative ideas aimed at making cities in its \u003ca href=\"http://knightfoundation.org/about/communities/\" target=\"_blank\" rel=\"noopener\">26 Knight communities\u003c/a> more successful. It’s an international call seeking the brightest ideas from all walks of life. Anyone with a great idea — from artists to Zen masters — is encouraged to submit, keeping in mind the Knight Foundation’s key direction, “Cities that want long-term success should stimulate increases in talent, opportunity and engagement.”\u003c/p>\n\u003cfigure id=\"attachment_10143799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10143799 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg\" alt=\"Bay Maples: Wild California Gardens\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Alan_Hackler-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alan Hackler of Bay Maples rides through downtown San Jose on his utility bike to his next landscaping job. Photo: Brian Eder \u003ccite>(Brian Eder)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose is the only Knight Community in the Bay Area, but even if you live in San Francisco, Oakland, Palo Alto or elsewhere you can apply. The Knight Cities Challenge will accept applications from anywhere on the planet, but winning submissions must take place in a designated community. Consider collaborating with an individual artist or architect, a group of like-minded civic hackers or any organization residing in San Jose that resonates with you and represents the sort of change your idea might manifest. After all, success for San Jose is success for the Bay Area and its culture at large.\u003c/p>\n\u003cp>For years cities like San Jose have lost a good portion of their young creative talent to bigger cities offering a more diverse, urban environment. San Jose, like many others, just didn’t have what they desired to keep them living here in the South Bay. Over the past few years, as things like a vibrant arts and culture scene and highrise urban living have begun to emerge, that exodus has appeared to slow ever-so-slightly. But that’s just a start…\u003c/p>\n\u003cp>Creating more opportunities for economic success is critical for everyone in a city. However, there are some potential downfalls of lop-sided growth to consider. We saw it as the local economy pressed upward during the first dot-com boom and we’ve been watching it take place again for the past few years as talent clustering has taken over popular neighborhoods in San Francisco, forcing some long-time residents and small business owners out of the area. There’s a growing divide between the high-paying creative jobs and the lower-paying service industry. It’s a reality one needs to keep in mind.\u003c/p>\n\u003cp>My partner and I often share that we don’t visit other cities to see what their version of J Crew or the GAP look like; we visit a city to see and experience how its people live. The citizens of a city are what bring life to its streets. A vibrant, diverse and engaged community attracts talent and visitors. It’s as simple as that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you think you have a winning idea on how to manifest successful change in San Jose, be sure to visit \u003ca href=\"http://www.knightcities.org/\" target=\"_blank\" rel=\"noopener\">KnightCities.org\u003c/a> and apply. The deadline for submitting your big idea ends at 5pm ET on Friday, Nov. 14, 2014.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Electronic Frontier Foundation Honors 'Counter-Surveillance Artist' Trevor Paglen",
"headTitle": "The Electronic Frontier Foundation Honors ‘Counter-Surveillance Artist’ Trevor Paglen | KQED",
"content": "\u003cp>Last week San Francisco-based Electronic Frontier Foundation (EFF), a nonprofit focused on defending civil liberties in the digital domain, hosted its annual Pioneer Awards to recognize leaders who are “extending freedom and innovation in the realm of information technology.” Many key figures in digital enterprise have been recognized, including late digital rights activist Aaron Swartz and journalists Glenn Greenwald and Laura Poitras. This year’s winners include Guatemalan labor and human rights lawyer Frank La Rue, U. S. Representative Zoe Lofgren, as well as artist Trevor Paglen. It is the first time a visual artist has received the award and it signifies a cultural shift in recognizing the importance of artists in defending civil liberties.\u003c/p>\n\u003cp>On hand to deliver the keynote were Jacques Servin and Igor Vamos, artists and culture jammers otherwise known as The Yes Men, widely recognized for employing tactical media to draw greater attention to important issues, often by disseminating false information via the press to complicate discussions around social politics and environmental concerns. In 2009 they spoofed the U. S. Chamber of Commerce and announced an about-face on climate change — it was widely reported as legitimate news by CNN and Fox News, among other media outlets, before it was revealed to be a hoax.\u003c/p>\n\u003cp>Within a matter of weeks, the Chamber announced a change in policy, while denying any influence of The Yes Men’s stunt. It later also launched a protracted lawsuit against The Yes Men, who were defended by EFF until the suit was dropped in 2013. During the keynote, Servin said of the lawsuit, “It was nerve wracking, but the EFF is excited about this kind of thing. They are one of the very few organizations in the world who put themselves out there and advance the cause of law.” In conclusion, Servin and Vamos announced the recent launch of \u003ca href=\"https://actionswitchboard.net/\" target=\"_blank\" rel=\"noopener\">Action Switchboard\u003c/a>, an online platform to cultivate action by linking creative activists with a network of support.\u003c/p>\n\u003cfigure id=\"attachment_10143554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg\" alt=\"Trevor Paglen receives EFF Pioneer Award; Photo courtesy Alex Schoenfeldt\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglengetsaward-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Paglen receives EFF Pioneer Award; Photo courtesy Alex Schoenfeldt\u003c/figcaption>\u003c/figure>\n\u003cp>In the address that preceded Paglen’s award, EFF senior designer Hugh D’Andrade talked about the challenge to describe the artist’s practice. (“Do we call him a secrecy artist?’ Or a surveillance artist? We settled on calling him a counter-surveillance artist.”) Paglen’s work engages photography, journalism and geography to explore the boundaries of public access to secret government operations and publicly funded surveillance programs. He is the author of multiple books and has exhibited his artwork around the world, and beyond — as wild as that sounds. (In 2012, I \u003ca href=\"http://ww2.kqed.org/arts/2012/10/09/the_last_pictures_trevor_paglens_artwork_for_outer_space/\">wrote about a project\u003c/a> he developed for outer space.) He recently photographed the headquarters of three secret government agencies, including the NSA, and released the images open source in the digital domain to encourage the public to engage with the government agencies that conceal so much from view.\u003c/p>\n\u003cfigure id=\"attachment_10143549\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennsa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennsa.jpg\" alt=\"National Security Agency (NSA): With a budget request of $10.8 billion, the NSA is the second-largest agency in the U.S. intelligence community. It is headquartered in Fort Meade, Maryland; Photo by Trevor Paglen\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennsa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennsa-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">National Security Agency (NSA): With a budget request of $10.8 billion, the NSA is the second-largest agency in the U.S. intelligence community. It is headquartered in Fort Meade, Maryland; Photo by Trevor Paglen\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10143548\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennro.jpg\" alt=\"National Reconnaissance Office (NRO): The NRO is in charge of developing, deploying and operating secret reconnaissance satellites. With a budget request of $10.3 billion, it is the third-largest U.S. intelligence agency. It is headquartered in Chantilly, Virginia; Photo by Trevor Paglen\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennro.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennro-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">National Reconnaissance Office (NRO): The NRO is in charge of developing, deploying and operating secret reconnaissance satellites. With a budget request of $10.3 billion, it is the third-largest U.S. intelligence agency. It is headquartered in Chantilly, Virginia; Photo by Trevor Paglen\u003c/figcaption>\u003c/figure>\n\u003cp>In his introduction, D’Andrade reflected on a conversation with Paglen earlier this year and quoted him as saying, “Secret stuff is made out of the same stuff that the regular non-secret world is made out of,” and noted that this simple observation is one of the great advantages of having an artist on their team of lawyers, activists, and technologies, and why more artists are needed to work on difficult social problems. “Sometimes it takes that type of visionary to cut through and to see the world in a new way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his acceptance speech, Paglen noted that it was personally significant for him to be honored by an organization outside of the art world. “Art can feel very insider-y and hermetic. The reason for that is because it is. But I don’t think art is supposed to be hermetic or obtuse. For me, art is the vehicle by which we learn how to see the historical moment that we live in — and it is important for trying to question the assumptions that we have about the world, the questions that often paralyze us and don’t allow us to imagine what a different world could be like. In many ways, art can be a mirror to the moment that we live in, but I think it can also be a kind of lighthouse.”\u003c/p>\n\u003cp>“Images are constantly screaming that we are not beautiful enough, or healthy enough, or powerful enough, that we are illegitimate, or that we are degraded. Most of the time, images tell us to be afraid, to be very, very afraid. But it doesn’t have to be that way. Images can also be very powerful ways of promoting equality and social justice. What would feminism be like, for example, without people like Barbara Kruger, or Judy Chicago, or Martha Rosler? Where would the LGTB movement be without Gran Fury? Where would racial struggle be without Emory Douglas? Where would the fight against global capitalism be without our friends The Yes Men? Images make these struggles part of the visible landscape.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If, over time, certain images come to define the struggles of an era, it is challenging to imagine how the present day culture of secrecy and surveillance will be remembered in images. How do the invisible, often digital, forces of our time — drone warfare, say, or government surveillance or data mining — become part of history’s visible landscape? These questions are the crux of Paglen’s work, and by extension, the work of the Electronic Frontier Foundation. As the trafficking of images and information across the digital domain becomes more nuanced in its influence, the role of artists in challenging the dominant narrative becomes more vital, as does the role of organizations like EFF in supporting artists and others committed to civil liberties. While the so-called art world debates categorizations (\u003cem>Is it art? Or is it activism?\u003c/em>), the Electronic Frontier Foundation recognizes and supports artist-pioneers that are changing the course of history, one image at a time. May many more — artists, organizations, pioneers, et al — rise to the challenge.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week San Francisco-based Electronic Frontier Foundation (EFF), a nonprofit focused on defending civil liberties in the digital domain, hosted its annual Pioneer Awards to recognize leaders who are “extending freedom and innovation in the realm of information technology.” Many key figures in digital enterprise have been recognized, including late digital rights activist Aaron Swartz and journalists Glenn Greenwald and Laura Poitras. This year’s winners include Guatemalan labor and human rights lawyer Frank La Rue, U. S. Representative Zoe Lofgren, as well as artist Trevor Paglen. It is the first time a visual artist has received the award and it signifies a cultural shift in recognizing the importance of artists in defending civil liberties.\u003c/p>\n\u003cp>On hand to deliver the keynote were Jacques Servin and Igor Vamos, artists and culture jammers otherwise known as The Yes Men, widely recognized for employing tactical media to draw greater attention to important issues, often by disseminating false information via the press to complicate discussions around social politics and environmental concerns. In 2009 they spoofed the U. S. Chamber of Commerce and announced an about-face on climate change — it was widely reported as legitimate news by CNN and Fox News, among other media outlets, before it was revealed to be a hoax.\u003c/p>\n\u003cp>Within a matter of weeks, the Chamber announced a change in policy, while denying any influence of The Yes Men’s stunt. It later also launched a protracted lawsuit against The Yes Men, who were defended by EFF until the suit was dropped in 2013. During the keynote, Servin said of the lawsuit, “It was nerve wracking, but the EFF is excited about this kind of thing. They are one of the very few organizations in the world who put themselves out there and advance the cause of law.” In conclusion, Servin and Vamos announced the recent launch of \u003ca href=\"https://actionswitchboard.net/\" target=\"_blank\" rel=\"noopener\">Action Switchboard\u003c/a>, an online platform to cultivate action by linking creative activists with a network of support.\u003c/p>\n\u003cfigure id=\"attachment_10143554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg\" alt=\"Trevor Paglen receives EFF Pioneer Award; Photo courtesy Alex Schoenfeldt\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglengetsaward.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglengetsaward-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Trevor Paglen receives EFF Pioneer Award; Photo courtesy Alex Schoenfeldt\u003c/figcaption>\u003c/figure>\n\u003cp>In the address that preceded Paglen’s award, EFF senior designer Hugh D’Andrade talked about the challenge to describe the artist’s practice. (“Do we call him a secrecy artist?’ Or a surveillance artist? We settled on calling him a counter-surveillance artist.”) Paglen’s work engages photography, journalism and geography to explore the boundaries of public access to secret government operations and publicly funded surveillance programs. He is the author of multiple books and has exhibited his artwork around the world, and beyond — as wild as that sounds. (In 2012, I \u003ca href=\"http://ww2.kqed.org/arts/2012/10/09/the_last_pictures_trevor_paglens_artwork_for_outer_space/\">wrote about a project\u003c/a> he developed for outer space.) He recently photographed the headquarters of three secret government agencies, including the NSA, and released the images open source in the digital domain to encourage the public to engage with the government agencies that conceal so much from view.\u003c/p>\n\u003cfigure id=\"attachment_10143549\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennsa.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennsa.jpg\" alt=\"National Security Agency (NSA): With a budget request of $10.8 billion, the NSA is the second-largest agency in the U.S. intelligence community. It is headquartered in Fort Meade, Maryland; Photo by Trevor Paglen\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennsa.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennsa-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">National Security Agency (NSA): With a budget request of $10.8 billion, the NSA is the second-largest agency in the U.S. intelligence community. It is headquartered in Fort Meade, Maryland; Photo by Trevor Paglen\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10143548\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennro.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/paglennro.jpg\" alt=\"National Reconnaissance Office (NRO): The NRO is in charge of developing, deploying and operating secret reconnaissance satellites. With a budget request of $10.3 billion, it is the third-largest U.S. intelligence agency. It is headquartered in Chantilly, Virginia; Photo by Trevor Paglen\" width=\"640\" height=\"427\" class=\"size-full wp-image-10143548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennro.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/paglennro-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">National Reconnaissance Office (NRO): The NRO is in charge of developing, deploying and operating secret reconnaissance satellites. With a budget request of $10.3 billion, it is the third-largest U.S. intelligence agency. It is headquartered in Chantilly, Virginia; Photo by Trevor Paglen\u003c/figcaption>\u003c/figure>\n\u003cp>In his introduction, D’Andrade reflected on a conversation with Paglen earlier this year and quoted him as saying, “Secret stuff is made out of the same stuff that the regular non-secret world is made out of,” and noted that this simple observation is one of the great advantages of having an artist on their team of lawyers, activists, and technologies, and why more artists are needed to work on difficult social problems. “Sometimes it takes that type of visionary to cut through and to see the world in a new way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his acceptance speech, Paglen noted that it was personally significant for him to be honored by an organization outside of the art world. “Art can feel very insider-y and hermetic. The reason for that is because it is. But I don’t think art is supposed to be hermetic or obtuse. For me, art is the vehicle by which we learn how to see the historical moment that we live in — and it is important for trying to question the assumptions that we have about the world, the questions that often paralyze us and don’t allow us to imagine what a different world could be like. In many ways, art can be a mirror to the moment that we live in, but I think it can also be a kind of lighthouse.”\u003c/p>\n\u003cp>“Images are constantly screaming that we are not beautiful enough, or healthy enough, or powerful enough, that we are illegitimate, or that we are degraded. Most of the time, images tell us to be afraid, to be very, very afraid. But it doesn’t have to be that way. Images can also be very powerful ways of promoting equality and social justice. What would feminism be like, for example, without people like Barbara Kruger, or Judy Chicago, or Martha Rosler? Where would the LGTB movement be without Gran Fury? Where would racial struggle be without Emory Douglas? Where would the fight against global capitalism be without our friends The Yes Men? Images make these struggles part of the visible landscape.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If, over time, certain images come to define the struggles of an era, it is challenging to imagine how the present day culture of secrecy and surveillance will be remembered in images. How do the invisible, often digital, forces of our time — drone warfare, say, or government surveillance or data mining — become part of history’s visible landscape? These questions are the crux of Paglen’s work, and by extension, the work of the Electronic Frontier Foundation. As the trafficking of images and information across the digital domain becomes more nuanced in its influence, the role of artists in challenging the dominant narrative becomes more vital, as does the role of organizations like EFF in supporting artists and others committed to civil liberties. While the so-called art world debates categorizations (\u003cem>Is it art? Or is it activism?\u003c/em>), the Electronic Frontier Foundation recognizes and supports artist-pioneers that are changing the course of history, one image at a time. May many more — artists, organizations, pioneers, et al — rise to the challenge.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pacific Crest Trail Hikers Find Refuge at the Sonora Pass Cafe",
"title": "Pacific Crest Trail Hikers Find Refuge at the Sonora Pass Cafe",
"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/170542112\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Right now, there are backpackers crossing into Canada after five months of hiking the Pacific Crest Trail. They're called thru-hikers, and they started the trail in Mexico and will traverse 2,650 miles. Now, the lazy among us might have just read \"Wild,\" Cheryl Strayed's memoir about the Pacific Crest Trail. The even lazier among us may be waiting for the movie to come out in December. The hikers who actually make this trek see toenails fall off and their feet can swell whole shoe sizes. They say the only thing they talk about more than their feet is food.\u003c/p>\n\u003cp>After hiking 1,000-miles of their journey, food is what Silicon Valley engineer Hank Magnuski will have waiting for them. Once or twice a year, he sets up the Sonora Pass Cafe, a pop-up feast he provides at no cost for those hiking past.\u003c/p>\n\u003cp>Shopping at a Costco, Hank Magnuski picks up five packs of chocolate chip cookies and eyes a chocolate cake that's 7 inches high, a foot across, and covered with icing and shaved chocolate flakes. \"I can go through a cake like this in about a day,\" he laughs. He heads to the fruit section, piling packages of cherries, apricots and bananas into his cart. \"Bananas have a lot of nutrients. It's a favorite hiker food.\"\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">If you Google Magnuski, you'll learn that he's kind of a big deal in telecommunications, but that's not going to matter to the people he's shopping for. After he leaves, he'll head out to the Pacific Crest Trail -- known as the PCT -- and wait for a herd of hikers.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They won't know about his Silicon Valley life. They'll know him mostly by his trail name, The Owl, a nickname he received for his pensive personality. They'll remember him as the guy who greeted them with the first indulgent desserts and fresh fruits they'd seen in hundreds of miles\u003c/p>\n\u003cfigure id=\"attachment_10342199\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/SonoraPassCafeTable.jpg\">\u003cimg class=\"size-thumbnail wp-image-10342199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/SonoraPassCafeTable-400x225.jpg\" alt=\"Hank Magnuski (L) feeds hikers, including some who took advantage of his wifi with their smartphones. (Lisa Morehouse/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/SonoraPassCafeTable-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/SonoraPassCafeTable.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hank Magnuski (L) feeds hikers, including some who took advantage of his wifi with their smartphones. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>While Magnuski shops, unsuspecting hikers trek a really beautiful but tough patch of the PCT south of the Sonora Pass. It's deep wilderness. Within a 300-mile stretch, there's only one road -- Yosemite's Highway 120 -- that crosses the PCT. For a week, hikers scale a steep pass every day, with some peaks as high as 14,000 feet. They hike past lakes, dip into deep canyons and pass by granite cliffs, in wilderness areas with famous names, like Emigrant, Yosemite and John Muir. They face swarms of mosquitoes, unpredictable weather and snow, even in this drought year.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">One hiker is Shannon Pepper -- trail name Pan -- from Missoula, Montana. The recent college graduate sings to lift her spirits on the trail. Pan says hikers typically leave the trail every five days or so to shower and restock their food. It's mostly dried and dehydrated to keep their packs light. \"When you're on trail and you're carrying all your own meals, it can get really scary when you are close to being out,\" Pepper says. \"I feel like I have a little better perspective on what it really means to be hungry. We live in a society of plenty, and there isn't plenty when you have to carry all of it.\"\u003c/span>\u003c/p>\n\u003caside class=\"pullquote alignright\">\"They’re doing 25 miles a day. It’s like a marathon every single day for six months. Trail magic helps alleviate the pain.\"\u003ccite>Hank Magnuski\u003c/cite>\u003c/aside>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Plenty is exactly what Pan finds, when she walks into a picnic area where Hank Magnuski is waiting with a table full of all that food from Costco. As every hiker approaches, he says, \"I'm The Owl. I'm your host here, help yourself.\" \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">This is the Sonora Pass Cafe. Magnuski sets it up when he knows there will be a lot of PCT traffic. In the three days he's here this time, 50 hikers come through, with trail names like Gottawalk, Pesky, Laugh Track and Park. None of them expected this. Laugh Track is too distracted to talk to a reporter. \"Oh, I just got a cookie with a cherry on top. Magic!\" She and friends take selfies with the signature Sonora Pass Cookie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Pesky says, \"There's a chocolate cake you can't even imagine on the trail.\" Pan can't get over the high-quality beer or the Wi-Fi that Magnuski set up. \"Currently I'm blogging,\" she says, incredulously. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Magnuski lays out china and bowls of fruit on a tablecloth. He arranges camping chairs and newspapers. On a nearby tree, he hangs a dartboard he calls \"Hikers Revenge,\" with a picture of a mosquito in the middle. Park is delighted. \"There's totally a mosquito on the dartboard! All right, I'm going to stick it to you for sticking it to me!\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Magnuski doesn't say much, but smiles broadly as he brews gourmet coffee on a portable stove. \"The PCT folks, they're doing 25 miles a day. It's like a marathon every single day for six months. Trail magic helps alleviate the pain.\" Trail magic is any help or treat offered to PCT hikers. Trail angels provide water, or free rides, or hiker-friendly food like what Magnuski presents at the Sonora Pass Cafe.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10342213\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/PanCoffeeDoughnut.jpg\">\u003cimg class=\"wp-image-10342213 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/PanCoffeeDoughnut-400x333.jpg\" alt=\"Shannon Pepper, trail name Pan, grabs fresh coffee and a doughnut at the Sonora Pass Cafe. (Lisa Morehouse/KQED)\" width=\"400\" height=\"333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/PanCoffeeDoughnut-400x333.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/PanCoffeeDoughnut.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shannon Pepper, trail name Pan, grabs fresh coffee and a doughnut at the Sonora Pass Cafe. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>There's a really experienced hiker here today: Marsha Powers (trail name Gottawalk) from the Bay Area town of Pleasanton. She's thru-hiking the PCT for the third time, solo this time, after completing the Continental Divide Trail, the Appalachian Trail and the cross-country American Discovery Trail with her husband.\u003c/p>\n\u003cp>\"Trail magic is serendipity. You don't hike along expecting to reach Sonora Pass and be fed wonderfully like The Owl did for us today,\" she says. \"As a hiker, I don't think that I expect it or deserve it, but I'm thankful and grateful for it when it happens along.\"\u003c/p>\n\u003cp>So, what does it do for a hiker to come across a surprise like this? \"Connection with the outer world is part of it. Calories are part of it, because we hike along with calorie deficit,\" she says. \"It reinforces one of the major lessons that we've learned, that the people are good, kindhearted people, in spite of all the news that you read and hear. I think that's very reaffirming.\"\u003c/p>\n\u003cp>Magnuski says he considers it an honor to be out here. He discovered the Sierra nearly 20 years ago, chaperoning his son's Boy Scout trips. \"I grew to love the mountains. It's really my cathedral out here. I got involved in trail work when he went to college and I had no one to hike with.\"\u003c/p>\n\u003cp>Magnuski joined a trail crew maintaining this section of the PCT, and realized how barren the Sonora Pass is, even this picnic area. \"There's nothing here but trees and a privy. The thought of a full-blown cafe in the middle of the wilderness seemed like a neat idea,\" he says with a laugh. So, 10 years ago, he hosted his first Sonora Pass Cafe here.\u003c/p>\n\u003cp>Now he's spraying whipped cream onto a cookie and handing it to an exhausted Cat Addison, trail name Cat Dog. She's from Bend, Oregon, and she hasn't come down off the trail to rest or replenish her pack in nine days. \"When I got to the trailhead and saw this little sign that there was trail magic, I started to cry,\" she says, with relief in her voice. \"I was so tired. I'm so glad to be here.\"\u003c/p>\n\u003cp>Addison is 62. Plenty of other hikers are 40 years her junior. A decade ago, she hiked the Appalachian Trail, but she's thru-hiking the PCT for the first time. \"The Sierras have kicked me around a little bit. I mean I've had a couple meltdowns, a couple face plants, that didn't feel too good,\" she says with a laugh. \"But people say the trail provides, and sometimes it does.\"\u003c/p>\n\u003cfigure id=\"attachment_10342206\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/TrailSign.jpg\">\u003cimg class=\"size-thumbnail wp-image-10342206\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/TrailSign-400x225.jpg\" alt=\"Magnuski brings a sign for hikers to take their photos next to, marking the first 1,000 miles of the PCT. (Lisa Morehouse/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/TrailSign-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/TrailSign.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Magnuski brings a sign for hikers to take their photos next to, marking the first 1,000 miles of the PCT. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Gage Waffle nearly ran out of food on the trail and is gorging on whipped cream, cake and carrots. He's from Tulsa, Oklahoma, and he's in his 20s. He was working on a gas pipeline when a buddy called and proposed they hike the trail together. \"I didn't ask any questions. I just said, 'I'm in,' \" he says.\u003c/p>\n\u003cp>Three weeks before their start date, his friend backed out. \"So I decided to come alone. I'd never really done anything, been out on an adventure on my own, so I was kind of terrified at first. This whole experience has just taken all that away, allowed me to not worry about things that could go wrong, but just enjoy what's going right. Like this right here, at Sonora Pass.\"\u003c/p>\n\u003cp>Now, there's color in the cheeks and light in the eyes of the hikers as they throw on their packs, and head out for a few more hours on the trail. Before they leave, they give a big cheer for Magnuski and his trail magic. He wishes them luck on the rest of their journey, congratulates them on their first 1,000 miles and says, \"That's your last 10,000-foot peak up there. It's all downhill from there.\"\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is made possible with support from Cal Humanities, a nonprofit partner of the NEH. Visit www.calhum.org.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Vickie Ly did additional reporting for this piece.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='20'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/170542112&visual=true&color=ff5500&inverse=false&auto_play=false&show_user=true'\n title='https://api.soundcloud.com/tracks/170542112'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Right now, there are backpackers crossing into Canada after five months of hiking the Pacific Crest Trail. They're called thru-hikers, and they started the trail in Mexico and will traverse 2,650 miles. Now, the lazy among us might have just read \"Wild,\" Cheryl Strayed's memoir about the Pacific Crest Trail. The even lazier among us may be waiting for the movie to come out in December. The hikers who actually make this trek see toenails fall off and their feet can swell whole shoe sizes. They say the only thing they talk about more than their feet is food.\u003c/p>\n\u003cp>After hiking 1,000-miles of their journey, food is what Silicon Valley engineer Hank Magnuski will have waiting for them. Once or twice a year, he sets up the Sonora Pass Cafe, a pop-up feast he provides at no cost for those hiking past.\u003c/p>\n\u003cp>Shopping at a Costco, Hank Magnuski picks up five packs of chocolate chip cookies and eyes a chocolate cake that's 7 inches high, a foot across, and covered with icing and shaved chocolate flakes. \"I can go through a cake like this in about a day,\" he laughs. He heads to the fruit section, piling packages of cherries, apricots and bananas into his cart. \"Bananas have a lot of nutrients. It's a favorite hiker food.\"\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">If you Google Magnuski, you'll learn that he's kind of a big deal in telecommunications, but that's not going to matter to the people he's shopping for. After he leaves, he'll head out to the Pacific Crest Trail -- known as the PCT -- and wait for a herd of hikers.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They won't know about his Silicon Valley life. They'll know him mostly by his trail name, The Owl, a nickname he received for his pensive personality. They'll remember him as the guy who greeted them with the first indulgent desserts and fresh fruits they'd seen in hundreds of miles\u003c/p>\n\u003cfigure id=\"attachment_10342199\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/SonoraPassCafeTable.jpg\">\u003cimg class=\"size-thumbnail wp-image-10342199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/SonoraPassCafeTable-400x225.jpg\" alt=\"Hank Magnuski (L) feeds hikers, including some who took advantage of his wifi with their smartphones. (Lisa Morehouse/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/SonoraPassCafeTable-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/SonoraPassCafeTable.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hank Magnuski (L) feeds hikers, including some who took advantage of his wifi with their smartphones. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>While Magnuski shops, unsuspecting hikers trek a really beautiful but tough patch of the PCT south of the Sonora Pass. It's deep wilderness. Within a 300-mile stretch, there's only one road -- Yosemite's Highway 120 -- that crosses the PCT. For a week, hikers scale a steep pass every day, with some peaks as high as 14,000 feet. They hike past lakes, dip into deep canyons and pass by granite cliffs, in wilderness areas with famous names, like Emigrant, Yosemite and John Muir. They face swarms of mosquitoes, unpredictable weather and snow, even in this drought year.\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">One hiker is Shannon Pepper -- trail name Pan -- from Missoula, Montana. The recent college graduate sings to lift her spirits on the trail. Pan says hikers typically leave the trail every five days or so to shower and restock their food. It's mostly dried and dehydrated to keep their packs light. \"When you're on trail and you're carrying all your own meals, it can get really scary when you are close to being out,\" Pepper says. \"I feel like I have a little better perspective on what it really means to be hungry. We live in a society of plenty, and there isn't plenty when you have to carry all of it.\"\u003c/span>\u003c/p>\n\u003caside class=\"pullquote alignright\">\"They’re doing 25 miles a day. It’s like a marathon every single day for six months. Trail magic helps alleviate the pain.\"\u003ccite>Hank Magnuski\u003c/cite>\u003c/aside>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Plenty is exactly what Pan finds, when she walks into a picnic area where Hank Magnuski is waiting with a table full of all that food from Costco. As every hiker approaches, he says, \"I'm The Owl. I'm your host here, help yourself.\" \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">This is the Sonora Pass Cafe. Magnuski sets it up when he knows there will be a lot of PCT traffic. In the three days he's here this time, 50 hikers come through, with trail names like Gottawalk, Pesky, Laugh Track and Park. None of them expected this. Laugh Track is too distracted to talk to a reporter. \"Oh, I just got a cookie with a cherry on top. Magic!\" She and friends take selfies with the signature Sonora Pass Cookie. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Pesky says, \"There's a chocolate cake you can't even imagine on the trail.\" Pan can't get over the high-quality beer or the Wi-Fi that Magnuski set up. \"Currently I'm blogging,\" she says, incredulously. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Magnuski lays out china and bowls of fruit on a tablecloth. He arranges camping chairs and newspapers. On a nearby tree, he hangs a dartboard he calls \"Hikers Revenge,\" with a picture of a mosquito in the middle. Park is delighted. \"There's totally a mosquito on the dartboard! All right, I'm going to stick it to you for sticking it to me!\"\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">Magnuski doesn't say much, but smiles broadly as he brews gourmet coffee on a portable stove. \"The PCT folks, they're doing 25 miles a day. It's like a marathon every single day for six months. Trail magic helps alleviate the pain.\" Trail magic is any help or treat offered to PCT hikers. Trail angels provide water, or free rides, or hiker-friendly food like what Magnuski presents at the Sonora Pass Cafe.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10342213\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/PanCoffeeDoughnut.jpg\">\u003cimg class=\"wp-image-10342213 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/PanCoffeeDoughnut-400x333.jpg\" alt=\"Shannon Pepper, trail name Pan, grabs fresh coffee and a doughnut at the Sonora Pass Cafe. (Lisa Morehouse/KQED)\" width=\"400\" height=\"333\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/PanCoffeeDoughnut-400x333.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/PanCoffeeDoughnut.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shannon Pepper, trail name Pan, grabs fresh coffee and a doughnut at the Sonora Pass Cafe. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>There's a really experienced hiker here today: Marsha Powers (trail name Gottawalk) from the Bay Area town of Pleasanton. She's thru-hiking the PCT for the third time, solo this time, after completing the Continental Divide Trail, the Appalachian Trail and the cross-country American Discovery Trail with her husband.\u003c/p>\n\u003cp>\"Trail magic is serendipity. You don't hike along expecting to reach Sonora Pass and be fed wonderfully like The Owl did for us today,\" she says. \"As a hiker, I don't think that I expect it or deserve it, but I'm thankful and grateful for it when it happens along.\"\u003c/p>\n\u003cp>So, what does it do for a hiker to come across a surprise like this? \"Connection with the outer world is part of it. Calories are part of it, because we hike along with calorie deficit,\" she says. \"It reinforces one of the major lessons that we've learned, that the people are good, kindhearted people, in spite of all the news that you read and hear. I think that's very reaffirming.\"\u003c/p>\n\u003cp>Magnuski says he considers it an honor to be out here. He discovered the Sierra nearly 20 years ago, chaperoning his son's Boy Scout trips. \"I grew to love the mountains. It's really my cathedral out here. I got involved in trail work when he went to college and I had no one to hike with.\"\u003c/p>\n\u003cp>Magnuski joined a trail crew maintaining this section of the PCT, and realized how barren the Sonora Pass is, even this picnic area. \"There's nothing here but trees and a privy. The thought of a full-blown cafe in the middle of the wilderness seemed like a neat idea,\" he says with a laugh. So, 10 years ago, he hosted his first Sonora Pass Cafe here.\u003c/p>\n\u003cp>Now he's spraying whipped cream onto a cookie and handing it to an exhausted Cat Addison, trail name Cat Dog. She's from Bend, Oregon, and she hasn't come down off the trail to rest or replenish her pack in nine days. \"When I got to the trailhead and saw this little sign that there was trail magic, I started to cry,\" she says, with relief in her voice. \"I was so tired. I'm so glad to be here.\"\u003c/p>\n\u003cp>Addison is 62. Plenty of other hikers are 40 years her junior. A decade ago, she hiked the Appalachian Trail, but she's thru-hiking the PCT for the first time. \"The Sierras have kicked me around a little bit. I mean I've had a couple meltdowns, a couple face plants, that didn't feel too good,\" she says with a laugh. \"But people say the trail provides, and sometimes it does.\"\u003c/p>\n\u003cfigure id=\"attachment_10342206\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/TrailSign.jpg\">\u003cimg class=\"size-thumbnail wp-image-10342206\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/TrailSign-400x225.jpg\" alt=\"Magnuski brings a sign for hikers to take their photos next to, marking the first 1,000 miles of the PCT. (Lisa Morehouse/KQED)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/TrailSign-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/TrailSign.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Magnuski brings a sign for hikers to take their photos next to, marking the first 1,000 miles of the PCT. (Lisa Morehouse/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Gage Waffle nearly ran out of food on the trail and is gorging on whipped cream, cake and carrots. He's from Tulsa, Oklahoma, and he's in his 20s. He was working on a gas pipeline when a buddy called and proposed they hike the trail together. \"I didn't ask any questions. I just said, 'I'm in,' \" he says.\u003c/p>\n\u003cp>Three weeks before their start date, his friend backed out. \"So I decided to come alone. I'd never really done anything, been out on an adventure on my own, so I was kind of terrified at first. This whole experience has just taken all that away, allowed me to not worry about things that could go wrong, but just enjoy what's going right. Like this right here, at Sonora Pass.\"\u003c/p>\n\u003cp>Now, there's color in the cheeks and light in the eyes of the hikers as they throw on their packs, and head out for a few more hours on the trail. Before they leave, they give a big cheer for Magnuski and his trail magic. He wishes them luck on the rest of their journey, congratulates them on their first 1,000 miles and says, \"That's your last 10,000-foot peak up there. It's all downhill from there.\"\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is made possible with support from Cal Humanities, a nonprofit partner of the NEH. Visit www.calhum.org.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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