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"disqusTitle": "New Music From DJ Shadow and the Dead Ships",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/271446104\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lbuqo6NfVB8\u003c/p>\n\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LP_MIw8Lvrk\u003c/p>\n\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. Young Bay Area singer Jay Som (real name: Melina Duterte) previews her upcoming debut album with a single that neatly captures how rose-colored glasses make it hard to see red flags. Her calm demeanor is perfect, though the music gradually shows some cracks in the mirror, and fuzzy, ‘70s-ish guitar solo at the end morphs into a, what’s the term? Hot mess? Perfect. Som/Duterte has thus far only released music on Bandcamp, including some un- or semi-finished songs from over the last few years. Even that is strong and worth exploring, and it's gotten her enough attention that she's now on tour with hot artists Mitski and Japanese Breakfast, having put together a band to expand her music on stage. Eager to hear whatever is next from her.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://soundcloud.com/fatpossum/jay-som-i-think-youre-alright\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some acts reinvent their musical forms, some reinvigorate theirs. We’ve got one of each here, plus a bonus track from a young artist ready to make her mark.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/271446104&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/271446104'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>DJ Shadow, “The Mountain Will Fall”\u003c/b>\u003c/p>\n\u003cp>When it was released 20 years ago, \u003ca href=\"http://djshadow.com/home/\">DJ Shadow\u003c/a>’s “Endtroducing” was a game-changer, not just credited as the first album entirely constructed of samples (recognized as such by the Guinness folks), but a thrilling listen, deftly and laboriously built \u003ci>musique concrete\u003c/i> that took us through arcs and waves of moods and sounds, sometimes dark and moody, sometimes joyous and sometimes jolting.\u003c/p>\n\u003cp>With “The Mountain Will Fall,” only his fourth proper album since that debut, Shadow (a.k.a. Josh Davis), seems content just to play the game, not change it. That’s okay. He’s still got some moves. Moves that might make you move. Take “Nobody Speak,” on which he teams with New York hip-hop superduo Run the Jewels (El-P and Killer Mike). It’s not the quick-cut found-sound collage of yore, but it’s an impressive assembly nonetheless, with the edgy, siege-mentality raps on top of a kind of surf-soul-funk-brass melange. “The Sideshow,” featuring Ernie Fresh, also delivers solid hip-hop punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere are found-sound experiments (“Three Ralphs” mixing some cut-up film dialogue and, well, shadowy sci-fi/horror sounds), elasticized beat play and sonic chop-shop reassemblies intersect hip-hop, EDM and sound manipulation. Some is coherent and engaging, some not so much, perhaps pointedly. “Ashes to Oceans,” for example, alternates between shapeless blips and a melancholy elegy with a somber trumpet line, fading away to the sound of waves lapping a shore behind a tinkling piano.\u003c/p>\n\u003cp>If there’s a dominant mood, it’s captured in the title, and the title song, a sense of a world closing in, of unsure footing, of precariousness. Yet there’s a majesty to it all, the perilous process of not climbing a mountain, but building one, knowing that inevitably it will crumble.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lbuqo6NfVB8'\n title='//www.youtube.com/embed/lbuqo6NfVB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The Dead Ships, “Citycide”\u003c/b>\u003c/p>\n\u003cp>So many young band coming out of L.A. these days seem so self-consciously, shoegazingly hip and/or so falsely humble that you wonder if they really even want to have any impact on anyone. So somehow it’s refreshing now and then to hear a band that seems to want to reach people, to write some anthems. Even better when they have not just the moxie, but the skills to do it.\u003c/p>\n\u003cp>Meet \u003ca href=\"http://www.thedeadships.com\">the Dead Ships\u003c/a>.\u003c/p>\n\u003cp>Rock energy, sing-along chorus hooks, a desire to both engage and entertain. Think the Foo Fighters with more bite. That’s a compliment. Listen to “Spun Yarns.” You hear that, right?\u003c/p>\n\u003cp>The yarns spun here are, as the album title implies, of and from the city, home to singer-guitarist Devlin McClusky and drummer Chris Spindelilus, founders and core of the band. And, as the title also implies, it’s a relationship of mixed feelings, like being stuck in a 101 traffic jam while enjoying an undeniably beautiful day. Perversely, perhaps, the cover picture is a shot of that very thoroughfare with traffic flowing freely. Sure, the album title, and arguably much of the mood, reference a statistical preponderance of people committing suicide from the Golden Gate Bridge do so facing the city of San Francisco. Sure, McClusky is a transplant from another complex metropolis, Chicago. But this is an L.A. album.\u003c/p>\n\u003cp>We roam from “Los Feliz” in the shadows of Griffith Park to the twisty turns of the “Canyon” (Laurel? Coldwater? Topanga?), the band prowling and howling like a pack of coyotes dodging the encroaching gentry. The tensions of those transitions thread through the sounds, the restless, messy uncertainty of vying to stake a claim to a city in which it’s increasingly hard to stake a claim.\u003c/p>\n\u003cp>Produced with crisp intensity by Brendan Canning (of Canada’s Broken Social Scene), “Citycide” justifies the buzz the band’s got from strong support of radio giant KROQ and a Coachella slot this year. It’s not a statement on the level of X’s “Los Angeles” debut a few rock generations ago, or even Guns ’N Roses’ “Appetite for Destruction” a little later. But it’s a statement. That’s noteworthy in itself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LP_MIw8Lvrk'\n title='//www.youtube.com/embed/LP_MIw8Lvrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Bonus track: Jay Som, “I Think You’re Alright”\u003c/b>\u003c/p>\n\u003cp>“I’ll wipe your blood off the concrete, take you to the party, we’ll drink until our brains black-out….” Well, \u003ci>someone’s\u003c/i> not alright. 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"disqusTitle": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"title": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\r\n\r\n",
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"nprByline": "\u003cstrong>Brittany Hosea-Small\u003c/strong> and \u003cstrong>Natalie Yemenidjian \u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lucas Gives Up on Plan to Build Museum in Chicago",
"title": "Lucas Gives Up on Plan to Build Museum in Chicago",
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"content": "\u003cp>Filmmaker George Lucas' \u003ca href=\"http://www.sfgate.com/art/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">dream of a landmark museum\u003c/a> to house his collection of American popular art and media won't happen in Chicago after all.\u003c/p>\n\u003cp>Instead, \u003ca href=\"http://lucasmuseum.org/\" target=\"_blank\">the museum\u003c/a> will be located in California. Where exactly remains an unknown, although Mayor Ed Lee's office said efforts are continuing to persuade Lucas to build in San Francisco.\u003c/p>\n\u003cp>The Chicago Tribune \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/ct-lucas-museum-california-20160624-story.html\" target=\"_blank\">quotes Lucas\u003c/a> as saying he's moving on after encountering determined opposition from those who challenged the city's plan to turn over a site on the Lake Michigan waterfront:\u003c/p>\n\u003cblockquote>\u003cp>\"No one benefits from continuing their seemingly unending litigation to protect a parking lot,\" filmmaker George Lucas said in a statement. \"The actions initiated by Friends of Parks and their recent attempts to extract concessions from the city have effectively overridden approvals received from numerous democratically elected bodies of government.\"\u003c/p>\u003c/blockquote>\n\u003cp>Mayor Rahm Emanuel also issued a statement announcing Lucas was moving on.\u003c/p>\n\u003cp>\"Unfortunately, time has run out and the moment we've consistently warned about has arrived,\" Emanuel said. \"Chicago's loss will be another city's gain. ... We tried to find common ground to resolve the lawsuit — the sole barrier preventing the start of the museum's construction. But despite our best efforts to negotiate a common solution that would keep this tremendous cultural and economic asset in Chicago, Friends of the Parks chose to instead negotiate with themselves while Lucas negotiated with cities on the West Coast.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That new location could be -- \u003cem>could be\u003c/em> -- San Francisco. Mayor Lee and other city officials have been trying to entice Lucas by offering sites ranging from a parcel on the Embarcadero south of the Bay Bridge and, more recently, \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\">a location on Treasure Island\u003c/a>.\u003c/p>\n\u003cp>Lucas had coveted a site near Crissy Field in the Presidio, but his organization's painstakingly developed plan to build there was \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected by the private trust\u003c/a> that controls the property.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Friday, mayoral spokeswoman Deirdre Hussey said Lee \"has always believed that San Francisco is the best place for the Lucas Museum of Narrative Art.\" She added that the mayor and members of the Board of Supervisors \"are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.\"\u003c/p>\n\n",
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"excerpt": "Filmmaker blames opposition from lakefront preservation group that had stalled plan to build in Windy City",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Filmmaker George Lucas' \u003ca href=\"http://www.sfgate.com/art/article/George-Lucas-proposes-Presidio-museum-4331417.php\" target=\"_blank\">dream of a landmark museum\u003c/a> to house his collection of American popular art and media won't happen in Chicago after all.\u003c/p>\n\u003cp>Instead, \u003ca href=\"http://lucasmuseum.org/\" target=\"_blank\">the museum\u003c/a> will be located in California. Where exactly remains an unknown, although Mayor Ed Lee's office said efforts are continuing to persuade Lucas to build in San Francisco.\u003c/p>\n\u003cp>The Chicago Tribune \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/ct-lucas-museum-california-20160624-story.html\" target=\"_blank\">quotes Lucas\u003c/a> as saying he's moving on after encountering determined opposition from those who challenged the city's plan to turn over a site on the Lake Michigan waterfront:\u003c/p>\n\u003cblockquote>\u003cp>\"No one benefits from continuing their seemingly unending litigation to protect a parking lot,\" filmmaker George Lucas said in a statement. \"The actions initiated by Friends of Parks and their recent attempts to extract concessions from the city have effectively overridden approvals received from numerous democratically elected bodies of government.\"\u003c/p>\u003c/blockquote>\n\u003cp>Mayor Rahm Emanuel also issued a statement announcing Lucas was moving on.\u003c/p>\n\u003cp>\"Unfortunately, time has run out and the moment we've consistently warned about has arrived,\" Emanuel said. \"Chicago's loss will be another city's gain. ... We tried to find common ground to resolve the lawsuit — the sole barrier preventing the start of the museum's construction. But despite our best efforts to negotiate a common solution that would keep this tremendous cultural and economic asset in Chicago, Friends of the Parks chose to instead negotiate with themselves while Lucas negotiated with cities on the West Coast.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That new location could be -- \u003cem>could be\u003c/em> -- San Francisco. Mayor Lee and other city officials have been trying to entice Lucas by offering sites ranging from a parcel on the Embarcadero south of the Bay Bridge and, more recently, \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\">a location on Treasure Island\u003c/a>.\u003c/p>\n\u003cp>Lucas had coveted a site near Crissy Field in the Presidio, but his organization's painstakingly developed plan to build there was \u003ca href=\"http://ww2.kqed.org/news/2014/02/03/presidio-group-rejects-lucas-museum-proposal/\" target=\"_blank\">rejected by the private trust\u003c/a> that controls the property.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Friday, mayoral spokeswoman Deirdre Hussey said Lee \"has always believed that San Francisco is the best place for the Lucas Museum of Narrative Art.\" She added that the mayor and members of the Board of Supervisors \"are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "L.A. Teen Brings Home Souvenir of a Lifetime From the Summer of Love",
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"content": "\u003cp>Today, rock festivals are just part of the summer landscape. But in 1967, they were totally new.\u003c/p>\n\u003cp>Forty-nine years ago this weekend, the Monterey International Pop Festival introduced audiences to rock 'n' roll, camping, all-day shows and a little-known guitarist named Jimi Hendrix.\u003c/p>\n\u003cfigure id=\"attachment_10992681\" class=\"wp-caption alignright\" style=\"max-width: 1457px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Jimi-fire-crop.jpg\" alt=\"Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival.\" width=\"1457\" height=\"1952\" class=\"size-full wp-image-10992681\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop.jpg 1457w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-400x536.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-1180x1581.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-960x1286.jpg 960w\" sizes=\"(max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When a bunch of friends decided to take a road trip to the Monterey Pop Festival, Eddie Caraeff wasn’t thinking music. He was thinking pictures.\u003c/p>\n\u003cp>“I wasn’t a music lover that was there to enjoy the music and take a few snapshots,\" Caraeff said. \"I was there to photograph it -- and I did.\"\u003c/p>\n\u003cp>Caraeff was a junior at Westchester High School in Los Angeles. He loved music, but he was crazy about photography. These were the '60s, when the California rock scene was going wild and the radio was going psychedelic. One school night while listening in bed to a local KBLA-AM radio show, \"Dave Diamond and the Diamond Mine,\" Caraeff heard that a band he liked, the Seeds, was coming into LAX the next day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“LAX was five minutes from Westchester High School,” he recalled. So he drove over on his school lunch hour, hoping to get some pictures.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/269687949\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>That lunch break turned out to be his big break -- when an executive from the band's record company noticed him taking photos and asked to see them. The next day, he cut out from school and brought her a cardboard box of prints he'd made up in the school darkroom. She liked them and invited him to shoot the Seeds at the Hullabaloo Club in Hollywood that weekend. There, 16-year-old Caraeff came face to face with rock 'n' roll.\u003c/p>\n\u003cp>“It was a crazy scene,” Caraeff said. “There were girls on the stage, there were no guards ... the emergency exit door was chained shut. I should have photographed that!”\u003c/p>\n\u003cfigure id=\"attachment_10992682\" class=\"wp-caption alignleft\" style=\"max-width: 692px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/zappa.jpg\" alt=\"Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa.\" width=\"692\" height=\"1024\" class=\"size-full wp-image-10992682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa.jpg 692w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa-400x592.jpg 400w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band's manager, an English DJ who went by the nickname Lord Tim, saw him taking pictures.\u003c/p>\n\u003cp>“He grabbed me by my jacket and he said, those better f*ing come out!” Caraeff recalled, laughing. “And you know, they did. And I bought my first Nikon camera with that money.”\u003c/p>\n\u003cp>So he did it again. And again. And at the end of his junior year, when he heard about the Monterey Pop Festival, it sounded like another good place to get some shots and make some cash. He had no idea -- no one did -- what Monterey would turn out to be.\u003c/p>\n\u003cp>Held June 16-18, 1967, Monterey was one of the first rock festivals in the United States -- just a week after the very first, --the Magic Mountain Music Festival held on Mt. Tamalpais in Marin County. Organized by the Los Angeles band the Mamas and the Papas, the Monterey International Pop Festival was modeled on Monterey's popular Jazz Festivals. But that weekend, it broke the mold.\u003c/p>\n\u003cp>“The Monterey Pop Festival was a watershed event in the entire history of rock music,” said Joel Selvin, a former San Francisco Chronicle rock critic who wrote a book about the festival, \"Monterey Pop.\"\u003c/p>\n\u003cp>“This was the end of top 40 acts and the beginning of underground rock in one weekend,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10992687\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/diamond-400x394.jpg\" alt=\"The cover of Neil Diamond's 1972 "Hot August Night" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\" width=\"400\" height=\"394\" class=\"size-thumbnail wp-image-10992687\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond.jpg 704w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Neil Diamond's 1972 \"Hot August Night\" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\u003c/figcaption>\u003c/figure>\n\u003cp>The three-day, five-show bill featured acts including San Francisco's Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company featuring Janis Joplin, and Los Angeles' The Byrds and Buffalo Springfield, as well as The Who.\u003c/p>\n\u003cp>The Monterey County Fairgrounds sold only 8,500 tickets, Selvin said, but another 20,000 kids showed up “to sort of hang out in the park nearby.” And so the modern rock festival was born.\u003c/p>\n\u003cp>Caraeff was there, with a photo press pass he scored through the KBLA underground rock newspaper and a Voigtlander camera he borrowed from his family optometrist. He staked out a chair in the photo pit at the edge of the stage, and watched rock history unfold before his eyes.\u003c/p>\n\u003cp>“Janis Joplin, I mean right there from my chair-eye view,\" he recalled. \"Otis Redding, that just blew me away. Simon and Garfunkel, that was so great to see that right up close like that, the two of them.\"\u003c/p>\n\u003cp>There were a few bands there almost no one had heard of. But a German photographer gave him a tip.\u003c/p>\n\u003cp>“I remember this vividly,” Caraeff said. “He said, 'save some film for this Jimi Hendrix cat.'”\u003c/p>\n\u003cp>Monterey was The Jimi Hendrix Experience's U.S. debut, and Hendrix was trying to make an impression. On stage, he was all over the place in a feather boa, ruffled orange shirt and tight red pants, doing backward somersaults and humping the amps. At the end of his set, he capped a cover of \"Wild Thing\" by lighting his guitar on fire -- right in front of Caraeff.\u003c/p>\n\u003cp>Hendrix was kneeling over the guitar, coaxing flames from the strings like a snake charmer.\u003c/p>\n\u003cfigure id=\"attachment_10992693\" class=\"wp-caption alignleft\" style=\"max-width: 937px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/The-Seeds-1.jpg\" alt=\"Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale.\" width=\"937\" height=\"768\" class=\"size-full wp-image-10992693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1.jpg 937w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-800x656.jpg 800w\" sizes=\"(max-width: 937px) 100vw, 937px\">\u003cfigcaption class=\"wp-caption-text\">Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing's burning right in front of my face,” Caraeff recalled. He held the camera in front of him to shield his face from the heat and pulled the lever to advance the film. It stuck -- he was at the end of the roll. He had one more shot.\u003c/p>\n\u003cp>He took it, and with it, took his own piece of rock 'n' roll history.\u003c/p>\n\u003cp>Caraeff's final shot that night has lasted a lifetime. Rolling Stone chose it for the cover of its Monterey Pop 20\u003csup>th\u003c/sup> anniversary issue in 1987, and it made the cover again for a special edition in 2012. It traveled around the world with the photo exhibit \"Who Shot Rock 'n' Roll\" from 2009-2013. Caraeff said it is his most famous photo -- and that's saying something.\u003c/p>\n\u003cp>Nearly 50 years after that night in Monterey, Caraeff is flipping through his archive, showing me photos from a long career that started on his high school lunch break and took him around the world as a professional rock photographer and record album art director.\u003c/p>\n\u003cp>He photographed and designed more than 200 record album covers in the '60s, '70s and '80s. His archive holds 300,000 photos of artists including Bob Dylan, Carly Simon, Tom Waits, Frank Zappa, Jim Morrison, Elton John and '70s rockers Three Dog Night, with whom he toured as official photographer. He has so many photos of Hendrix he's planning a whole book of them, due out next year. The story of Monterey was one of his first, but far from his last.\u003c/p>\n\u003cp>Now, he's started on a new adventure. After a long career as a photographer and an even longer one in the restaurant business, last year Caraeff got what he calls a “health wake-up call” and decided to make a change. He sold his house in Santa Monica and all his stuff, and he hit the road for what he calls his “bucket list trip,” living and traveling full time in his Volkswagen camper, \"Moonbeam.\"\u003c/p>\n\u003cp>It's tight quarters, but with all the comforts of home. Moonbeam is tricked out with a rug from Nepal, solar lights and a kitchen rack with 21 different spice jars. Caraeff even has a satellite phone. There are no rock 'n' roll photos on the walls. “Photos of my grandkids,” he offered with a smile.\u003c/p>\n\u003cp>But the musicians he photographed are always with him, in the music he plays on the road. “It's like the soundtrack to my life.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And when he turns on the radio, it’s 1967 all over again: The Hombres' \"Let it All Hang Out\" comes over the speakers, and Caraeff starts singing along. He's heading up the coast on another summer road trip. He said he plans to drive right past Monterey -- and keep on going.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, rock festivals are just part of the summer landscape. But in 1967, they were totally new.\u003c/p>\n\u003cp>Forty-nine years ago this weekend, the Monterey International Pop Festival introduced audiences to rock 'n' roll, camping, all-day shows and a little-known guitarist named Jimi Hendrix.\u003c/p>\n\u003cfigure id=\"attachment_10992681\" class=\"wp-caption alignright\" style=\"max-width: 1457px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Jimi-fire-crop.jpg\" alt=\"Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival.\" width=\"1457\" height=\"1952\" class=\"size-full wp-image-10992681\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop.jpg 1457w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-400x536.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-800x1072.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-1180x1581.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Jimi-fire-crop-960x1286.jpg 960w\" sizes=\"(max-width: 1457px) 100vw, 1457px\">\u003cfigcaption class=\"wp-caption-text\">Ed Caraeff's photo of Jimi Hendrix burning his guitar at the Monterey International Pop Festival on June 18, 1967. Taken with a camera borrowed from his family optometrist when Caraeff was a high school junior, the photo made the cover of Rolling Stone, twice, in the decades since the festival. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When a bunch of friends decided to take a road trip to the Monterey Pop Festival, Eddie Caraeff wasn’t thinking music. He was thinking pictures.\u003c/p>\n\u003cp>“I wasn’t a music lover that was there to enjoy the music and take a few snapshots,\" Caraeff said. \"I was there to photograph it -- and I did.\"\u003c/p>\n\u003cp>Caraeff was a junior at Westchester High School in Los Angeles. He loved music, but he was crazy about photography. These were the '60s, when the California rock scene was going wild and the radio was going psychedelic. One school night while listening in bed to a local KBLA-AM radio show, \"Dave Diamond and the Diamond Mine,\" Caraeff heard that a band he liked, the Seeds, was coming into LAX the next day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“LAX was five minutes from Westchester High School,” he recalled. So he drove over on his school lunch hour, hoping to get some pictures.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/269687949&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/269687949'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That lunch break turned out to be his big break -- when an executive from the band's record company noticed him taking photos and asked to see them. The next day, he cut out from school and brought her a cardboard box of prints he'd made up in the school darkroom. She liked them and invited him to shoot the Seeds at the Hullabaloo Club in Hollywood that weekend. There, 16-year-old Caraeff came face to face with rock 'n' roll.\u003c/p>\n\u003cp>“It was a crazy scene,” Caraeff said. “There were girls on the stage, there were no guards ... the emergency exit door was chained shut. I should have photographed that!”\u003c/p>\n\u003cfigure id=\"attachment_10992682\" class=\"wp-caption alignleft\" style=\"max-width: 692px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/zappa.jpg\" alt=\"Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa.\" width=\"692\" height=\"1024\" class=\"size-full wp-image-10992682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa.jpg 692w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/zappa-400x592.jpg 400w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Caraeff's portrait of the Los Angeles rock iconoclast Frank Zappa. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band's manager, an English DJ who went by the nickname Lord Tim, saw him taking pictures.\u003c/p>\n\u003cp>“He grabbed me by my jacket and he said, those better f*ing come out!” Caraeff recalled, laughing. “And you know, they did. And I bought my first Nikon camera with that money.”\u003c/p>\n\u003cp>So he did it again. And again. And at the end of his junior year, when he heard about the Monterey Pop Festival, it sounded like another good place to get some shots and make some cash. He had no idea -- no one did -- what Monterey would turn out to be.\u003c/p>\n\u003cp>Held June 16-18, 1967, Monterey was one of the first rock festivals in the United States -- just a week after the very first, --the Magic Mountain Music Festival held on Mt. Tamalpais in Marin County. Organized by the Los Angeles band the Mamas and the Papas, the Monterey International Pop Festival was modeled on Monterey's popular Jazz Festivals. But that weekend, it broke the mold.\u003c/p>\n\u003cp>“The Monterey Pop Festival was a watershed event in the entire history of rock music,” said Joel Selvin, a former San Francisco Chronicle rock critic who wrote a book about the festival, \"Monterey Pop.\"\u003c/p>\n\u003cp>“This was the end of top 40 acts and the beginning of underground rock in one weekend,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10992687\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/diamond-400x394.jpg\" alt=\"The cover of Neil Diamond's 1972 "Hot August Night" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\" width=\"400\" height=\"394\" class=\"size-thumbnail wp-image-10992687\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-400x394.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/diamond.jpg 704w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Neil Diamond's 1972 \"Hot August Night\" live double album is one of more than 200 album covers from the '60s, '70s and '80s credited to Caraeff.\u003c/figcaption>\u003c/figure>\n\u003cp>The three-day, five-show bill featured acts including San Francisco's Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company featuring Janis Joplin, and Los Angeles' The Byrds and Buffalo Springfield, as well as The Who.\u003c/p>\n\u003cp>The Monterey County Fairgrounds sold only 8,500 tickets, Selvin said, but another 20,000 kids showed up “to sort of hang out in the park nearby.” And so the modern rock festival was born.\u003c/p>\n\u003cp>Caraeff was there, with a photo press pass he scored through the KBLA underground rock newspaper and a Voigtlander camera he borrowed from his family optometrist. He staked out a chair in the photo pit at the edge of the stage, and watched rock history unfold before his eyes.\u003c/p>\n\u003cp>“Janis Joplin, I mean right there from my chair-eye view,\" he recalled. \"Otis Redding, that just blew me away. Simon and Garfunkel, that was so great to see that right up close like that, the two of them.\"\u003c/p>\n\u003cp>There were a few bands there almost no one had heard of. But a German photographer gave him a tip.\u003c/p>\n\u003cp>“I remember this vividly,” Caraeff said. “He said, 'save some film for this Jimi Hendrix cat.'”\u003c/p>\n\u003cp>Monterey was The Jimi Hendrix Experience's U.S. debut, and Hendrix was trying to make an impression. On stage, he was all over the place in a feather boa, ruffled orange shirt and tight red pants, doing backward somersaults and humping the amps. At the end of his set, he capped a cover of \"Wild Thing\" by lighting his guitar on fire -- right in front of Caraeff.\u003c/p>\n\u003cp>Hendrix was kneeling over the guitar, coaxing flames from the strings like a snake charmer.\u003c/p>\n\u003cfigure id=\"attachment_10992693\" class=\"wp-caption alignleft\" style=\"max-width: 937px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/The-Seeds-1.jpg\" alt=\"Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale.\" width=\"937\" height=\"768\" class=\"size-full wp-image-10992693\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1.jpg 937w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-400x328.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/The-Seeds-1-800x656.jpg 800w\" sizes=\"(max-width: 937px) 100vw, 937px\">\u003cfigcaption class=\"wp-caption-text\">Psychedelic garage rockers The Seeds onstage at the Hullabaloo Club in Hollywood in 1966. The photo was 16-year-old Caraeff's first rock photography sale. \u003ccite>(Photo courtesy of Ed Caraeff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing's burning right in front of my face,” Caraeff recalled. He held the camera in front of him to shield his face from the heat and pulled the lever to advance the film. It stuck -- he was at the end of the roll. He had one more shot.\u003c/p>\n\u003cp>He took it, and with it, took his own piece of rock 'n' roll history.\u003c/p>\n\u003cp>Caraeff's final shot that night has lasted a lifetime. Rolling Stone chose it for the cover of its Monterey Pop 20\u003csup>th\u003c/sup> anniversary issue in 1987, and it made the cover again for a special edition in 2012. It traveled around the world with the photo exhibit \"Who Shot Rock 'n' Roll\" from 2009-2013. Caraeff said it is his most famous photo -- and that's saying something.\u003c/p>\n\u003cp>Nearly 50 years after that night in Monterey, Caraeff is flipping through his archive, showing me photos from a long career that started on his high school lunch break and took him around the world as a professional rock photographer and record album art director.\u003c/p>\n\u003cp>He photographed and designed more than 200 record album covers in the '60s, '70s and '80s. His archive holds 300,000 photos of artists including Bob Dylan, Carly Simon, Tom Waits, Frank Zappa, Jim Morrison, Elton John and '70s rockers Three Dog Night, with whom he toured as official photographer. He has so many photos of Hendrix he's planning a whole book of them, due out next year. The story of Monterey was one of his first, but far from his last.\u003c/p>\n\u003cp>Now, he's started on a new adventure. After a long career as a photographer and an even longer one in the restaurant business, last year Caraeff got what he calls a “health wake-up call” and decided to make a change. He sold his house in Santa Monica and all his stuff, and he hit the road for what he calls his “bucket list trip,” living and traveling full time in his Volkswagen camper, \"Moonbeam.\"\u003c/p>\n\u003cp>It's tight quarters, but with all the comforts of home. Moonbeam is tricked out with a rug from Nepal, solar lights and a kitchen rack with 21 different spice jars. Caraeff even has a satellite phone. There are no rock 'n' roll photos on the walls. “Photos of my grandkids,” he offered with a smile.\u003c/p>\n\u003cp>But the musicians he photographed are always with him, in the music he plays on the road. “It's like the soundtrack to my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when he turns on the radio, it’s 1967 all over again: The Hombres' \"Let it All Hang Out\" comes over the speakers, and Caraeff starts singing along. He's heading up the coast on another summer road trip. He said he plans to drive right past Monterey -- and keep on going.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Directions: Anthony Wilson's 'Frogtown' and Terrie Odabi's 'My Blue Soul'",
"title": "New Directions: Anthony Wilson's 'Frogtown' and Terrie Odabi's 'My Blue Soul'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://www.anthonywilsonmusic.com/\">Anthony Wilson\u003c/a> is hardly the first jazz musician to reinvent his sound, but his evolution from internationally esteemed guitar maestro to singer/songwriter on his new album “Frogtown” (Goat Hill Recordings) is likely to catch many of his fans by surprise.\u003c/p>\n\u003cp>The son of the late, legendary Los Angeles arranger, composer and \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html\">bandleader Gerald Wilson\u003c/a>, he first made his mark as a composer with a series of \u003ca href=\"https://www.youtube.com/watch?v=F7SrFXI3ZKU\">brilliant nonet sessions\u003c/a> in the late 1990s. He’s covered a lot of ground since then, putting his own stamp on the Hammond B-3 organ format, collaborating with the great Brazilian \u003ca href=\"http://www.chicopinheiro.com/\">guitarist/composer Chico Pinheiro\u003c/a>, and delivering elegantly sculpted solos for recordings by the likes of Paul McCartney, Willie Nelson, Barbra Streisand and Aaron Neville.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/269688211\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>He’s spent the past 15 years touring and recording with Diana Krall, and somewhere along the line started to feel that he needed to write his own songs. On “Frogtown” his songwriting is distinguished by the same kind of craftsmanship that marked his jazz composing, with a spacious but meticulous sound that sometimes brings to mind Neil Young or James Taylor. He recruited a stellar cast of players, including drummers Mike Chamberlain and Jim Keltner, violinist Petra Haden, pianist/keyboardist Patrick Warren and \u003ca href=\"https://en.wikipedia.org/wiki/Mike_Elizondo\">bassist Mike Elizondo\u003c/a> (who also produced the album).\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cp>The album alternates between pieces featuring Wilson’s vocals and instrumental tracks, which often seem to expand or comment on the previous or following lyric. The plaintive opening anthem “She Won’t Look Back\" gives way to the optimistically jaunty title track like a candle lit in the dusk. The earnestly yearning ballad “Your Footprints,” which features saxophone legend Charles Lloyd, flows into Wilson's playful arrangement of the traditional Italian song “Occhi di Bambola,” the album’s only cover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cfigure id=\"attachment_10991915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10991915\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg\" alt=\"Anthony Wilson. Photo by Ian Gittler.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wilson. Photo by Ian Gittler.\u003c/figcaption>\u003c/figure>\n\u003cp>At first, it seemed strange that he didn’t draw on the extraordinary vocal talents of \u003ca href=\"https://www.youtube.com/watch?v=VNFoNBz9Dbs\">Petra Haden\u003c/a>. Everyone else seems to these days (check out her recent work with guitarist Bill Frisell, singer/songwriter Jesse Harris, and \u003ca href=\"https://www.youtube.com/watch?v=dFQykbH3mYE\">David Byrne\u003c/a>). But the deeper I ventured into “Frogtown,” the more his voice grew on me. Wilson explores a lot of interesting emotional territory, with a decidedly Steely Danian vein of resigned desperation (or is it desperate resignation?) that comes through most clearly on the deceptively lulling “Arcadia,” which sketches a suburban idyll slowly curdling with the concluding couplet “Now they’ve come for me/I’ll go quietly.”\u003c/p>\n\u003cp>If “Frogtown” represents a left turn for Wilson, Oakland vocalist \u003ca href=\"https://www.facebook.com/Terrie-Odabi-Vocalist-296953356991097/\">Terrie Odabi\u003c/a>’s debut album “My Blue Soul” is the culmination of a decade-long quest. Over the years she’s sung jazz and standards with the great Bay Area saxophonist Jules Broussard and performed world music with the pioneering \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-brandy\">percussionist Carolyn Brandy\u003c/a>. Her abundant soul and improvisational prowess has made her a crucial contributor to trombonist Steve Turré’s annual Rahsaan Roland Kirk celebration at San Jose’s \u003ca href=\"http://www.cafestritch.com/\">Café Stritch\u003c/a> (which returns on Aug. 3-7).\u003c/p>\n\u003cp>But after years of feeling not quite at home in jazz and R&B settings she decided to try out the Bay Area blues scene, and now she’s selling out just about every show. More than a powerhouse vocalist with a velvet sledgehammer delivery, she’s a savvy songwriter who draws on an unusually deep well of experience. She covers a few classics on \"My Blue Soul,\" like Big Mama Thornton’s “Ball and Chain,” and the spiritual “Wade in the Water,” but I think some of the best tunes are hers, like the sleek and grooving declaration of independence “Live My Life” featuring \u003ca href=\"https://www.facebook.com/doakanthony\">guitarist Khalil Doak-Anthony\u003c/a>, organist Lorenzo Hawkins, and drummer Derrick Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I particularly love the opening track “Gentrification Blues.” I spoke with Odabi last month for a \u003ca href=\"http://ww2.kqed.org/arts/2016/05/20/after-suhrs-resignation-bay-area-musicians-keep-pushing-for-change/\">KQED Arts story\u003c/a> about musicians and political activism, and she said that until now she’d kept her politics out of her music. But as an Oakland native she felt she couldn’t ignore the changes going on. This song could be an anthem for the movement to preserve Oakland’s African-American culture. But then “My Blue Soul” is almost a manifesto that makes an incontrovertible case for the enduring power of traditional black forms. Odabi may be a relative newcomer to the scene. Her songs tap into the music's deepest wellsprings, and this album should cement her status as Bay Area blues royalty\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.anthonywilsonmusic.com/\">Anthony Wilson\u003c/a> is hardly the first jazz musician to reinvent his sound, but his evolution from internationally esteemed guitar maestro to singer/songwriter on his new album “Frogtown” (Goat Hill Recordings) is likely to catch many of his fans by surprise.\u003c/p>\n\u003cp>The son of the late, legendary Los Angeles arranger, composer and \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html\">bandleader Gerald Wilson\u003c/a>, he first made his mark as a composer with a series of \u003ca href=\"https://www.youtube.com/watch?v=F7SrFXI3ZKU\">brilliant nonet sessions\u003c/a> in the late 1990s. He’s covered a lot of ground since then, putting his own stamp on the Hammond B-3 organ format, collaborating with the great Brazilian \u003ca href=\"http://www.chicopinheiro.com/\">guitarist/composer Chico Pinheiro\u003c/a>, and delivering elegantly sculpted solos for recordings by the likes of Paul McCartney, Willie Nelson, Barbra Streisand and Aaron Neville.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/269688211&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/269688211'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He’s spent the past 15 years touring and recording with Diana Krall, and somewhere along the line started to feel that he needed to write his own songs. On “Frogtown” his songwriting is distinguished by the same kind of craftsmanship that marked his jazz composing, with a spacious but meticulous sound that sometimes brings to mind Neil Young or James Taylor. He recruited a stellar cast of players, including drummers Mike Chamberlain and Jim Keltner, violinist Petra Haden, pianist/keyboardist Patrick Warren and \u003ca href=\"https://en.wikipedia.org/wiki/Mike_Elizondo\">bassist Mike Elizondo\u003c/a> (who also produced the album).\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cp>The album alternates between pieces featuring Wilson’s vocals and instrumental tracks, which often seem to expand or comment on the previous or following lyric. The plaintive opening anthem “She Won’t Look Back\" gives way to the optimistically jaunty title track like a candle lit in the dusk. The earnestly yearning ballad “Your Footprints,” which features saxophone legend Charles Lloyd, flows into Wilson's playful arrangement of the traditional Italian song “Occhi di Bambola,” the album’s only cover.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10991917\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg\" alt=\"Frogtown - LP Cover - Revised\" width=\"1\" height=\"1\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg.jpg 3684w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-400x404.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-800x807.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1920x1937.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1180x1191.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-960x969.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/anthony_wilson_albumart_lg-280x150.jpg 280w\" sizes=\"(max-width: 1px) 100vw, 1px\">\u003c/p>\n\u003cfigure id=\"attachment_10991915\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10991915\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg\" alt=\"Anthony Wilson. Photo by Ian Gittler.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/A.Wilson_cIan_Gittler-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wilson. Photo by Ian Gittler.\u003c/figcaption>\u003c/figure>\n\u003cp>At first, it seemed strange that he didn’t draw on the extraordinary vocal talents of \u003ca href=\"https://www.youtube.com/watch?v=VNFoNBz9Dbs\">Petra Haden\u003c/a>. Everyone else seems to these days (check out her recent work with guitarist Bill Frisell, singer/songwriter Jesse Harris, and \u003ca href=\"https://www.youtube.com/watch?v=dFQykbH3mYE\">David Byrne\u003c/a>). But the deeper I ventured into “Frogtown,” the more his voice grew on me. Wilson explores a lot of interesting emotional territory, with a decidedly Steely Danian vein of resigned desperation (or is it desperate resignation?) that comes through most clearly on the deceptively lulling “Arcadia,” which sketches a suburban idyll slowly curdling with the concluding couplet “Now they’ve come for me/I’ll go quietly.”\u003c/p>\n\u003cp>If “Frogtown” represents a left turn for Wilson, Oakland vocalist \u003ca href=\"https://www.facebook.com/Terrie-Odabi-Vocalist-296953356991097/\">Terrie Odabi\u003c/a>’s debut album “My Blue Soul” is the culmination of a decade-long quest. Over the years she’s sung jazz and standards with the great Bay Area saxophonist Jules Broussard and performed world music with the pioneering \u003ca href=\"http://www.ciis.edu/faculty-and-staff-directory/carolyn-brandy\">percussionist Carolyn Brandy\u003c/a>. Her abundant soul and improvisational prowess has made her a crucial contributor to trombonist Steve Turré’s annual Rahsaan Roland Kirk celebration at San Jose’s \u003ca href=\"http://www.cafestritch.com/\">Café Stritch\u003c/a> (which returns on Aug. 3-7).\u003c/p>\n\u003cp>But after years of feeling not quite at home in jazz and R&B settings she decided to try out the Bay Area blues scene, and now she’s selling out just about every show. More than a powerhouse vocalist with a velvet sledgehammer delivery, she’s a savvy songwriter who draws on an unusually deep well of experience. She covers a few classics on \"My Blue Soul,\" like Big Mama Thornton’s “Ball and Chain,” and the spiritual “Wade in the Water,” but I think some of the best tunes are hers, like the sleek and grooving declaration of independence “Live My Life” featuring \u003ca href=\"https://www.facebook.com/doakanthony\">guitarist Khalil Doak-Anthony\u003c/a>, organist Lorenzo Hawkins, and drummer Derrick Martin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I particularly love the opening track “Gentrification Blues.” I spoke with Odabi last month for a \u003ca href=\"http://ww2.kqed.org/arts/2016/05/20/after-suhrs-resignation-bay-area-musicians-keep-pushing-for-change/\">KQED Arts story\u003c/a> about musicians and political activism, and she said that until now she’d kept her politics out of her music. But as an Oakland native she felt she couldn’t ignore the changes going on. This song could be an anthem for the movement to preserve Oakland’s African-American culture. But then “My Blue Soul” is almost a manifesto that makes an incontrovertible case for the enduring power of traditional black forms. Odabi may be a relative newcomer to the scene. Her songs tap into the music's deepest wellsprings, and this album should cement her status as Bay Area blues royalty\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Woman Pleads Guilty to Defacing Rocks at 7 National Parks",
"title": "Woman Pleads Guilty to Defacing Rocks at 7 National Parks",
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"content": "\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\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\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A San Diego woman who painted and drew on natural rock formations at national parks across the West and posted her work on social media pleaded guilty Monday to defacing government property.\u003c/p>\n\u003cp>Casey Nocket, 23, pleaded guilty in federal court in Fresno to seven misdemeanors for her 2014 painting spree at seven national parks, including Yosemite in California and Zion in Utah.\u003c/p>\n\u003cp>She also admitted to defacing rocks at Crater Lake National Park in Oregon and Rocky Mountain National Park in Colorado.\u003c/p>\n\u003cfigure id=\"attachment_10988931\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10988931\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg\" alt=\"A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park.\" width=\"800\" height=\"890\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-800x890.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-400x445.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-1180x1312.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/NocketDefaces-960x1068.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from one of Casey Nocket's social media accounts shows her defacing a rock face in Utah's Canyonlands National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nocket was sentenced to two years' probation and 200 hours of community service. Judge Sheila K. Oberto also banned Nocket from lands administered by the National Park Service, the U.S. Forest Service, the Bureau of Land Management and the Army Corps of Engineers during the period of probation.\u003c/p>\n\u003cp>\"The defendant's defacement of multiple rock formations showed a lack of respect for the law and our shared national treasures,\" acting U.S. Attorney Phillip Talbert said in a statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nocket posted photos of her various defacements under the Instagram handle \"creepytings,\" which she also used to sign much of her work.\u003c/p>\n\u003cp>News of Nocket’s vandalism in September and October of 2014 quickly appeared on two hiking blogs, \u003ca href=\"http://www.modernhiker.com/2014/10/21/instagram-artist-defaces-national-parks/\" target=\"_blank\">Modern Hiker\u003c/a> and \u003ca href=\"http://calipidder.com/wp/2014/10/tracking-serial-vandal-national-parks/\" target=\"_blank\">Calipidder\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\">Reddit\u003c/a>.\u003c/p>\n\u003cp>That led to broad outrage on social media and \u003ca href=\"http://ww2.kqed.org/arts/2014/10/23/berkeley-resident-petitions-authorities-to-punish-park-vandal/\" target=\"_blank\">at least one petition\u003c/a> on Whitehouse.gov requesting that authorities pursue charges and the maximum punishment allowed.\u003c/p>\n\u003cp>The vandalism caused serious cleanup problems. The sandblasting and chemical stripping used to remove paint can cause even more damage to irreplaceable natural features.\u003c/p>\n\u003cfigure id=\"attachment_10988995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/creepytingsface-800x524.jpg\" alt=\"One of Casey Nocket's paintings in Yosemite National Park.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-10988995\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-800x524.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-1180x773.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/creepytingsface-960x629.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Casey Nocket's paintings in Yosemite National Park. \u003ccite>(Screenshot via Modern Hiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At two national parks, Crater Lake and Death Valley in California, cleanup has yet to be completed nearly two years later. A later hearing will determine how much restitution Nocket must pay to help with the cleanup.\u003c/p>\n\u003cp>A press release from the U.S. Attorney's Office for the Eastern District of California outlined Nocket's damage at the seven parks:\u003c/p>\n\u003cblockquote>\u003cp>\n· Sept. 23, 2014, Death Valley National Park in the Eastern District of California at the summit of Telescope Peak.\u003cbr>\n· Sept. 12, 2014, Rocky Mountain National Park in the District of Colorado\u003cbr>\n· Sept. 13, 2014, Colorado National Monument in the District of Colorado on the Monument Canyon Trail.\u003cbr>\n· Sept. 15, 2014, Canyonlands National Park in the District of Utah on the Neck Spring Trail.\u003cbr>\n· Sept. 17, 2014, Zion National Park in the District of Utah.\u003cbr>\n· Oct. 2, 2014, Yosemite National Park in the Eastern District of California at the beginning of the John Muir Trail.\u003cbr>\n· Oct. 7, 2014, Crater Lake National Park in the District of Oregon.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post includes reporting from The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At Camarillo High School, students are building electric guitars in the name of science. \u003ca href=\"http://www.guitarbuilding.org/\" target=\"_blank\" rel=\"noopener\">The STEM Guitar Project\u003c/a>, a National Science Foundation-funded program, gets students to explore science, math and technology through handcrafted woodwork and the physics of instrument making.\u003c/p>\n\u003cp>“It’s increased interest in wood shop by students who wouldn’t normally take it and by woodworking and their interest in science that wouldn’t normally have taken physics. So it’s been a win-win,” said Chip Mills, who teaches the wood shop portion of the program at Camarillo High.\u003c/p>\n\u003cp>About a dozen students at the Ventura County school are currently participating in the program. Mills said students often wonder why they need to know math.\u003c/p>\n\u003cp>“When they’re in here having to do fractions and use Pythagoras’ theorem and all of that where mathematics is used so much, it’s kind of illuminating and makes mathematics more relevant to them,” said Mills.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/268543564″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The wood shop teacher talks a lot about curves and angles in his class. If they’re wrong, the guitar components won’t fit together like they’re supposed to. And the guitar is at the heart of what attracts students to this class, like Senior Zach Thatcher. “That’s the only reason I took it,” Thatcher said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a recent visit to the class, Thatcher is sanding down his guitar, smoothing out the edges, which have been curved by hand. The sweet sounds of the STEM Guitar Project also lured Thatcher into another class he never thought he’d take: physics.\u003c/p>\n\u003cp>“Physics is pretty hard, but it’s also really interesting. So it kind of worked out,” Thatcher said. “I took physics just so I could build the guitar also — that’s the only reason I’m in physics, too. But physics turned out to be really interesting.”\u003c/p>\n\u003cp>That’s the kind of reaction the creators of the STEM Guitar Project were hoping for when they started it in Washington state seven years ago.\u003c/p>\n\u003cp>Now, the project is hitting notes at more than 21 schools and school districts in California, including campuses in Orange, San Diego and Ventura counties.\u003c/p>\n\u003cfigure id=\"attachment_10985404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg\" alt=\"Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School.\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-960x666.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School. \u003ccite>(Susan Valot/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The STEM Guitar Project’s Scot Rabe of Ventura College said organizers knew it would be a hit with students during a training for teachers in Southern California. \u003c/p>\n\u003cp>“At the end of the second day — it was a five-day experience, the first time I’d ever built a guitar — we had rooms packed with high school kids who just wanted to see what was going on,” Rabe said. “So we knew, instantly, it was a winner.”\u003c/p>\n\u003cp>The program trains teachers of all kinds how to build electric guitars. Then schools can buy guitar-building kits — at cost — for students. Rabe said guitar-building is the rock star jumping off point for all sorts of subjects, from the math of musical notes to the poetry of song lyrics to the inner workings of the guitars.\u003c/p>\n\u003cp>“Then there’s the actual mechanics, the physics of the guitar, and why are the strings the length they are and how much tension is on them when we tighten them? Why do they make different sounds from one string to the next?” Rabe listed off.\u003c/p>\n\u003cp>In the class at Camarillo High School, students will learn about electricity and metals as they solder together the components of their guitars. Once they’re finished, senior Farhan Saleh will have a new challenge. \u003c/p>\n\u003cp>“I don’t actually know how to play instruments,” Saleh said. Regardless, Saleh said he looks forward to plucking the strings of his labor.\u003c/p>\n\u003cp>“It kind of shows that your work is paying off,” Saleh said. “People kind of take it for granted as they buy it and they play it and they kind of get rid of it as it gets old. And … as you’re building, you kind of see how much work and effort goes into actually building these.”\u003c/p>\n\u003cp>STEM Guitar Project organizers hope the students will not only take the guitar home with them, but a passion for hard work and learning, as well.\u003c/p>\n\u003cp>“It’s really enjoyable and relaxing to be able to make something out of wood,” said student Timothy Lee. “And it’s just really fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece was made with support from KCRW’s Independent Producer Project.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Camarillo High School, students are building electric guitars in the name of science. \u003ca href=\"http://www.guitarbuilding.org/\" target=\"_blank\" rel=\"noopener\">The STEM Guitar Project\u003c/a>, a National Science Foundation-funded program, gets students to explore science, math and technology through handcrafted woodwork and the physics of instrument making.\u003c/p>\n\u003cp>“It’s increased interest in wood shop by students who wouldn’t normally take it and by woodworking and their interest in science that wouldn’t normally have taken physics. So it’s been a win-win,” said Chip Mills, who teaches the wood shop portion of the program at Camarillo High.\u003c/p>\n\u003cp>About a dozen students at the Ventura County school are currently participating in the program. Mills said students often wonder why they need to know math.\u003c/p>\n\u003cp>“When they’re in here having to do fractions and use Pythagoras’ theorem and all of that where mathematics is used so much, it’s kind of illuminating and makes mathematics more relevant to them,” said Mills.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/268543564″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/268543564″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The wood shop teacher talks a lot about curves and angles in his class. If they’re wrong, the guitar components won’t fit together like they’re supposed to. And the guitar is at the heart of what attracts students to this class, like Senior Zach Thatcher. “That’s the only reason I took it,” Thatcher said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a recent visit to the class, Thatcher is sanding down his guitar, smoothing out the edges, which have been curved by hand. The sweet sounds of the STEM Guitar Project also lured Thatcher into another class he never thought he’d take: physics.\u003c/p>\n\u003cp>“Physics is pretty hard, but it’s also really interesting. So it kind of worked out,” Thatcher said. “I took physics just so I could build the guitar also — that’s the only reason I’m in physics, too. But physics turned out to be really interesting.”\u003c/p>\n\u003cp>That’s the kind of reaction the creators of the STEM Guitar Project were hoping for when they started it in Washington state seven years ago.\u003c/p>\n\u003cp>Now, the project is hitting notes at more than 21 schools and school districts in California, including campuses in Orange, San Diego and Ventura counties.\u003c/p>\n\u003cfigure id=\"attachment_10985404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985404\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg\" alt=\"Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School.\" width=\"800\" height=\"555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/GuitarMaking2-960x666.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Cameron Shirley says sanding has been the biggest challenge of making his guitar in the STEM Guitar Project at Camarillo High School. \u003ccite>(Susan Valot/KCRW)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The STEM Guitar Project’s Scot Rabe of Ventura College said organizers knew it would be a hit with students during a training for teachers in Southern California. \u003c/p>\n\u003cp>“At the end of the second day — it was a five-day experience, the first time I’d ever built a guitar — we had rooms packed with high school kids who just wanted to see what was going on,” Rabe said. “So we knew, instantly, it was a winner.”\u003c/p>\n\u003cp>The program trains teachers of all kinds how to build electric guitars. Then schools can buy guitar-building kits — at cost — for students. Rabe said guitar-building is the rock star jumping off point for all sorts of subjects, from the math of musical notes to the poetry of song lyrics to the inner workings of the guitars.\u003c/p>\n\u003cp>“Then there’s the actual mechanics, the physics of the guitar, and why are the strings the length they are and how much tension is on them when we tighten them? Why do they make different sounds from one string to the next?” Rabe listed off.\u003c/p>\n\u003cp>In the class at Camarillo High School, students will learn about electricity and metals as they solder together the components of their guitars. Once they’re finished, senior Farhan Saleh will have a new challenge. \u003c/p>\n\u003cp>“I don’t actually know how to play instruments,” Saleh said. Regardless, Saleh said he looks forward to plucking the strings of his labor.\u003c/p>\n\u003cp>“It kind of shows that your work is paying off,” Saleh said. “People kind of take it for granted as they buy it and they play it and they kind of get rid of it as it gets old. And … as you’re building, you kind of see how much work and effort goes into actually building these.”\u003c/p>\n\u003cp>STEM Guitar Project organizers hope the students will not only take the guitar home with them, but a passion for hard work and learning, as well.\u003c/p>\n\u003cp>“It’s really enjoyable and relaxing to be able to make something out of wood,” said student Timothy Lee. “And it’s just really fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece was made with support from KCRW’s Independent Producer Project.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene",
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"content": "\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>“Because you’re young, you’re angry, you can break a bone and you just don’t care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody’s going to tell you what to do. They’re going to applaud you.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/268544098″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, “\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they’re playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I’m not doing it. Just get your noise out and play. That’s the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there’s a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>“Los Punks” introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>“I’m 15,” giggles April in the film. “I’m probably like the only one’s that’s like young in the scene.”\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But “Los Punks” also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in ‘Los Punks.’\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, ‘Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,’ ” explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. “Los Punks” captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn’t speak any English. And she’s like, well I just don’t want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don’t really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out — not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\" rel=\"noopener\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.”\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes “Los Punks” can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>“Los Punks: We Are All We Have” screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The filmmaker and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.",
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"title": "Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>“Because you’re young, you’re angry, you can break a bone and you just don’t care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody’s going to tell you what to do. They’re going to applaud you.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/268544098″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/268544098″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, “\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they’re playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I’m not doing it. Just get your noise out and play. That’s the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there’s a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>“Los Punks” introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>“I’m 15,” giggles April in the film. “I’m probably like the only one’s that’s like young in the scene.”\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But “Los Punks” also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in ‘Los Punks.’\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, ‘Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,’ ” explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. “Los Punks” captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn’t speak any English. And she’s like, well I just don’t want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don’t really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out — not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\" rel=\"noopener\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.”\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes “Los Punks” can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>“Los Punks: We Are All We Have” screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Sunday, we lost one of our own.\u003c/p>\n\u003cp>David Gilkey, an NPR photojournalist who documented both tragedy and hope, was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/06/05/480859153/npr-photographer-interpreter-killed-in-afghanistan\" target=\"_blank\" rel=\"noopener\">killed in Afghanistan\u003c/a> along with NPR’s Afghan interpreter and fellow journalist Zabihullah Tamanna.\u003c/p>\n\u003cp>David joined NPR in 2007. His work added the visual to an organization devoted to sound. David’s images presented the atrocities of war, the destruction of nature — and most importantly, their impact upon people. His photographs and videos were haunting in their beauty and poignant in their nuance. Every person and every scene was captured with care, moving beyond the news to the personal struggle and perseverance of the people who lived it.\u003c/p>\n\u003cp>David covered war in Afghanistan and Iraq, the earthquake in Haiti and the Ebola epidemic in Liberia. He spent time with Syrian refugees in Toledo, Ohio, and captured the stories of schoolchildren in Kabul. He took us to the edges of India and into the homes of Americans. He felt especially close to U.S. servicemen and women, taking every opportunity to highlight the sacrifices they made in the face of grave danger. But he also found humor in the dark moments, recognizing that even in the worst times, there could still be tenderness.\u003c/p>\n\u003cp>David brought us the world and made us all care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s not just reporting. It’s not just taking pictures,” he said \u003ca href=\"https://www.youtube.com/watch?v=iZutq7Cvoe4\" target=\"_blank\" rel=\"noopener\">about the work he did in Haiti\u003c/a>. “It’s, ‘Do those visuals, do the stories, do they change somebody’s mind enough to take action?’\u003c/p>\n\u003cp>“So if we’re doing our part, it gets people to do their part. Hopefully.”\u003c/p>\n\u003cp>What follows is but a small selection of David’s remarkable work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"rectangular\" size=\"medium\" ids=\"10980121,10980134,10980131,10980129,10980127,10980123,10980125,10980119\"]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+NPR+Photojournalist+David+Gilkey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday, we lost one of our own.\u003c/p>\n\u003cp>David Gilkey, an NPR photojournalist who documented both tragedy and hope, was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/06/05/480859153/npr-photographer-interpreter-killed-in-afghanistan\" target=\"_blank\" rel=\"noopener\">killed in Afghanistan\u003c/a> along with NPR’s Afghan interpreter and fellow journalist Zabihullah Tamanna.\u003c/p>\n\u003cp>David joined NPR in 2007. His work added the visual to an organization devoted to sound. David’s images presented the atrocities of war, the destruction of nature — and most importantly, their impact upon people. His photographs and videos were haunting in their beauty and poignant in their nuance. Every person and every scene was captured with care, moving beyond the news to the personal struggle and perseverance of the people who lived it.\u003c/p>\n\u003cp>David covered war in Afghanistan and Iraq, the earthquake in Haiti and the Ebola epidemic in Liberia. He spent time with Syrian refugees in Toledo, Ohio, and captured the stories of schoolchildren in Kabul. He took us to the edges of India and into the homes of Americans. He felt especially close to U.S. servicemen and women, taking every opportunity to highlight the sacrifices they made in the face of grave danger. But he also found humor in the dark moments, recognizing that even in the worst times, there could still be tenderness.\u003c/p>\n\u003cp>David brought us the world and made us all care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not just reporting. It’s not just taking pictures,” he said \u003ca href=\"https://www.youtube.com/watch?v=iZutq7Cvoe4\" target=\"_blank\" rel=\"noopener\">about the work he did in Haiti\u003c/a>. “It’s, ‘Do those visuals, do the stories, do they change somebody’s mind enough to take action?’\u003c/p>\n\u003cp>“So if we’re doing our part, it gets people to do their part. Hopefully.”\u003c/p>\n\u003cp>What follows is but a small selection of David’s remarkable work. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Meet the Naturalist Who Sang Like an (Actual) Bird",
"title": "Meet the Naturalist Who Sang Like an (Actual) Bird",
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"content": "\u003cp>Charles Kellogg is remembered as a naturalist, a man who spent his life fighting to protect California’s forests in the late 19th and early 20th centuries. But Kellogg’s first claim has to do with his throat, not his activism. It was said that the man came into this world with the vocal chords of a bird.\u003c/p>\n\u003cfigure id=\"attachment_10969649\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"wp-image-10969649\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg\" alt=\"Charles Kellogg travelled around the country telling people about the mighty trees of California.\" width=\"421\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-400x586.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-960x1406.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles.jpeg 1049w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg traveled around the country telling people about the mighty trees of California. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg was born in Susanville, a small town on the eastern edge of California. It was 1868 and old-growth trees around him were being logged to build towns and cities across the state. Kellogg would later tour the country to raise awareness about the destruction of these beautiful trees. First though, he toured vaudeville stages.\u003c/p>\n\u003cp>Back in the late 19th century, whistling bird songs was a big thing. Performers would imitate birds, or whistle bird songs to music. Kellogg claimed that he had a singular gift as a performer. Unlike others, Kellogg said he did not whistle with his lips, but made the songs with his throat, just like a bird. He opened his mouth and presto! Out came the mellifluous chirpings and songs of our ornithological friends.\u003c/p>\n\u003cp>Now most of us humans have larynges. Kellogg, on the other hand, said he possessed the larynx of a bird, a “syrinx.” Needless to say, your friends at The World According to Sound find this anatomical claim dubious. But back in the day it was a big hit. Kellogg traveled around the world singing his canti d’uccelli in vaudeville shows. The Western world couldn’t get enough of it.\u003c/p>\n\u003cp>Kellogg rose to pop star fame on account of his bird throat, but he is remembered for his conservationism. Always a lover of trees, Kellogg was particularly enamored of that majestic northern Californian evergreen, \u003ca href=\"http://www.conifers.org/cu/Sequoia.php\">sequoia sempervirens\u003c/a>, the giant redwood. The love ran so deep he built an RV out of the trunk of a fallen redwood. In it he traveled across the country -- four times! -- trumpeting the virtues of the sequoia to Americans totally ignorant of the giant tree. This must have taken forever, too. His RV topped out at 18 mph. Good Lord.\u003c/p>\n\u003cfigure id=\"attachment_10969651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10969651\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/finished-log-800x712.jpg\" alt=\"Charles Kellogg built a mobile home from the log of a fallen redwood tree.\" width=\"800\" height=\"712\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-800x712.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-400x356.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-1180x1050.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-960x854.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg built a mobile home from the log of a fallen redwood tree. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg’s so-called Travel Log is a thing of beauty, and arguably the first modern-day mobile home in America. Add that to Kellogg’s quirky list of accomplishments. You can check out Kellogg’s old RV in person at \u003ca href=\"http://humboldtredwoods.org/\">Humboldt Redwoods State Park\u003c/a>. As for this sound, we have it thanks to the Library of Congress, which preserves this bird music along with countless other audio wonders in its extensive sound collection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org/\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Charles Kellogg is remembered as a naturalist, a man who spent his life fighting to protect California’s forests in the late 19th and early 20th centuries. But Kellogg’s first claim has to do with his throat, not his activism. It was said that the man came into this world with the vocal chords of a bird.\u003c/p>\n\u003cfigure id=\"attachment_10969649\" class=\"wp-caption alignright\" style=\"max-width: 421px\">\u003cimg class=\"wp-image-10969649\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg\" alt=\"Charles Kellogg travelled around the country telling people about the mighty trees of California.\" width=\"421\" height=\"616\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-800x1171.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-400x586.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles-960x1406.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/the-tree-and-charles.jpeg 1049w\" sizes=\"(max-width: 421px) 100vw, 421px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg traveled around the country telling people about the mighty trees of California. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg was born in Susanville, a small town on the eastern edge of California. It was 1868 and old-growth trees around him were being logged to build towns and cities across the state. Kellogg would later tour the country to raise awareness about the destruction of these beautiful trees. First though, he toured vaudeville stages.\u003c/p>\n\u003cp>Back in the late 19th century, whistling bird songs was a big thing. Performers would imitate birds, or whistle bird songs to music. Kellogg claimed that he had a singular gift as a performer. Unlike others, Kellogg said he did not whistle with his lips, but made the songs with his throat, just like a bird. He opened his mouth and presto! Out came the mellifluous chirpings and songs of our ornithological friends.\u003c/p>\n\u003cp>Now most of us humans have larynges. Kellogg, on the other hand, said he possessed the larynx of a bird, a “syrinx.” Needless to say, your friends at The World According to Sound find this anatomical claim dubious. But back in the day it was a big hit. Kellogg traveled around the world singing his canti d’uccelli in vaudeville shows. The Western world couldn’t get enough of it.\u003c/p>\n\u003cp>Kellogg rose to pop star fame on account of his bird throat, but he is remembered for his conservationism. Always a lover of trees, Kellogg was particularly enamored of that majestic northern Californian evergreen, \u003ca href=\"http://www.conifers.org/cu/Sequoia.php\">sequoia sempervirens\u003c/a>, the giant redwood. The love ran so deep he built an RV out of the trunk of a fallen redwood. In it he traveled across the country -- four times! -- trumpeting the virtues of the sequoia to Americans totally ignorant of the giant tree. This must have taken forever, too. His RV topped out at 18 mph. Good Lord.\u003c/p>\n\u003cfigure id=\"attachment_10969651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10969651\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/finished-log-800x712.jpg\" alt=\"Charles Kellogg built a mobile home from the log of a fallen redwood tree.\" width=\"800\" height=\"712\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-800x712.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-400x356.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-1180x1050.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log-960x854.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/finished-log.jpg 1909w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Kellogg built a mobile home from the log of a fallen redwood tree. \u003ccite>(Humboldt Redwoods Interpretive Assocation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kellogg’s so-called Travel Log is a thing of beauty, and arguably the first modern-day mobile home in America. Add that to Kellogg’s quirky list of accomplishments. You can check out Kellogg’s old RV in person at \u003ca href=\"http://humboldtredwoods.org/\">Humboldt Redwoods State Park\u003c/a>. As for this sound, we have it thanks to the Library of Congress, which preserves this bird music along with countless other audio wonders in its extensive sound collection.\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>\u003cem>This story comes from our friends Chris Hoff and Sam Harnett at \u003ca href=\"http://www.theworldaccordingtosound.org/\">The World According to Sound\u003c/a>. Check out their podcast for more unexpected and delightful audio treats.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun",
"title": "L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'",
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"content": "\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/266809431″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n",
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"excerpt": "A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.",
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"title": "L.A.'s Punk History Comes to Light in 'Under the Big Black Sun' | KQED",
"description": "A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.",
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"nprByline": "\u003cstrong>Peter Gilstrap\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of “Under the Big Black Sun: A Personal History of L.A. Punk,” a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/266809431″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/266809431″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Under the Big Black Sun” co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.’\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called ‘Beyond and Back.’ ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, ‘John, you got to write a book.’ He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It’s hard. It’s discipline. I’m not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I’ll get other people to write, ’cause I’m also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman — the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill — reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s Saturday night in 1977, and I would be in a room either at somebody’s apartment, like Joan Jett’s apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.”\u003c/p>\n\u003cp>“There’d be the Clash or the Damned playing on the stereo and we’d all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can’t differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There’s this scene up in Hollywood where people write their own songs. We’re like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>“We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn’t sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don’t fit in, and you make a kind of parallel universe.”\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn’t it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle — which was very in your face and aggressive — just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn’t a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn’t have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?”\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn’t what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, ‘Uh, we got a band, we sorta play blues and rockabilly, ya know …’ and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music… was kind of invigorating because it wasn’t what people expected.’\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I’m going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn’t born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you’ll find a way to get there. And I think that’s what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of “Under the Big Black Sun: A Personal History of L.A. Punk.” \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka — Doe’s partner in X for 39 years and counting — sums it up in her chapter in the audio version of “Under the Big Black Sun”:\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I bet you didn’t know there’s a major controversy sweeping through the world of curling. Yes, that quirky sport that pops up on TV during the Winter Olympics actually spawned a worldwide scandal—not over drugs, not over bribes, but over brooms.\u003c/p>\n\u003cp>It’s about new fabrics on the brooms that curlers use to sweep the ice in front of the stone, and it’s bad enough that ice experts and top athletes are calling it “broomgate.” They gathered in Kemptville, Canada this week to investigate the contentious brooms that were changing the way this 500-year-old game was played.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It got to the point where the sweeping was making a greater difference in shot-making than the actual shot-making.’\u003ccite>Jaime Bourassa, Olympic ice technician\u003c/cite>\u003c/aside>\n\u003cp>Jamie Bourassa stood among them, an Olympic-level ice technician there to help resolve the controversy. He and the rest of the Sweeping Summit tested the disputed brooms to see which ones had too strong an influence on the stones. The World Curling Federation will use the data to vote in September on new rules for brooms.\u003c/p>\n\u003cp>After the summit, Bourassa flew straight to the Sharks Ice Facility in Fremont to prep for the Bay Area’s annual curling tournament, held the weekend before Memorial Day.\u003c/p>\n\u003cp>At the \u003ca href=\"http://www.goldengatebonspiel.com\" target=\"_blank\" rel=\"noopener\">2016 Golden Gate Bonspiel\u003c/a>, curling teams from the Bay Area and beyond will sweep and glide their way to glory. The \u003ca href=\"http://www.bayareacurling.com\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Curling Club\u003c/a> (SFBACC) is hosting the event, which puts curlers of all skill levels onto the ice. Teams with names such as Game of Stones, and Star Wars: The Frost Awakens will play through Sunday until four champions emerge, to be awarded a bottle of wine and medals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bourassa arrived last night to train local curlers in the science and art of maintaining their ice.\u003c/p>\n\u003cp>“He is a true ice meister,” says Brent Halpenny, former president of the SFBACC who attended the training. “He does amazing things with water. It’s the only way to word it.”\u003c/p>\n\u003cfigure id=\"attachment_730414\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-730414\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice.jpg\" alt=\"Bay Area curlers flood the ice at the Sharks Ice Facility in Fremont during a course with Jamie Bourassa, one of the world's best curling ice technicians. They need to make the surface as level as possible for the curling tournament. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area curlers and enthusiasts flood the ice at the Sharks Ice Facility in Fremont during a course with Jamie Bourassa, one of the world’s best curling ice technicians. They need to make the surface as level as possible for the curling tournament. \u003ccite>(Loreen Makishima-Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Science and Art of Making Ice\u003c/strong>\u003c/p>\n\u003cp>Curling is all about reading the ice. One person glides the 42-pound curling stone toward a bulls-eye at the end of the court. The rock veers in one way or the other—that’s the curl. The frantic brushing melts the surface of the ice to coax the stone a little farther or prevent it from curling too far astray.\u003c/p>\n\u003cp>The strategy of curling begins long before anyone throws the first stone.\u003c/p>\n\u003cp>“The better we make the playing surface, the better the players can play,” Bourassa says. He prepped the ice for the Winter Olympics in Sochi, and does the same for curling championships all over the world.\u003c/p>\n\u003cp>The first step is to level the ice. Ice technicians use lasers to map the hills and dips carved out by hockey skates. A Zamboni shaves away the highs and technicians flood low points with water as pure as they can get.\u003c/p>\n\u003cp>“If you use the tap water in an ice tray, you’ll feel rough patches on the ice cubes,” Bourassa says. “You don’t with pure water.”\u003c/p>\n\u003cp>Next comes the pebbler. Armed with a water-filled backpack and hose, a technician walks backward, spraying the hose back and forth until the ice sheet is covered in tiny bumps. The brooms melt the tops of the pebbles, creating a rounded, slick pathway to gently nudge the rock in one way or the other.\u003c/p>\n\u003cfigure id=\"attachment_730415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-730415\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-800x1067.jpg\" alt=\"Armed with water-filled backpacks, pebblers spray water droplets across the entire court in the early hours before the 2016 Golden Gate Bonspiel. The droplets freeze into icy pebbles, over which the curling stones glide. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Armed with water-filled backpacks, pebblers spray water droplets across the entire court in the early hours before the 2016 Golden Gate Bonspiel. The droplets freeze into icy pebbles, over which the curling stones glide. \u003ccite>(Loreen Makishima-Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chess on the Ice\u003c/strong>\u003c/p>\n\u003cp>By the end of a curling round a dozen stones may crowd the bulls-eye and only the rock closest to the center takes the point. The team’s last thrower, called the skip, must set up her shot to knock out the opponent’s stones or pull off a tricky curl.\u003c/p>\n\u003cp>“They call it chess on the ice,” says Loreen Makishima-Wolf, 51, who will compete on the team The Dancing Minas. Makishima-Wolf prefers to throw early when the ice is clear, but still feels the pressure if her throws go sour.\u003c/p>\n\u003cp>“It sets the table,” she says. “If I have a lousy game, and don’t put my rocks in play at all, it leaves it open for the other team. If I don’t do my job, I make it harder for everybody else.”\u003c/p>\n\u003cp>The throws called shots get the stone closest to the middle point and are the heart of the game, showcasing the skill of the thrower. The brushes that launched the broomgate controversy compromised that, Bourassa says.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.worldcurling.org/\" target=\"_blank\" rel=\"noopener\">World Curling Federation\u003c/a> noticed during competitions last fall that some of the brooms seemed to change the rock’s original trajectory, and they banned them.\u003c/p>\n\u003cp>“It got to the point where the sweeping was making a greater difference in shot-making than the actual shot-making,” Bourassa says.\u003c/p>\n\u003cp>In the end, curlers are looking for a great shot. The sport has strong rules of etiquette to keep it friendly.\u003c/p>\n\u003cp>“If someone has a good shot, they say, ‘Hey, good shot!” says Debbie Doherty, chair of the 2016 Golden Gate Bonspiel. “And the winner buys the first round of drinks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Curious about curling? You can check out the \u003ca href=\"http://www.goldengatebonspiel.com/\" target=\"_blank\" rel=\"noopener\">2016 Golden Gate Bonspiel\u003c/a> at the Sharks Ice Facility in Fremont or watch the \u003ca href=\"https://www.youtube.com/user/bayareacurling?app=desktop\" target=\"_blank\" rel=\"noopener\">live stream\u003c/a> here!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I bet you didn’t know there’s a major controversy sweeping through the world of curling. Yes, that quirky sport that pops up on TV during the Winter Olympics actually spawned a worldwide scandal—not over drugs, not over bribes, but over brooms.\u003c/p>\n\u003cp>It’s about new fabrics on the brooms that curlers use to sweep the ice in front of the stone, and it’s bad enough that ice experts and top athletes are calling it “broomgate.” They gathered in Kemptville, Canada this week to investigate the contentious brooms that were changing the way this 500-year-old game was played.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It got to the point where the sweeping was making a greater difference in shot-making than the actual shot-making.’\u003ccite>Jaime Bourassa, Olympic ice technician\u003c/cite>\u003c/aside>\n\u003cp>Jamie Bourassa stood among them, an Olympic-level ice technician there to help resolve the controversy. He and the rest of the Sweeping Summit tested the disputed brooms to see which ones had too strong an influence on the stones. The World Curling Federation will use the data to vote in September on new rules for brooms.\u003c/p>\n\u003cp>After the summit, Bourassa flew straight to the Sharks Ice Facility in Fremont to prep for the Bay Area’s annual curling tournament, held the weekend before Memorial Day.\u003c/p>\n\u003cp>At the \u003ca href=\"http://www.goldengatebonspiel.com\" target=\"_blank\" rel=\"noopener\">2016 Golden Gate Bonspiel\u003c/a>, curling teams from the Bay Area and beyond will sweep and glide their way to glory. The \u003ca href=\"http://www.bayareacurling.com\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Curling Club\u003c/a> (SFBACC) is hosting the event, which puts curlers of all skill levels onto the ice. Teams with names such as Game of Stones, and Star Wars: The Frost Awakens will play through Sunday until four champions emerge, to be awarded a bottle of wine and medals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bourassa arrived last night to train local curlers in the science and art of maintaining their ice.\u003c/p>\n\u003cp>“He is a true ice meister,” says Brent Halpenny, former president of the SFBACC who attended the training. “He does amazing things with water. It’s the only way to word it.”\u003c/p>\n\u003cfigure id=\"attachment_730414\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-730414\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice.jpg\" alt=\"Bay Area curlers flood the ice at the Sharks Ice Facility in Fremont during a course with Jamie Bourassa, one of the world's best curling ice technicians. They need to make the surface as level as possible for the curling tournament. \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Flooding-the-Ice-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area curlers and enthusiasts flood the ice at the Sharks Ice Facility in Fremont during a course with Jamie Bourassa, one of the world’s best curling ice technicians. They need to make the surface as level as possible for the curling tournament. \u003ccite>(Loreen Makishima-Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Science and Art of Making Ice\u003c/strong>\u003c/p>\n\u003cp>Curling is all about reading the ice. One person glides the 42-pound curling stone toward a bulls-eye at the end of the court. The rock veers in one way or the other—that’s the curl. The frantic brushing melts the surface of the ice to coax the stone a little farther or prevent it from curling too far astray.\u003c/p>\n\u003cp>The strategy of curling begins long before anyone throws the first stone.\u003c/p>\n\u003cp>“The better we make the playing surface, the better the players can play,” Bourassa says. He prepped the ice for the Winter Olympics in Sochi, and does the same for curling championships all over the world.\u003c/p>\n\u003cp>The first step is to level the ice. Ice technicians use lasers to map the hills and dips carved out by hockey skates. A Zamboni shaves away the highs and technicians flood low points with water as pure as they can get.\u003c/p>\n\u003cp>“If you use the tap water in an ice tray, you’ll feel rough patches on the ice cubes,” Bourassa says. “You don’t with pure water.”\u003c/p>\n\u003cp>Next comes the pebbler. Armed with a water-filled backpack and hose, a technician walks backward, spraying the hose back and forth until the ice sheet is covered in tiny bumps. The brooms melt the tops of the pebbles, creating a rounded, slick pathway to gently nudge the rock in one way or the other.\u003c/p>\n\u003cfigure id=\"attachment_730415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-730415\" src=\"http://ww2.kqed.org/science/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-800x1067.jpg\" alt=\"Armed with water-filled backpacks, pebblers spray water droplets across the entire court in the early hours before the 2016 Golden Gate Bonspiel. The droplets freeze into icy pebbles, over which the curling stones glide. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-1440x1920.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/35/2016/05/Pebblers-e1464366885905.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Armed with water-filled backpacks, pebblers spray water droplets across the entire court in the early hours before the 2016 Golden Gate Bonspiel. The droplets freeze into icy pebbles, over which the curling stones glide. \u003ccite>(Loreen Makishima-Wolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chess on the Ice\u003c/strong>\u003c/p>\n\u003cp>By the end of a curling round a dozen stones may crowd the bulls-eye and only the rock closest to the center takes the point. The team’s last thrower, called the skip, must set up her shot to knock out the opponent’s stones or pull off a tricky curl.\u003c/p>\n\u003cp>“They call it chess on the ice,” says Loreen Makishima-Wolf, 51, who will compete on the team The Dancing Minas. Makishima-Wolf prefers to throw early when the ice is clear, but still feels the pressure if her throws go sour.\u003c/p>\n\u003cp>“It sets the table,” she says. “If I have a lousy game, and don’t put my rocks in play at all, it leaves it open for the other team. If I don’t do my job, I make it harder for everybody else.”\u003c/p>\n\u003cp>The throws called shots get the stone closest to the middle point and are the heart of the game, showcasing the skill of the thrower. The brushes that launched the broomgate controversy compromised that, Bourassa says.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.worldcurling.org/\" target=\"_blank\" rel=\"noopener\">World Curling Federation\u003c/a> noticed during competitions last fall that some of the brooms seemed to change the rock’s original trajectory, and they banned them.\u003c/p>\n\u003cp>“It got to the point where the sweeping was making a greater difference in shot-making than the actual shot-making,” Bourassa says.\u003c/p>\n\u003cp>In the end, curlers are looking for a great shot. The sport has strong rules of etiquette to keep it friendly.\u003c/p>\n\u003cp>“If someone has a good shot, they say, ‘Hey, good shot!” says Debbie Doherty, chair of the 2016 Golden Gate Bonspiel. “And the winner buys the first round of drinks.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Curious about curling? You can check out the \u003ca href=\"http://www.goldengatebonspiel.com/\" target=\"_blank\" rel=\"noopener\">2016 Golden Gate Bonspiel\u003c/a> at the Sharks Ice Facility in Fremont or watch the \u003ca href=\"https://www.youtube.com/user/bayareacurling?app=desktop\" target=\"_blank\" rel=\"noopener\">live stream\u003c/a> here!\u003c/p>\n\n\u003c/div>\u003c/p>",
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