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"content": "\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oddNibVais8\u003c/p>\n\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HCanZehKVD0\u003c/p>\n\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DCyAE-UJVng\u003c/p>\n\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two new releases span generations of influences, one a massive tribute to The Grateful Dead organized by members of the National with a wide-ranging roster of artists and approaches to the Dead's catalog -- the other a young band from East L.A. filtering several eras of punk, metal, goth and regular ol' rock into a freshly intense sound.\u003c/p>\n\u003cp>\u003cstrong>Various Artists, “Day of the Dead”\u003c/strong>\u003c/p>\n\u003cp>Even the hardest-core Deadheads might be stumped on hearing veteran Senegalese band Orchestra Baobab’s version of the Grateful Dead’s “Franklin’s Tower.” Originally a bouncy shuffle from the 1975 album “Blues for Allah,” here it’s turned into a burbly West African highlife dance tune. But it’s just one of the unexpected highlights of the very wide-ranging tribute album, \u003ca href=\"http://www.dayofthedeadmusic.com\">“Day of the Dead.”\u003c/a>\u003c/p>\n\u003cp>Well, it’s not a full day, but at 5½ hours it might be more Grateful Dead covers than most people really need. Even the most devoted Deadheads who followed the band on tour have collected countless hours of concert tapes and, in recent years, even snapped up such massive releases as the full run of every minute of every show on the famed Europe ’72 tour.\u003c/p>\n\u003cp>Not to mention the many who have flocked to various post-Dead shows since Jerry Garcia’s death in 1995, through last summer’s Fare Thee Well shows with all the surviving members, into the current Dead & Co. with several of them joined by John Mayer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/oddNibVais8'\n title='//www.youtube.com/embed/oddNibVais8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That said, “Day of the Dead” is a monumental labor of love, and one for a good cause, being the latest in the “Red Hot” tribute series dedicated to HIV/AIDS issues since its first album, “Red Hot + Blue” back in 1990. The loving laborers here are twin brothers Aaron and Bryce Dessner from the band the National, who conceived and produced this set with an imaginative, sweeping run of artists and approaches to the Dead’s iconic catalog.\u003c/p>\n\u003cp>Among those enlisted, naturally, is a range of artists who have added their own creative stamp to American music. Wilco and the National (each in concert performances, joined by real live Deadster Bob Weir), Jim James of My Morning Jacket, Kurt Vile, Lucinda Williams, Flaming Lips, England’s Mumford & Sons, just to name a few. But what really gives this distinction are contributions from a variety of experimental and “serious” composers (a “Drums and Space” excursion teaming the band Man Forever with the So Percussion ensemble and art-rockers Oneida, and “Garcia Counterpoint,” fashioned by Bryce Dessner, who has been earning a reputation as a respected classical composer) and, in some ways most intriguingly, several African acts (South African group Tal National as well as Orchestra Baobab).\u003c/p>\n\u003cp>At times it seems a haphazard, hit-and-miss presentation. Just as Dead shows could be, of course. But often enough, the sequences are marked by flowing ideas, swooping from grace to power, from earthy American roots to time-stretching space, all with emotional resonance and sparkle. Just as Dead shows at their best could be, of course.\u003c/p>\n\u003cp>The bulk of the performers don’t stray too far from the Dead’s original versions. That’s OK. The architecture of the songs — mostly written by the team of Garcia and lyricist Robert Hunter, others by Bob Weir and John Perry Barlow, and still more folk and blues chestnuts — is sturdy. That’s what gave the Dead the framework in which to move in various directions in the course of a song, and a song’s evolution over the years. So here it allows some astute artists to give their own distinctive takes without straying too far from the blueprint. Courtney Barnett’s version of blues churner “New Speedway Boogie” is one such example. Jim James and Friends’ “Candyman” another. And one of the best is a bubbly, sunshine-filled take on “Sugaree,” teaming L.A. band Phosphorescent with singer Jenny Lewis.\u003c/p>\n\u003cp>On the other side of things, Marijuana Deathsquad (how could an act named that not be part of this project?) de- and re-constructs the anthemic narrative “Truckin’ ” into something in places closer to the Residents than the Dead. The Rileys strip Weir’s 7/4 reggae excursion “Estimated Prophet” of everything but its chord progression and then layer on bits of ambient and dissonant noise. The ensemble s t a r g a z e turns the already inner-space-exploring “What’s Become of the Baby” into an electronics-enhanced vocal chorale that could stand on the classical vocal circuit repertoire. And Vijay Iyer, the jazz star, turns “King Solomon’s Marbles,” originally a percussion-heavy instrumental from the 1975 album “Blues for Allah,” into an impressionist set of piano variations.\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/HCanZehKVD0'\n title='//www.youtube.com/embed/HCanZehKVD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here and there, and arguably too rarely, an artist manages to keep the song’s essential spirit \u003ci>and \u003c/i>reset it in a new style altogether. The best of these may be where southern R&B belter Charles Bradley and the Menahan Street Band turn “Cumberland Blues,” originally a folk-country saga, into a sunk-soul grinder. To this point, the definitive Dead tributes were the two “Deadicated” collections from the mid-’90s. Those showed the wide appeal and affection for the Dead, with Paul McCartney, Elvis Costello and Perry Farrell among those paying tribute. “Day of the Dead” shows that, a couple of decades on from Jerry Garcia’s death, that embrace is even wider and stronger.\u003c/p>\n\u003cp>\u003cstrong>Stars at Night, “Stars at Night”\u003c/strong>\u003c/p>\n\u003cp>It’s just \u003ca href=\"https://www.youtube.com/watch?v=0ci0ajuKXwA\">a crude iPhone video\u003c/a>, shot a few months ago at the Black Rose pub on Pico in Los Angeles. But it pretty well captures the exciting intensity, and perhaps even sense of “discovery,” felt in seeing the young East L.A. band Stars at Night for the first time.\u003c/p>\n\u003cp>In the song, “Searching,” the quartet plays with tight control (they also have a song, “Control,” one of two that appear in both English and Spanish versions on the band’s new album), while teetering toward chaos, (the other both-languages song is titled “Shake Me”). It’s an edgy, uncertain balance that is at the core of some of the most exciting rock. And singer Irene Quiles manages to seem at once studied — she knows her Johnny, her Siouxsie, her Courtney — and combustibly spontaneous, as her bandmates fire away with dark fury. Joana Rubio’s thunderous drums often as not lead the charge, with Seleste Diaz’s stinging guitar and Elizabeth Banuelos’ roaring bass in overdrive.\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/DCyAE-UJVng'\n title='//www.youtube.com/embed/DCyAE-UJVng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album “Stars at Night” — a debut of sorts, as a hasty 2010 release from the then-nascent band (with a somewhat different lineup) doesn’t really count — does not match the intensity of the show. Of course not. How could it? But it comes admirably close.\u003c/p>\n\u003cp>Here we have a strong first/second step from a band feeling its way on a DIY learning curve. Equal love for punk, metal and goth are evident throughout. You get the impression that they grew up in homes where Guns N’ Roses and the Cure were both favorites, but that they discovered Hole and Joy Division on their own. Sabbath, too. Here we have what is still very much a local band, tied to its East L.A. and Echo Park roots — a generation or two on from Los Lobos, closer to that band’s musical kids (including the son of Louie Perez and daughter of Cesar Rosas with their band LP3 & the Tragedy) in spirit and cultural orientation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stars at Night hasn’t even been on a proper tour yet, though they are about to go to Europe, so there's a long way to go for Stars to make a mark. But for now they carry that excitement of discovery that comes from a young band bursting with energy and spirit while playing loud, expressive, even aggressive music wherever someone will let them. It was true in the sock-hop era. It’s true in the iPhone and YouTube age.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mark Zuckerberg on Wednesday held a wide-ranging discussion with a group of conservative commentators who said afterward the Facebook CEO acknowledged the giant social network has a problem reaching conservatives.\u003c/p>\n\u003cp>The meeting at Facebook's Menlo Park headquarters came about after a report accused the company of harboring a bias against conservative views.\u003c/p>\n\u003cp>S.E. Cupp, a columnist with the New York Daily News who attended the meeting, said Facebook executives \"were very clear to acknowledge that there is a problem and the problem is a serious one.\"\u003c/p>\n\u003cp>Cupp said Zuckerberg, Chief Operating Officer Sheryl Sandberg, Vice President Joel Kaplan and board member Peter Thiel mostly listened to the 17 conservatives who attended.\u003c/p>\n\u003cp>While the Facebook executives did not comment further on an internal investigation into allegations of political manipulation, they explained how difficult it would be for Facebook employees to inject bias into what stories make it into the \"trending topics\" section of the site or on individual users' news feeds, Cupp said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Facebook team also said any such tampering would be \"philosophically against both the mission of the company and Mark's personal mission,\" Cupp said. \"I believed them.\"\u003c/p>\n\u003cp>Rob Bluey, editor-in-chief of the website The Daily Signal, made similar comments to Fox News' Greta Van Susteren shortly after the meeting ended.\u003c/p>\n\u003cp>\"They certainly acknowledged that there was a problem with getting the message out to conservatives,\" he said.\u003c/p>\n\u003cp>Facebook spokesman Andy Stone confirmed that was the tenor of the meeting.\u003c/p>\n\u003cp>In a Facebook post afterward, Zuckerberg did not directly respond to allegations that Facebook employees suppressed conservative stories on its \"trending topics\" feature. But he said, \"I know many conservatives don't trust that our platform surfaces content without a political bias.\"\u003c/p>\n\u003cp>\"I wanted to hear their concerns personally and have an open conversation about how we can build trust. I want to do everything I can to make sure our teams uphold the integrity of our products,\" he wrote.\u003c/p>\n\u003cp>Among others in attendance, according to Facebook, were radio host Glenn Beck, American Enterprise Institute President Arthur Brooks, Tea Party Patriots CEO Jenny Beth Martin and Brent Bozell, president of the Media Research Center.\u003c/p>\n\u003cp>Bozell said in a statement afterward that the meeting was \"very productive.\"\u003c/p>\n\u003cp>\"There has been a serious issue of trust within the conservative movement about this issue, but everyone in that room, on both sides, wants to see it restored,\" he said.\u003c/p>\n\u003cp>Zuckerberg invited the group after the tech blog Gizmodo claimed that Facebook downplays conservative news subjects on its trending feature. Facebook denied the report, which relied upon a single anonymous individual with self-described conservative leanings. The company said it is investigating the matter.\u003c/p>\n\u003cp>Cupp said the viewpoints of the conservatives and the Facebook executives were aligned on issues such as data security, privacy, deregulation and free markets.\u003c/p>\n\u003cp>\"We have a lot more in common than public perception would have you believe,\" she said.\u003c/p>\n\u003cp>Facebook's trending topics are most visible on the desktop version of the social network, although it is possible to access them on mobile, too.\u003c/p>\n\u003cp>On browsers, the topics appear on the top right corner, separate from the news feed containing updates from your friends and family. On mobile devices, users can tap on the search bar to see the top trends, but they can't see separate categories.\u003c/p>\n\u003cp>Topics that appear as trending can have a self-fulfilling effect, as more Facebook readers see and share the items, and other news organizations decide to write their own stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Technology Writer Barbara Ortutay in New York contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Facebook team also said any such tampering would be \"philosophically against both the mission of the company and Mark's personal mission,\" Cupp said. \"I believed them.\"\u003c/p>\n\u003cp>Rob Bluey, editor-in-chief of the website The Daily Signal, made similar comments to Fox News' Greta Van Susteren shortly after the meeting ended.\u003c/p>\n\u003cp>\"They certainly acknowledged that there was a problem with getting the message out to conservatives,\" he said.\u003c/p>\n\u003cp>Facebook spokesman Andy Stone confirmed that was the tenor of the meeting.\u003c/p>\n\u003cp>In a Facebook post afterward, Zuckerberg did not directly respond to allegations that Facebook employees suppressed conservative stories on its \"trending topics\" feature. But he said, \"I know many conservatives don't trust that our platform surfaces content without a political bias.\"\u003c/p>\n\u003cp>\"I wanted to hear their concerns personally and have an open conversation about how we can build trust. I want to do everything I can to make sure our teams uphold the integrity of our products,\" he wrote.\u003c/p>\n\u003cp>Among others in attendance, according to Facebook, were radio host Glenn Beck, American Enterprise Institute President Arthur Brooks, Tea Party Patriots CEO Jenny Beth Martin and Brent Bozell, president of the Media Research Center.\u003c/p>\n\u003cp>Bozell said in a statement afterward that the meeting was \"very productive.\"\u003c/p>\n\u003cp>\"There has been a serious issue of trust within the conservative movement about this issue, but everyone in that room, on both sides, wants to see it restored,\" he said.\u003c/p>\n\u003cp>Zuckerberg invited the group after the tech blog Gizmodo claimed that Facebook downplays conservative news subjects on its trending feature. Facebook denied the report, which relied upon a single anonymous individual with self-described conservative leanings. The company said it is investigating the matter.\u003c/p>\n\u003cp>Cupp said the viewpoints of the conservatives and the Facebook executives were aligned on issues such as data security, privacy, deregulation and free markets.\u003c/p>\n\u003cp>\"We have a lot more in common than public perception would have you believe,\" she said.\u003c/p>\n\u003cp>Facebook's trending topics are most visible on the desktop version of the social network, although it is possible to access them on mobile, too.\u003c/p>\n\u003cp>On browsers, the topics appear on the top right corner, separate from the news feed containing updates from your friends and family. On mobile devices, users can tap on the search bar to see the top trends, but they can't see separate categories.\u003c/p>\n\u003cp>Topics that appear as trending can have a self-fulfilling effect, as more Facebook readers see and share the items, and other news organizations decide to write their own stories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Technology Writer Barbara Ortutay in New York contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Up at the summit of Yerba Buena Island, at the top of a lone tower, sits the Signal Room. It’s a treasure hidden in plain sight that boasts incredible views.\u003c/p>\n\u003cp>Built in 1944, the tower was originally used for signal operations by the Navy. Since January of last year, the signal tower \u003ca href=\"http://ww2.kqed.org/news/2016/03/20/welcome-to-the-signal-room-secret-venue-for-san-franciscos-arts-underground\">has housed a secret speakeasy and cabaret\u003c/a> run by Eugene Ashton-Gonzalez. Next month the tower is scheduled to be demolished to make way for open space known, fittingly enough, as Hilltop Park.\u003c/p>\n\u003cp>“I want to stop them from tearing it down,\" says Ashton-Gonzalez. \"The Signal Room made me fall back in love with the Bay Area again.\"\u003c/p>\n\u003cp>He’s built a small community around the tower, organizing secret performances and concerts. Amid a tech boom that has displaced many artists, some saw this speakeasy as evidence that counterculture can still thrive in the Bay Area. That said, Ashton-Gonzalez wasn’t the first to use the tower as a drinking spot.\u003c/p>\n\u003cfigure id=\"attachment_10957412\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10957412\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Skye-McKee-Bar-800x533.jpeg\" alt=\"The bar up in the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-1180x786.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar up in the Signal Room. (Skye McKee)\u003c/figcaption>\u003c/figure>\n\u003cp>After the tower was retired from signal operations, it was turned into an officers' club. For years, the place was known as the Tower Club, a place where military personnel would go to drink and be merry. The bar shut down after the 1989 Loma Prieta earthquake, and the building was condemned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although planning for Hilltop Park has been underway since 2005, Ashton-Gonzalez found out about the fate planned for the signal tower only last December.\u003c/p>\n\u003cfigure id=\"attachment_10957406\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957406 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/image6-800x332.jpeg\" alt=\"A rendering of Hilltop Park on Yerba Buena Island.\" width=\"800\" height=\"332\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-800x332.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-400x166.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-1920x796.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-1180x489.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-960x398.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Hilltop Park on Yerba Buena Island.\u003c/figcaption>\u003c/figure>\n\u003cp>\"I actually felt energized by history, honestly. They used to call it ‘the tower that talks,' \" Ashton-Gonzalez says. \"... I felt I needed to double down and bring as many people up to the Signal Room as I could, to share it with as many people as possible. I wanted this little cabaret to stand for something bigger for San Francisco.\"\u003c/p>\n\u003cp>At first, Ashton-Gonzalez looked into using environmental law to save the tower, claiming historical significance. But the argument for historical preservation became more difficult when it was revealed that the tower was younger than he previously believed. He didn’t realize that a tower built in 1917 was replaced by a remarkably similar one in 1944. But Ashton-Gonzalez is still trying to find ways to save the structure.\u003c/p>\n\u003cp>[contextly_sidebar id=\"1IYO4j18jrlBfpIzaO1VbO5sRbUvGZGp\"]\u003c/p>\n\u003cp>Bob Beck, director of the city's Treasure Island Development Authority, says he can't recommend saving the tower.\u003c/p>\n\u003cp>“The merit of the building lies in being able to go up into the tower,\" he says. \"But, if you want it to be publicly accessible, then you’d have to install an elevator. That would be a significant structural investment. You’d end up with little space for the actual observation deck and it would hinder the views. It wouldn’t be the space that it is today.”\u003c/p>\n\u003cp>Beck adds he can't endorse Ashton-Gonzalez's transformation of the tower into the Signal Room.\u003c/p>\n\u003cp>\"There’s signs posted on the structure advising against trespassing,\" Beck said. \"[Ashton-Gonzalez’s] use has been a trespass. He’s taken the facility for a private use and it’s not a replicable or sustainable use.\"\u003c/p>\n\u003cfigure id=\"attachment_10957409\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957409 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Yesenia-Lara-800x534.jpeg\" alt=\"“Sailors Signaling Other Sailors” a performance by Torreya Cummings held in the Signal Room.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-800x534.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-1920x1282.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-1180x788.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-960x641.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Sailors Signaling Other Sailors,' a performance by Torreya Cummings held in the Signal Room. \u003ccite>(Yesenia Lara)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kheay Loke, the senior development manager at Wilson Meany, the co-developer with Lennar and Stockbridge on the hilltop project, says the open space at the island's summit is designed to provide better public access to the site's special views.\u003c/p>\n\u003cp>\"It will be a really nice series of parks with trails connecting them, Loke says. \"So people can enjoy the great view of the bay and surrounding hills.\"\u003c/p>\n\u003cfigure id=\"attachment_10957411\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957411 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Skye-McKee-800x533.jpeg\" alt=\"The view from the Signal Room, facing west towards the Golden Gate.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-1180x786.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room, facing west toward the Golden Gate. \u003ccite>(Skye McKee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hilltop Park project has a budget of $4 million and is set to be completed sometime in 2018. Downhill from the park, developers plan to build 200 to 300 townhouses. To make way for the homes and parks, about 60 existing units are slated for demolition beginning next month. There is no set demolition date for the Signal Room, but Loke doesn’t believe plans will change.\u003c/p>\n\u003cp>\"Saving the tower isn’t compatible with the current plan,” he says.\u003c/p>\n\u003cp>Loke knows about Ashton-Gonzalez, but isn't thrilled by what he's been doing at the Signal Room.\u003c/p>\n\u003cp>\"I’m aware that someone has been trying to save the building,\" he says. \"It’s been a nuisance and annoyance. He has never officially contacted, but we do try to listen to the opinions out there.\"\u003c/p>\n\u003cp>Ashton-Gonzalez says he’s met employees of one developer, Lennar, at social events and hopes these informal connections will help rescue the tower. He won’t disclose names, but he says he’s also brought a number of San Francisco city officials up into the tower in hopes of saving it. However, these efforts have been cut short after the developers installed gates and padlocks around the entrances.\u003c/p>\n\u003cfigure id=\"attachment_10957407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957407 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Paul-Hayes-800x450.jpeg\" alt=\"Paul Hayes\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-960x540.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art installation in the Signal Room by Paul Hayes. \u003ccite>(Paul Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those officials have been members of the city's Arts Commission, Ashton-Gonzalez says. He hopes to turn the building into an architectural sculpture if it can’t be maintained as a publicly accessible building. Ashton-Gonzalez says he’s talked to a local artist, \u003ca href=\"http://www.metaphorm.org/\">Brian Goggin\u003c/a>, about turning it into an installation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Arts Commission declined comment on the tower. Although there are plans to build \u003ca href=\"http://ww2.kqed.org/arts/2015/07/21/city-plans-to-transform-treasure-island-with-50-million-for-public-art/\">sculpture gardens \u003c/a>elsewhere on Yerba Buena Island, it looks as if the tower will be gone long before sculptures and artists are selected.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Up at the summit of Yerba Buena Island, at the top of a lone tower, sits the Signal Room. It’s a treasure hidden in plain sight that boasts incredible views.\u003c/p>\n\u003cp>Built in 1944, the tower was originally used for signal operations by the Navy. Since January of last year, the signal tower \u003ca href=\"http://ww2.kqed.org/news/2016/03/20/welcome-to-the-signal-room-secret-venue-for-san-franciscos-arts-underground\">has housed a secret speakeasy and cabaret\u003c/a> run by Eugene Ashton-Gonzalez. Next month the tower is scheduled to be demolished to make way for open space known, fittingly enough, as Hilltop Park.\u003c/p>\n\u003cp>“I want to stop them from tearing it down,\" says Ashton-Gonzalez. \"The Signal Room made me fall back in love with the Bay Area again.\"\u003c/p>\n\u003cp>He’s built a small community around the tower, organizing secret performances and concerts. Amid a tech boom that has displaced many artists, some saw this speakeasy as evidence that counterculture can still thrive in the Bay Area. That said, Ashton-Gonzalez wasn’t the first to use the tower as a drinking spot.\u003c/p>\n\u003cfigure id=\"attachment_10957412\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10957412\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Skye-McKee-Bar-800x533.jpeg\" alt=\"The bar up in the Signal Room.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-1180x786.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-Bar.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The bar up in the Signal Room. (Skye McKee)\u003c/figcaption>\u003c/figure>\n\u003cp>After the tower was retired from signal operations, it was turned into an officers' club. For years, the place was known as the Tower Club, a place where military personnel would go to drink and be merry. The bar shut down after the 1989 Loma Prieta earthquake, and the building was condemned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although planning for Hilltop Park has been underway since 2005, Ashton-Gonzalez found out about the fate planned for the signal tower only last December.\u003c/p>\n\u003cfigure id=\"attachment_10957406\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957406 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/image6-800x332.jpeg\" alt=\"A rendering of Hilltop Park on Yerba Buena Island.\" width=\"800\" height=\"332\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-800x332.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-400x166.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-1920x796.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-1180x489.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/image6-960x398.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Hilltop Park on Yerba Buena Island.\u003c/figcaption>\u003c/figure>\n\u003cp>\"I actually felt energized by history, honestly. They used to call it ‘the tower that talks,' \" Ashton-Gonzalez says. \"... I felt I needed to double down and bring as many people up to the Signal Room as I could, to share it with as many people as possible. I wanted this little cabaret to stand for something bigger for San Francisco.\"\u003c/p>\n\u003cp>At first, Ashton-Gonzalez looked into using environmental law to save the tower, claiming historical significance. But the argument for historical preservation became more difficult when it was revealed that the tower was younger than he previously believed. He didn’t realize that a tower built in 1917 was replaced by a remarkably similar one in 1944. But Ashton-Gonzalez is still trying to find ways to save the structure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bob Beck, director of the city's Treasure Island Development Authority, says he can't recommend saving the tower.\u003c/p>\n\u003cp>“The merit of the building lies in being able to go up into the tower,\" he says. \"But, if you want it to be publicly accessible, then you’d have to install an elevator. That would be a significant structural investment. You’d end up with little space for the actual observation deck and it would hinder the views. It wouldn’t be the space that it is today.”\u003c/p>\n\u003cp>Beck adds he can't endorse Ashton-Gonzalez's transformation of the tower into the Signal Room.\u003c/p>\n\u003cp>\"There’s signs posted on the structure advising against trespassing,\" Beck said. \"[Ashton-Gonzalez’s] use has been a trespass. He’s taken the facility for a private use and it’s not a replicable or sustainable use.\"\u003c/p>\n\u003cfigure id=\"attachment_10957409\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957409 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Yesenia-Lara-800x534.jpeg\" alt=\"“Sailors Signaling Other Sailors” a performance by Torreya Cummings held in the Signal Room.\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-800x534.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-1920x1282.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-1180x788.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara-960x641.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Yesenia-Lara.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">'Sailors Signaling Other Sailors,' a performance by Torreya Cummings held in the Signal Room. \u003ccite>(Yesenia Lara)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kheay Loke, the senior development manager at Wilson Meany, the co-developer with Lennar and Stockbridge on the hilltop project, says the open space at the island's summit is designed to provide better public access to the site's special views.\u003c/p>\n\u003cp>\"It will be a really nice series of parks with trails connecting them, Loke says. \"So people can enjoy the great view of the bay and surrounding hills.\"\u003c/p>\n\u003cfigure id=\"attachment_10957411\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957411 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Skye-McKee-800x533.jpeg\" alt=\"The view from the Signal Room, facing west towards the Golden Gate.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-800x533.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-400x267.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-1920x1280.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-1180x786.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee-960x640.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Skye-McKee.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The view from the Signal Room, facing west toward the Golden Gate. \u003ccite>(Skye McKee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hilltop Park project has a budget of $4 million and is set to be completed sometime in 2018. Downhill from the park, developers plan to build 200 to 300 townhouses. To make way for the homes and parks, about 60 existing units are slated for demolition beginning next month. There is no set demolition date for the Signal Room, but Loke doesn’t believe plans will change.\u003c/p>\n\u003cp>\"Saving the tower isn’t compatible with the current plan,” he says.\u003c/p>\n\u003cp>Loke knows about Ashton-Gonzalez, but isn't thrilled by what he's been doing at the Signal Room.\u003c/p>\n\u003cp>\"I’m aware that someone has been trying to save the building,\" he says. \"It’s been a nuisance and annoyance. He has never officially contacted, but we do try to listen to the opinions out there.\"\u003c/p>\n\u003cp>Ashton-Gonzalez says he’s met employees of one developer, Lennar, at social events and hopes these informal connections will help rescue the tower. He won’t disclose names, but he says he’s also brought a number of San Francisco city officials up into the tower in hopes of saving it. However, these efforts have been cut short after the developers installed gates and padlocks around the entrances.\u003c/p>\n\u003cfigure id=\"attachment_10957407\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10957407 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Paul-Hayes-800x450.jpeg\" alt=\"Paul Hayes\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-800x450.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-400x225.jpeg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-1180x664.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes-960x540.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Paul-Hayes.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An art installation in the Signal Room by Paul Hayes. \u003ccite>(Paul Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those officials have been members of the city's Arts Commission, Ashton-Gonzalez says. He hopes to turn the building into an architectural sculpture if it can’t be maintained as a publicly accessible building. Ashton-Gonzalez says he’s talked to a local artist, \u003ca href=\"http://www.metaphorm.org/\">Brian Goggin\u003c/a>, about turning it into an installation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Arts Commission declined comment on the tower. Although there are plans to build \u003ca href=\"http://ww2.kqed.org/arts/2015/07/21/city-plans-to-transform-treasure-island-with-50-million-for-public-art/\">sculpture gardens \u003c/a>elsewhere on Yerba Buena Island, it looks as if the tower will be gone long before sculptures and artists are selected.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Rambling Minors: California's Next Generation of Bluegrass",
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"content": "\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/264036523\" 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>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\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/264036523&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/264036523'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The World According to Sound: Mud You'll Want to Listen To",
"title": "The World According to Sound: Mud You'll Want to Listen To",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>All day we had been driving down streets lined with abandoned homes and undeveloped lots. We stopped to photograph the thousands and thousands of dead fish washed up onshore. It was hot and they were rotting. We met an old man sitting at a desk chair nailed to the end of a wooden dock.\u003c/p>\n\u003cp>“The Salton Sea is drying up,” he said, “and no one cares.”\u003c/p>\n\u003cp>As we talked the wind picked up, blowing polluted, powdery soil off the exposed seabed and into our faces. On the way out of town we saw a brown sign advertising mud pots, a tourist attraction. So we went.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/264033749\" 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 Salton Sea is a perfect habitat for mud pots. The area has a \u003ca href=\"http://saltonseamuseum.org/salton_sea_history.html\">peculiar history\u003c/a>. It was once an inland sea, then the delta of the Colorado River. Since the turn of the 20th century it has been a man-made salt lake surrounded by farms. The sea had a brief moment in the 1950s as a resort spot. Real estate boomed, then busted. Today, people come to gawk at the post-apocalyptic landscape and a community of drifters that \u003ca href=\"http://www.salvationmountain.us/\">painted a mountain for Jesus\u003c/a>. Some, though, come to see mud pots.\u003c/p>\n\u003cfigure id=\"attachment_10953528\" class=\"wp-caption alignright\" style=\"max-width: 376px\">\u003cimg class=\" wp-image-10953528\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-800x1200.jpg\" alt=\"Mud pots have a lot to say.\" width=\"376\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-400x600.jpg 400w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003cfigcaption class=\"wp-caption-text\">Mud pots have a lot to say. \u003ccite>(Gundi Vigfusson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mud pots, \u003ca href=\"https://www.nps.gov/yell/learn/nature/mudpots.htm\">like these in Yosemite\u003c/a>, form when there is the right combination of geothermal activity, particulate soil and lack of water. The Salton Sea has plenty of geothermal activity. Geothermal power plants circle the shore, marking the landscape with their giant plumes of steam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of soil, the silty, toxic old seabed is so fine that gusts of wind turn into hazardous duststorms that now \u003ca href=\"http://www.theatlantic.com/science/archive/2015/11/the-airborne-toxic-lake-event/414888/\">pose a health crisis\u003c/a> for nearby towns. As for water, there’s not much around here besides the increasingly salty sea liquid that has \u003ca href=\"http://www.nytimes.com/2012/09/12/us/salton-sea-is-blamed-for-southern-california-stench.html?_r=0\">killed countless tilapia\u003c/a>. It’s a bad place for fish, but a great one for mud pots.\u003c/p>\n\u003cp>We followed the road sign toward the edge of the Salton Sea. The dirt road led to piles of hardened mud, some taller than a man. In the background, a large industrial plant let out a plume of steam, the only landmark on the flat landscape. It was quiet when we shut off the car. That was when we heard one.\u003c/p>\n\u003cp>A burst of steam came up through a pool of silty slurry. We watched mud spurt into the air, shot from below by geothermal heat. There were mud pots all around us.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"10953549,10953548,10953551,10953550,10953553,10953554,10953527,10953555,10953552,10953556\"]\u003c/p>\n\u003cp>Mud pots make a great range of noises -- pipping, plopping, plooping sounds. Some speak slowly, some fast. Each pot has its own particular personality.\u003c/p>\n\u003cp>We recorded some two dozen of these mud pots and mixed together all their different songs. If you want to see a pretty rad short movie that features Salton Sea mud pot footage from the 1940s, check out “\u003ca href=\"https://www.youtube.com/watch?v=K1aL6iavv70\">On The Edge\u003c/a>.” For a more modern take, \u003ca href=\"https://www.youtube.com/watch?v=a9hUsVq9q7U\">here are mud pots\u003c/a> in Yosemite.\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\u003cp>\u003c/p>\n\u003cp>Photos by the inimitable Icelandic photographer \u003ca href=\"http://www.vigfusson.com/#/\">Gundi Vigfusson\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All day we had been driving down streets lined with abandoned homes and undeveloped lots. We stopped to photograph the thousands and thousands of dead fish washed up onshore. It was hot and they were rotting. We met an old man sitting at a desk chair nailed to the end of a wooden dock.\u003c/p>\n\u003cp>“The Salton Sea is drying up,” he said, “and no one cares.”\u003c/p>\n\u003cp>As we talked the wind picked up, blowing polluted, powdery soil off the exposed seabed and into our faces. On the way out of town we saw a brown sign advertising mud pots, a tourist attraction. So we went.\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/264033749&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/264033749'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Salton Sea is a perfect habitat for mud pots. The area has a \u003ca href=\"http://saltonseamuseum.org/salton_sea_history.html\">peculiar history\u003c/a>. It was once an inland sea, then the delta of the Colorado River. Since the turn of the 20th century it has been a man-made salt lake surrounded by farms. The sea had a brief moment in the 1950s as a resort spot. Real estate boomed, then busted. Today, people come to gawk at the post-apocalyptic landscape and a community of drifters that \u003ca href=\"http://www.salvationmountain.us/\">painted a mountain for Jesus\u003c/a>. Some, though, come to see mud pots.\u003c/p>\n\u003cfigure id=\"attachment_10953528\" class=\"wp-caption alignright\" style=\"max-width: 376px\">\u003cimg class=\" wp-image-10953528\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-800x1200.jpg\" alt=\"Mud pots have a lot to say.\" width=\"376\" height=\"564\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/Sam-Harnett-interviewing-a-mud-pot.-Photo-by-Gundi-Vigfusson-400x600.jpg 400w\" sizes=\"(max-width: 376px) 100vw, 376px\">\u003cfigcaption class=\"wp-caption-text\">Mud pots have a lot to say. \u003ccite>(Gundi Vigfusson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mud pots, \u003ca href=\"https://www.nps.gov/yell/learn/nature/mudpots.htm\">like these in Yosemite\u003c/a>, form when there is the right combination of geothermal activity, particulate soil and lack of water. The Salton Sea has plenty of geothermal activity. Geothermal power plants circle the shore, marking the landscape with their giant plumes of steam. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of soil, the silty, toxic old seabed is so fine that gusts of wind turn into hazardous duststorms that now \u003ca href=\"http://www.theatlantic.com/science/archive/2015/11/the-airborne-toxic-lake-event/414888/\">pose a health crisis\u003c/a> for nearby towns. As for water, there’s not much around here besides the increasingly salty sea liquid that has \u003ca href=\"http://www.nytimes.com/2012/09/12/us/salton-sea-is-blamed-for-southern-california-stench.html?_r=0\">killed countless tilapia\u003c/a>. It’s a bad place for fish, but a great one for mud pots.\u003c/p>\n\u003cp>We followed the road sign toward the edge of the Salton Sea. The dirt road led to piles of hardened mud, some taller than a man. In the background, a large industrial plant let out a plume of steam, the only landmark on the flat landscape. It was quiet when we shut off the car. That was when we heard one.\u003c/p>\n\u003cp>A burst of steam came up through a pool of silty slurry. We watched mud spurt into the air, shot from below by geothermal heat. There were mud pots all around us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mud pots make a great range of noises -- pipping, plopping, plooping sounds. Some speak slowly, some fast. Each pot has its own particular personality.\u003c/p>\n\u003cp>We recorded some two dozen of these mud pots and mixed together all their different songs. If you want to see a pretty rad short movie that features Salton Sea mud pot footage from the 1940s, check out “\u003ca href=\"https://www.youtube.com/watch?v=K1aL6iavv70\">On The Edge\u003c/a>.” For a more modern take, \u003ca href=\"https://www.youtube.com/watch?v=a9hUsVq9q7U\">here are mud pots\u003c/a> in Yosemite.\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\u003cp>\u003c/p>\n\u003cp>Photos by the inimitable Icelandic photographer \u003ca href=\"http://www.vigfusson.com/#/\">Gundi Vigfusson\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Tenants on S.F.'s Market Street Fight Major Ellis Act Eviction",
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"content": "\u003cp>Ronnie Johnson, 49, doesn’t know what she will do if she is evicted from her rent-controlled loft in San Francisco’s Mid-Market neighborhood. She's thinking about moving in with her parents in Washington state or trying to start over in a new city.\u003c/p>\n\u003cp>In February, Johnson, along with the 22 other residential tenants in her building, received an Ellis Act eviction notice from her landlord, known as 1049 Market St. LLC.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Someone's trying to throw you out of your house, in a place where there are no other houses for you.'\u003ccite>Tony Breaux,\u003cbr>\nResident of 1049 Market St.\u003c/cite>\u003c/aside>\n\u003cp>The eviction — one of the largest Ellis Act evictions in San Francisco since the law was enacted in 1985 — comes after several years of legal battles between the tenants of 1049 Market St. and their landlord. This kind of eviction, officially called an Ellis Act withdrawal, permits building owners to evict residential tenants in order to remove their units from the residential market.\u003c/p>\n\u003cp>In this case, 1049 Market St. LLC intends to rent all of the building’s 86 units as commercial office space. But some of the building’s residential tenants say they won’t leave without a fight.\u003c/p>\n\u003cp>\u003cstrong>Building's Complicated History\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though dozens of Ellis Act evictions occur each year in San Francisco, 1049 Market St. is a unique situation and the zoning of the building has been disputed for years.\u003c/p>\n\u003cp>In 1991, the top floor of the six-floor building was permitted for live-work lofts, a type of commercial zoning specifically for tenants who operate a business out of their residence. The first through fifth floors of the building are permitted exclusively for commercial use and were never approved for residential use.\u003c/p>\n\u003cfigure id=\"attachment_10952794\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-10952794 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/eviction_still03-1920x1080.jpg\" alt=\"Ronnie Johnson's loft on the sixth floor of 1049 Market St.\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Johnson's loft on the sixth floor of 1049 Market St. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, many of the units on those floors have been rented to residential tenants since the 1990s. Many of the units have lofted beds and small kitchenettes, and most tenants share communal bathrooms on each floor.\u003c/p>\n\u003cp>In 2013, the landlord issued eviction notices to 39 units on those first five floors, citing plans to demolish the residential units and rebuild the spaces for commercial use. Those tenants have been in legal gridlock with the landlord ever since, and final decisions about the legality of the eviction are still pending in court.\u003c/p>\n\u003cp>The seven sixth-floor units were spared eviction notices because of their live-work zoning. Johnson and her neighbor, Tony Breaux, are the only residential tenants remaining on the sixth floor.\u003c/p>\n\u003cp>As other sixth-floor tenants have moved out, the landlord has begun renovating the empty units and renting them to businesses. Currently, unit 602 is rented by PritchardPeck Lighting.\u003c/p>\n\u003cp>Though Johnson and Breaux were not involved in the 2013 eviction, they have sparred separately with the landlord.\u003c/p>\n\u003cp>In 2014, Breaux filed a petition with the San Francisco Rent Board against John Gall, one of the owners of 1049 Market St. LLC, after his monthly rent was increased by nearly 13 percent, from $970 to $1,095.\u003c/p>\n\u003cp>The board ruled in Breaux’s favor, stating that no certificate of occupancy had ever been issued for the sixth floor of the building, making his unit illegal and subject to rent control laws. Gall presented a certificate of occupancy to the court in his appeal in 2014, indicating the certificate should be backdated to 1991 — when the units first became live-work lofts. That case is still in litigation.\u003c/p>\n\u003cp>\u003cstrong>Preparing for Eviction\u003c/strong>\u003c/p>\n\u003cp>Johnson, who operates her own personal training business and has been in the building since 2005, plans to fight the eviction but has already started packing up her apartment. She says she doesn’t plan to leave on her June 23 eviction date, but she wants to be prepared either way.\u003c/p>\n\u003cp>“If this is a live-work loft situation, can you even Ellis Act?” Johnson asked.\u003c/p>\n\u003cp>Andrew Zacks, the landlord’s attorney, concedes there is some ambiguity around live-work units. But he says he believes his client is complying with the Ellis Act, since Johnson and Breaux’s units are residences.\u003c/p>\n\u003cp>Zacks said if the sixth-floor tenants fight the eviction by citing their live-work commercial zoning, it would then open the tenants up to even more legal troubles.\u003c/p>\n\u003cp>“If they are commercial month-to-month tenants, they are not subject to rent control,” Zacks said. “They can be evicted with 30 days' notice.”\u003c/p>\n\u003cp>Steve Collier, the tenants’ attorney, did not comment on the live-work status of the sixth-floor units.\u003c/p>\n\u003cp>Breaux, who will turn 79 this year, must vacate his unit next February because of an Ellis Act clause that extends the eviction period for seniors and people with disabilities. He's lived in the loft, decorated with massive wood carvings and an assortment of potted and hanging plants, since 2003. Though he is retired, he still works as a sculptor and musician.\u003c/p>\n\u003cfigure id=\"attachment_10952799\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-10952799 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/eviction_still01-1920x1080.jpg\" alt=\"Tony Breaux has lived in his loft apartment since 2004.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Breaux must vacate his loft unit next February. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I won’t go,” Breaux said. “We’ll fight this down to the bone.”\u003c/p>\n\u003cp>Eviction, he says, is like a death sentence. He says it would be nearly impossible to find another rental unit in the city for his current $970 rent.\u003c/p>\n\u003cp>Zacks says his client intends to pay the tenants of all 23 units relocation fees, in compliance with San Francisco law. The required relocation payment is $5,555 per person, with an additional $3,703 for each elderly or disabled tenant and each household with a minor child.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.zumper.com/blog/2016/04/zumper-national-rent-report-april-2016/\">median monthly rent\u003c/a> for a one-bedroom apartment in San Francisco is $3,590. The $5,555 relocation payment would cover less than two months of that.\u003c/p>\n\u003cp>\u003cstrong>Warehousing People in Illegal Units\u003c/strong>\u003c/p>\n\u003cp>Zacks places the blame for the situation at 1049 Market St. squarely on the city.\u003c/p>\n\u003cp>He says the city, cracking down on various code violations in the building, told his client they would either have to bring the building up to code for residential units or convert all residential units back to office space. The cost of bringing the building up to code, according to Zacks, would be too much for his client to reasonably spend.\u003c/p>\n\u003cp>Zacks said the city is relying on landlords to maintain below-market-rate units, while the city itself has not done nearly enough to address the regional housing crisis.\u003c/p>\n\u003cp>“We need to find folks like this housing where the burden is not on my clients to provide it,” Zacks said. “Is [the housing crisis] really that bad that we will warehouse people in illegal units?”\u003c/p>\n\u003cp>But Breaux and Johnson have both been in their units for more than 10 years and consider 1049 Market St. their home. Despite the units not being up to residential code, they say the units meet all of their needs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"This is criminal what's going on here,\" Breaux said. \"It's the destruction of people's lives.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ronnie Johnson, 49, doesn’t know what she will do if she is evicted from her rent-controlled loft in San Francisco’s Mid-Market neighborhood. She's thinking about moving in with her parents in Washington state or trying to start over in a new city.\u003c/p>\n\u003cp>In February, Johnson, along with the 22 other residential tenants in her building, received an Ellis Act eviction notice from her landlord, known as 1049 Market St. LLC.\u003c/p>\n\u003caside class=\"pullquote alignright\">'Someone's trying to throw you out of your house, in a place where there are no other houses for you.'\u003ccite>Tony Breaux,\u003cbr>\nResident of 1049 Market St.\u003c/cite>\u003c/aside>\n\u003cp>The eviction — one of the largest Ellis Act evictions in San Francisco since the law was enacted in 1985 — comes after several years of legal battles between the tenants of 1049 Market St. and their landlord. This kind of eviction, officially called an Ellis Act withdrawal, permits building owners to evict residential tenants in order to remove their units from the residential market.\u003c/p>\n\u003cp>In this case, 1049 Market St. LLC intends to rent all of the building’s 86 units as commercial office space. But some of the building’s residential tenants say they won’t leave without a fight.\u003c/p>\n\u003cp>\u003cstrong>Building's Complicated History\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though dozens of Ellis Act evictions occur each year in San Francisco, 1049 Market St. is a unique situation and the zoning of the building has been disputed for years.\u003c/p>\n\u003cp>In 1991, the top floor of the six-floor building was permitted for live-work lofts, a type of commercial zoning specifically for tenants who operate a business out of their residence. The first through fifth floors of the building are permitted exclusively for commercial use and were never approved for residential use.\u003c/p>\n\u003cfigure id=\"attachment_10952794\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-10952794 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/eviction_still03-1920x1080.jpg\" alt=\"Ronnie Johnson's loft on the sixth floor of 1049 Market St.\" width=\"640\" height=\"360\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Johnson's loft on the sixth floor of 1049 Market St. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, many of the units on those floors have been rented to residential tenants since the 1990s. Many of the units have lofted beds and small kitchenettes, and most tenants share communal bathrooms on each floor.\u003c/p>\n\u003cp>In 2013, the landlord issued eviction notices to 39 units on those first five floors, citing plans to demolish the residential units and rebuild the spaces for commercial use. Those tenants have been in legal gridlock with the landlord ever since, and final decisions about the legality of the eviction are still pending in court.\u003c/p>\n\u003cp>The seven sixth-floor units were spared eviction notices because of their live-work zoning. Johnson and her neighbor, Tony Breaux, are the only residential tenants remaining on the sixth floor.\u003c/p>\n\u003cp>As other sixth-floor tenants have moved out, the landlord has begun renovating the empty units and renting them to businesses. Currently, unit 602 is rented by PritchardPeck Lighting.\u003c/p>\n\u003cp>Though Johnson and Breaux were not involved in the 2013 eviction, they have sparred separately with the landlord.\u003c/p>\n\u003cp>In 2014, Breaux filed a petition with the San Francisco Rent Board against John Gall, one of the owners of 1049 Market St. LLC, after his monthly rent was increased by nearly 13 percent, from $970 to $1,095.\u003c/p>\n\u003cp>The board ruled in Breaux’s favor, stating that no certificate of occupancy had ever been issued for the sixth floor of the building, making his unit illegal and subject to rent control laws. Gall presented a certificate of occupancy to the court in his appeal in 2014, indicating the certificate should be backdated to 1991 — when the units first became live-work lofts. That case is still in litigation.\u003c/p>\n\u003cp>\u003cstrong>Preparing for Eviction\u003c/strong>\u003c/p>\n\u003cp>Johnson, who operates her own personal training business and has been in the building since 2005, plans to fight the eviction but has already started packing up her apartment. She says she doesn’t plan to leave on her June 23 eviction date, but she wants to be prepared either way.\u003c/p>\n\u003cp>“If this is a live-work loft situation, can you even Ellis Act?” Johnson asked.\u003c/p>\n\u003cp>Andrew Zacks, the landlord’s attorney, concedes there is some ambiguity around live-work units. But he says he believes his client is complying with the Ellis Act, since Johnson and Breaux’s units are residences.\u003c/p>\n\u003cp>Zacks said if the sixth-floor tenants fight the eviction by citing their live-work commercial zoning, it would then open the tenants up to even more legal troubles.\u003c/p>\n\u003cp>“If they are commercial month-to-month tenants, they are not subject to rent control,” Zacks said. “They can be evicted with 30 days' notice.”\u003c/p>\n\u003cp>Steve Collier, the tenants’ attorney, did not comment on the live-work status of the sixth-floor units.\u003c/p>\n\u003cp>Breaux, who will turn 79 this year, must vacate his unit next February because of an Ellis Act clause that extends the eviction period for seniors and people with disabilities. He's lived in the loft, decorated with massive wood carvings and an assortment of potted and hanging plants, since 2003. Though he is retired, he still works as a sculptor and musician.\u003c/p>\n\u003cfigure id=\"attachment_10952799\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"wp-image-10952799 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/eviction_still01-1920x1080.jpg\" alt=\"Tony Breaux has lived in his loft apartment since 2004.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/eviction_still01-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Tony Breaux must vacate his loft unit next February. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I won’t go,” Breaux said. “We’ll fight this down to the bone.”\u003c/p>\n\u003cp>Eviction, he says, is like a death sentence. He says it would be nearly impossible to find another rental unit in the city for his current $970 rent.\u003c/p>\n\u003cp>Zacks says his client intends to pay the tenants of all 23 units relocation fees, in compliance with San Francisco law. The required relocation payment is $5,555 per person, with an additional $3,703 for each elderly or disabled tenant and each household with a minor child.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.zumper.com/blog/2016/04/zumper-national-rent-report-april-2016/\">median monthly rent\u003c/a> for a one-bedroom apartment in San Francisco is $3,590. The $5,555 relocation payment would cover less than two months of that.\u003c/p>\n\u003cp>\u003cstrong>Warehousing People in Illegal Units\u003c/strong>\u003c/p>\n\u003cp>Zacks places the blame for the situation at 1049 Market St. squarely on the city.\u003c/p>\n\u003cp>He says the city, cracking down on various code violations in the building, told his client they would either have to bring the building up to code for residential units or convert all residential units back to office space. The cost of bringing the building up to code, according to Zacks, would be too much for his client to reasonably spend.\u003c/p>\n\u003cp>Zacks said the city is relying on landlords to maintain below-market-rate units, while the city itself has not done nearly enough to address the regional housing crisis.\u003c/p>\n\u003cp>“We need to find folks like this housing where the burden is not on my clients to provide it,” Zacks said. “Is [the housing crisis] really that bad that we will warehouse people in illegal units?”\u003c/p>\n\u003cp>But Breaux and Johnson have both been in their units for more than 10 years and consider 1049 Market St. their home. Despite the units not being up to residential code, they say the units meet all of their needs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"This is criminal what's going on here,\" Breaux said. \"It's the destruction of people's lives.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Murals painted by \u003ca href=\"http://www.nytimes.com/2014/01/17/arts/design/robert-duncan-and-jess-and-their-wonderland-of-art.html?_r=0\" target=\"_blank\">the artist Jess\u003c/a> in film critic Pauline Kael’s former home on Oregon Street in Berkeley have been saved.\u003c/p>\n\u003cp>A 29-year-old tech worker who comes from a family of artists purchased the 1905 brown-shingled home for $1.45 million and signed a covenant promising not to paint over or disturb the murals for 10 years.\u003c/p>\n\u003cp>“I got very inspired by the artwork,” said Reuben Gibson at a reception at the house on May 6. “It speaks to me. I love mysticism, the romantic myth. I love 'Lord of the Rings.' I like the artwork. It’s one of the reasons I bought the house.”\u003c/p>\n\u003cp>Kael, who became \u003ca href=\"http://www.newyorker.com/contributors/pauline-kael\" target=\"_blank\">America’s leading film critic\u003c/a> after she started writing for the New Yorker in 1967, moved to Berkeley in 1955. (She had attended UC Berkeley in the 1930s, but never graduated.) She was the manager of the two-screen Berkeley Cinema Guild Studio in the Sequoia Building on Telegraph Avenue near Haste Street. The theater showed both American and European films and became known for its innovative programming, and what movie historian David Thomson described as Kael’s \"pungent” film reviews.\u003c/p>\n\u003cp>In 1956, Kael hired Jess (he dropped his last name in the 1940s after he became estranged from his family) to paint murals throughout the house. Jess painted 10 whimsical murals -- in the styles of Gaudi, Bonnard, Braque, Klee, the Symbolists and others -- above the front door, on the back porch, in the living room, in the upstairs hallway and in various bedrooms. Five of the murals have been painted over. Another artist, Henry Jacobus, painted the kitchen floor and a mural.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read the full story at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/05/09/the-jess-murals-at-former-pauline-kael-house-are-saved/\" target=\"_blank\">\u003cstrong>Prized murals at film critic Pauline Kael's former home are saved\u003c/strong>\u003c/a>\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/frances/\" target=\"_blank\">Frances Dinkelspiel\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murals painted by \u003ca href=\"http://www.nytimes.com/2014/01/17/arts/design/robert-duncan-and-jess-and-their-wonderland-of-art.html?_r=0\" target=\"_blank\">the artist Jess\u003c/a> in film critic Pauline Kael’s former home on Oregon Street in Berkeley have been saved.\u003c/p>\n\u003cp>A 29-year-old tech worker who comes from a family of artists purchased the 1905 brown-shingled home for $1.45 million and signed a covenant promising not to paint over or disturb the murals for 10 years.\u003c/p>\n\u003cp>“I got very inspired by the artwork,” said Reuben Gibson at a reception at the house on May 6. “It speaks to me. I love mysticism, the romantic myth. I love 'Lord of the Rings.' I like the artwork. It’s one of the reasons I bought the house.”\u003c/p>\n\u003cp>Kael, who became \u003ca href=\"http://www.newyorker.com/contributors/pauline-kael\" target=\"_blank\">America’s leading film critic\u003c/a> after she started writing for the New Yorker in 1967, moved to Berkeley in 1955. (She had attended UC Berkeley in the 1930s, but never graduated.) She was the manager of the two-screen Berkeley Cinema Guild Studio in the Sequoia Building on Telegraph Avenue near Haste Street. The theater showed both American and European films and became known for its innovative programming, and what movie historian David Thomson described as Kael’s \"pungent” film reviews.\u003c/p>\n\u003cp>In 1956, Kael hired Jess (he dropped his last name in the 1940s after he became estranged from his family) to paint murals throughout the house. Jess painted 10 whimsical murals -- in the styles of Gaudi, Bonnard, Braque, Klee, the Symbolists and others -- above the front door, on the back porch, in the living room, in the upstairs hallway and in various bedrooms. Five of the murals have been painted over. Another artist, Henry Jacobus, painted the kitchen floor and a mural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Jazz From a Cuban Pianist and a Former Kronos Quartet Cellist",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_BKxsv9bxok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does it mean for a musician to embrace his or her roots? Two recent releases by extraordinary California artists provide divergent maps back to their formative environments.\u003c/p>\n\u003cp>San Francisco \u003ca href=\"http://www.jjcello.com\">cellist Joan Jeanrenaud\u003c/a> spent two prolific decades with \u003ca href=\"http://www.kronosquartet.org\">Kronos Quartet\u003c/a>, the celebrated new music ensemble known for collaborating with an international array of composers. Her new album, “Visual Music,” reflects her ongoing creative evolution since leaving Kronos in 1999, when she started generating her own compositions.\u003c/p>\n\u003cp>As the title of her fourth solo project suggests, the album features pieces she originally created for theatrical settings, particularly dance performances. By employing multitracking, Jeanrenaud crafts evocative soundscapes for up to nine cellos, a sound that first caught her ear as a young teen playing group pieces with fellow cello students.\u003c/p>\n\u003cp>She’s joined on several tracks by percussion collaborators \u003ca href=\"http://www.doheelee.com\">Dohee Lee\u003c/a>, \u003ca href=\"http://www.pcmunoz.com\">PC Muñoz\u003c/a> and \u003ca href=\"http://williamwinant.com\">William Winant\u003c/a>, who each provide incisive support. From piece to piece the mood shifts constantly, from her spirited and playful work for the Dance Theater of Harlem to the haunted, baleful tracks from a butoh-influenced production by InkBoat choreographer Shinichi Iova-Koga and AXIS Dance Company. My favorite is “This Is Not A Duet,” a sleek and propulsive duet with Winant on vibes for Cid Pearlman’s dance, “Your Body is Not a Shark.”\u003c/p>\n\u003cp>What makes “Visual Music” far more than a random collection of dance scores is the way that Jeanrenaud threads the album together with brief pieces composed for a Metropolitan Museum of Art sculpture exhibition, creating a graceful sense of flow. She has reconfigured and reconceived the music so it stands on its own away from the original context, which allows you to bask in her sound. Whether her music is austere and forbidding or lush and inviting, Jeanrenaud’s cello work is a thing of miraculous beauty.\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-10947580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg\" alt=\"1600px_alfredoRodriguez_tocororo_cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/1600px_alfredoRodriguez_tocororo_cover.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While Jeanrenaud draws inspiration from her student days in creating lapidary compositions, pianist Alfredo Rodriguez gleefully reinvents a century of popular Cuban music on his new album “Tocororo.” Although he’s only 30, the Los Angeles-based jazz musician has already been on the world stage for a decade. The fact that Quincy Jones has taken him under his wing, producing his albums and opening doors, hasn’t hurt. But Rodriguez is an awe-inspiring pianist who is extending a lineage that runs from Chucho Valdes and Frank Emilio to Gonzalo Rubalcaba and Omar Sosa.\u003c/p>\n\u003cp>He includes a handful of impressive original compositions, but what’s fascinating about “Tocororo” is the way that Rodriguez combines an international roster of guest artists with tunes by definitive Cuban composers such as Compay Segundo, Ernesto Lecuona, and Eliseo Grenet.\u003c/p>\n\u003cp>Highlights include Spanish vocalist Antonio Lizana foregrounding the flamenco influence in Lecuona’s “Gitanerias” and \u003ca href=\"http://www.ganavya.com\">Ganavya Doraiswamy’s\u003c/a> gravity-defying South Indian vocals on the title track (which takes its name from Cuba’s national bird). I especially love Rodriguez on ballads, like his arrangement of Silvio Rodriguez’s “Venga la Esperenza” featuring Lebanese-born, Paris-based trumpeter Ibrahim Maalouf.\u003c/p>\n\u003cp>Listening to “Tocororo,” I get the sense that Rodriguez revels in his freedom to travel and interact with musicians whenever and wherever he wants. He’s not leaving his homeland behind. With “Tocororo” he sounds eager to share its musical bounty.\u003c/p>\n\u003cp>On a different note, I want to offer a brief tribute to the great jazz singer Bill Henderson, a beloved figure on the L.A. scene who died last month at the age of 90. Henderson came up in Chicago performing with Ramsey Lewis, scored a jukebox hit with Horace Silver and toured with Count Basie. Moving to Los Angeles in the late 1960s he found work as an actor in Hollywood, while continuing his career as one of jazz’s greatest male vocalists. Here he is with Oscar Peterson from their classic 1963 collaboration.\u003c/p>\n\u003cp>\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/_BKxsv9bxok'\n title='//www.youtube.com/embed/_BKxsv9bxok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Mission to 'Save' Prince Turned Tragic for Marin Doctor's Son",
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"content": "\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>[contextly_sidebar id=”JXif7xzYuundo9FGKXLa00Lky77c6xLJ”]\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"https://twitter.com/CarlaKJohnson\" target=\"_blank\">Carla K. Johnson\u003c/a>\u003cbr />Associated Press Medical Writer\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andrew Kornfeld’s overnight flight to bring a prescription drug to Prince has been described by his attorney as a “lifesaving mission” to persuade the superstar to start treatment for addiction.\u003c/p>\n\u003cp>Instead, the 26-year-old Californian found Prince collapsed in an elevator at his Paisley Park home.\u003c/p>\n\u003cp>Neither Andrew Kornfeld nor his father, an addiction and pain doctor, has been accused of wrongdoing. But a law enforcement official said on Friday investigators want to interview both of them about the drug that was never administered to Prince. The official spoke on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>Kornfeld helped in his father’s medical practice by teaching surfing to young drug users in recovery. In college, his studies in neuroscience sparked a fascination with consciousness and psychedelic drugs such as LSD.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Jim Fadiman, a psychologist who popularized the notion of using micro-doses of LSD to enhance workplace productivity, considers the younger Kornfeld “a brilliant man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kornfeld’s father sent his son to Prince’s Minneapolis-area home, a decision that has raised questions about whether the doctor was acting legally at the time. The elder Kornfeld was not licensed to practice medicine in Minnesota and was not registered to care for patients there via telemedicine, as the state requires. His son was not a licensed prescriber.\u003c/p>\n\u003cp>Since his connection with Prince became known, the younger Kornfeld has been stalked by celebrity photographers and has avoided talking publicly about the musician’s death. Reached by phone Friday, he said simply, “Sorry. I’m not making a comment at this time.”\u003c/p>\n\u003cp>Andrew Kornfeld’s social media accounts show him smiling with a surfboard and list him as CEO of a Bay Area marketing company for health professionals. A University of California Santa Cruz spokesman confirmed that he graduated in 2013 with bachelor’s degrees in psychology and neuroscience.\u003c/p>\n\u003cp>But perhaps the most intriguing detail about Kornfeld is his connection with Fadiman, author of “The Psychedelic Explorer’s Guide,” which collects stories of people experimenting with LSD, including professionals who took a fraction of a normal dose and reported boosts in their creativity at work.\u003c/p>\n\u003cp>Fadiman and Kornfeld co-authored a chapter titled “Psychedelic-Induced Experiences” for “The Wiley-Blackwell Handbook of Transpersonal Psychology,” a textbook dealing with spirituality and transcendent human experience.\u003c/p>\n\u003cp>Their chapter lauds LSD’s potential for out-of-body experiences and “seemingly spontaneous healing” from allergies, cluster headaches and even alcoholism.\u003c/p>\n\u003cp>“Andrew and I are friends and colleagues,” Fadiman said in an email to The Associated Press. A portion of the chapter they wrote together proposes that LSD may activate adaptive processes that form new, lasting connections in the brain.\u003c/p>\n\u003cp>“That section was entirely Andrew’s,” Fadiman said.\u003c/p>\n\u003cp>The book’s editor, Glenn Hartelius, an associate professor at California Institute of Integral Studies in San Francisco, praised Kornfeld’s contribution.\u003c/p>\n\u003cp>“I have not met Andrew, but I found his thesis on how psychedelics create personal transformation to be original, elegant and potentially researchable — perhaps offering a step forward in understanding the impact of these substances,” Hartelius said in an email.\u003c/p>\n\u003cp>The passage attributed to Kornfeld suggests psychedelic drugs could be “neuroplasticity activators.” It states: “If a single psychedelic experience is able to create durable changes in personality and mental and emotional health, as has been reported, then it seems that these substances may be able to uniquely catalyze the formation of new brain maps.”\u003c/p>\n\u003cp>Kornfeld’s father, Dr. Howard Kornfeld, has published research that has been more mainstream than his son’s work, although it too has pushed the envelope.\u003c/p>\n\u003cp>Last year, Howard Kornfeld published a paper on the use of buprenorphine, which can be used to treat opioid addiction by easing cravings and withdrawal symptoms. He wrote about using a buprenorphine patch to avoid “the painful abstinence period” before standard buprenorphine treatment for addiction. In a 2011 letter to a medical journal, he praised buprenorphine’s potential for pain patients, saying believers in opioid therapy “need not lose faith.”\u003c/p>\n\u003cp>On Friday, college friends described Kornfeld as charismatic and smart, a helpful person with the rare ability to get people to work together.\u003c/p>\n\u003cp>“He really knows how to get people motivated, and he’s a good organizer,” said Kyle Boyar, 25, who met Kornfeld in a neuroscience course at the University of California at Santa Cruz in 2009.\u003c/p>\n\u003cp>Michelle Dick was in a student group that Kornfeld started on campus called the “Brain, Mind and Consciousness Society.”\u003c/p>\n\u003cp>“It’s not many people you meet who make you feel like they have the potential to change people’s lives for the better on a massive scale,” she said in an email.\u003c/p>\n\u003cp>Kornfeld’s father was called by Prince’s staff on April 20 as they sought help for the musician’s addiction to painkillers, according to the Kornfelds’ attorney, William Mauzy. The doctor sent his son on an overnight flight with a small amount of buprenorphine for Prince. The musician never took the drug.\u003c/p>\n\u003cp>After finding Prince in the elevator, Andrew Kornfeld called 911 because two of his staffers were shocked and screaming, Mauzy said.\u003c/p>\n\u003cp>“That he seemed to be the person who was most able to deal with the situation instead of people who knew Prince for years would imply that he was more level-headed than star-struck,” Fadiman said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Janie Har in San Francisco contributed to this report.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The World According to Sound: Pianist Keith Jarrett's Involuntary Vocalizations",
"title": "The World According to Sound: Pianist Keith Jarrett's Involuntary Vocalizations",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/262879591\" 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>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you caught jazz pianist \u003ca href=\"http://www.npr.org/artists/14867336/keith-jarrett\" target=\"_blank\">Keith Jarrett\u003c/a> earlier this week in either San Francisco or Los Angeles, you might have heard a little more than just music. Jarrett is famous for his involuntary vocalizations.\u003c/p>\n\u003cp>These noises he makes are hard to describe. Sometimes it's a grunt or a hum, other times it's a squeal that varies in pitch. At certain solo concerts, Jarrett makes the sounds for almost the entire show. Check out \u003ca href=\"https://www.youtube.com/watch?v=KPgEoDt_Duc\">this performance\u003c/a> of his in Toyko. Many jazz pianists involuntarily vocalize, but Keith Jarrett is arguably the most conspicuous.\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/262879591&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/262879591'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>There is some dispute over whether these sounds are truly “involuntary,\" if the musicians needed to make them to play the way they did. Regardless, many of the most famous jazz pianists vocalized -- \u003ca href=\"https://www.youtube.com/watch?v=cvLjp-7b0Jk\">Bud Powell\u003c/a> and \u003ca href=\"https://youtu.be/cSX_7ejc5u8?t=13m30s\">Oscar Peterson\u003c/a> to name a few. You can hear vocal sounds from pianists on a lot of jazz albums if you listen closely. Sometimes the musicians are making these noises, but we just can't hear them because of how the session was recorded.\u003c/p>\n\u003cp>Jazz musicians aren’t the only ones who involuntary vocalize. Some classical pianists, like \u003ca href=\"https://www.youtube.com/watch?v=aEkXet4WX_c&feature=youtu.be&t=4m16s\">Glenn Gould\u003c/a>, also did it. Gould claimed these auditory occurrences were unconscious. When Gould was a child, his piano teacher tried to cut this idiosyncrasy, but nothing seemed to work. Gould’s humming has been called “Alien Conversations.” Some classical purists feel it ruins his most famous recordings, even though you can barely hear him.\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>This little audio treat comes to us from \u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, KQED News is taking\u003ca href=\"http://ww2.kqed.org/news/2016/05/04/how-a-witness-to-fatal-s-f-police-shooting-of-amilcar-perez-lopez-came-forward\"> a closer look at last year's fatal police shooting of Amilcar Perez Lopez\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cp>The San Francisco district attorney has yet to decide whether to file criminal charges against the police officers who shot Perez Lopez six times from behind. The case is one of several fatal police shootings that have made people mad enough to march.\u003c/p>\n\u003cp>As was evident Tuesday.\u003c/p>\n\u003cp>Hundreds of people walked down the middle of Mission Street, heading to City Hall from the Mission District police station. That's where a group of hunger strikers have been holding a vigil for the past two weeks. They want Mayor Ed Lee to fire Police Chief Greg Suhr, something the mayor has said he will not consider.\u003c/p>\n\u003cfigure id=\"attachment_10945946\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-10945946\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/hunger-city-hall-1920x1080.jpg\" alt=\"Two demonstrators hold signs in front of San Francisco City Hall on Tuesday.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two demonstrators hold signs in front of San Francisco City Hall on Tuesday. \u003ccite>(Claudia Escobar/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Police violence is a symptom of a larger problem of income inequality. And the Police Department isn’t here to protect and serve everyone,\" marcher Elizabeth Travelslight said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The march was led by the five Mission Station hunger strikers, who are now being called the \"Frisco Five.\" They say they are on their`13th day without food.\u003c/p>\n\u003cp>\"This mayor is a complete disgrace, and if anybody doesn’t see that then they don’t see what’s going on,\" said Sellassie Blackwell, one of the hunger strikers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Once at City Hall, the crowd interrupted a Board of Supervisors meeting, but did not meet with Lee.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, KQED News is taking\u003ca href=\"http://ww2.kqed.org/news/2016/05/04/how-a-witness-to-fatal-s-f-police-shooting-of-amilcar-perez-lopez-came-forward\"> a closer look at last year's fatal police shooting of Amilcar Perez Lopez\u003c/a> in San Francisco’s Mission District.\u003c/p>\n\u003cp>The San Francisco district attorney has yet to decide whether to file criminal charges against the police officers who shot Perez Lopez six times from behind. The case is one of several fatal police shootings that have made people mad enough to march.\u003c/p>\n\u003cp>As was evident Tuesday.\u003c/p>\n\u003cp>Hundreds of people walked down the middle of Mission Street, heading to City Hall from the Mission District police station. That's where a group of hunger strikers have been holding a vigil for the past two weeks. They want Mayor Ed Lee to fire Police Chief Greg Suhr, something the mayor has said he will not consider.\u003c/p>\n\u003cfigure id=\"attachment_10945946\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-10945946\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/hunger-city-hall-1920x1080.jpg\" alt=\"Two demonstrators hold signs in front of San Francisco City Hall on Tuesday.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/hunger-city-hall-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Two demonstrators hold signs in front of San Francisco City Hall on Tuesday. \u003ccite>(Claudia Escobar/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Police violence is a symptom of a larger problem of income inequality. And the Police Department isn’t here to protect and serve everyone,\" marcher Elizabeth Travelslight said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The march was led by the five Mission Station hunger strikers, who are now being called the \"Frisco Five.\" They say they are on their`13th day without food.\u003c/p>\n\u003cp>\"This mayor is a complete disgrace, and if anybody doesn’t see that then they don’t see what’s going on,\" said Sellassie Blackwell, one of the hunger strikers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Once at City Hall, the crowd interrupted a Board of Supervisors meeting, but did not meet with Lee.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "report-marin-addiction-doctor-had-been-called-in-to-treat-prince",
"title": "Report: Marin Addiction Doctor Had Been Called In to Treat Prince",
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"headTitle": "Report: Marin Addiction Doctor Had Been Called In to Treat Prince | KQED",
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"content": "\u003cp>The Star Tribune of Minneapolis has published a detailed account of what it calls \u003ca href=\"http://m.startribune.com/addiction-doctor-was-to-have-seen-prince-just-before-his-death/378051471/\" target=\"_blank\" rel=\"noopener\">a “frantic” attempt\u003c/a> by Prince’s associates to call in a well-known Marin County addiction specialist to treat the entertainment superstar just before he died.\u003c/p>\n\u003cp>The Star Tribune account comes mainly from William Mauzy, an attorney the paper says represents Dr. Howard Kornfeld, who operates the \u003ca href=\"http://recoverywithoutwalls.com/\" target=\"_blank\" rel=\"noopener\">Recovery Without Walls\u003c/a> addiction treatment center in Mill Valley.\u003c/p>\n\u003cp>The paper reports that Prince’s staff called Kornfeld on April 20 and asked him to travel to the entertainer’s compound in the Twin Cities suburb of Chanhassen because the entertainer “was dealing with a grave medical emergency.”\u003c/p>\n\u003cp>The account continues:\u003c/p>\n\u003cblockquote>\u003cp>Kornfeld … could not clear his schedule to meet with Prince the next day, April 21, but he planned to fly out the following day.\u003c/p>\n\u003cp>So he sent his son, Andrew Kornfeld, who works with him, to Minnesota, with plans for him to go to Paisley Park to explain how the confidential treatment would work, Mauzy said.\u003c/p>\n\u003cp>“The plan was to quickly evaluate his health and devise a treatment plan,” Mauzy said, speaking on behalf of the Kornfelds. “… The doctor was planning on a lifesaving mission.”\u003c/p>\u003c/blockquote>\n\u003cp>The younger Kornfeld reportedly took an overnight flight and arrived at Prince’s Paisley Park estate about 9:30 a.m. on April 21, the Star Tribune account says. But he arrived too late to help, the paper says:\u003c/p>\n\u003cblockquote>\u003cp>When Andrew Kornfeld arrived at Paisley Park at 9:30 a.m. Thursday, Prince’s representatives could not find him, Mauzy said. Andrew Kornfeld was one of three people at Paisley Park when the musician’s body was found in an elevator a few minutes later — and it was Andrew Kornfeld \u003ca href=\"http://www.theroot.com/articles/news/2016/04/_the_person_is_dead_here_read_the_prince_911_call_transcript.html\" target=\"_blank\" rel=\"noopener\">who called 911\u003c/a>.\u003c/p>\n\u003cp>Mauzy said that Andrew Kornfeld told him that the others “screamed” when they found Prince and “were in too much shock” to call 911.\u003c/p>\n\u003cp>Unfamiliar with Paisley Park, Andrew Kornfeld simply told the dispatcher, “We’re at Prince’s house.”\u003c/p>\n\u003cp>Asked again to give an address, he said simply: “The people are just distraught. … We’re in Minneapolis, Minnesota, and we are at the home of Prince.”\u003c/p>\n\u003cp>Emergency responders arrived within five minutes. Prince was pronounced dead at 10:07 a.m., 19 minutes after responders arrived.\u003c/p>\u003c/blockquote>\n\u003cp>Howard Kornfeld’s Recovery Without Walls practice has drawn widespread attention for its use of buprenorphine, an opioid drug, for the treatment of chronic pain. The drug is considered safer and less addictive than other opioid pain treatments, reportedly because it doesn’t create the euphoric effect other drugs do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"http://www.mercurynews.com/ci_22532596/marin-doctor-pioneering-use-new-painkiller-chronic-pain\" target=\"_blank\" rel=\"noopener\">a 2013 profile\u003c/a> in the Marin Independent Journal, Kornfeld described the drug’s effects:\u003c/p>\n\u003cblockquote>\u003cp>“If a person is already dependent on an opiate, they don’t feel any high from buprenorphine,” Kornfeld said. “Whereas with OxyContin, methadone, morphine, and Vicodin there is a tendency for people to double or triple their dose and feel some kind of euphoria and then fall into addiction.”\u003c/p>\n\u003cp>Kornfeld said if someone takes too much buprenorphine, they will become very sleepy; but the drug won’t kill them.\u003c/p>\n\u003cp>Patients can become addicted to buprenorphine; however, withdrawal from the drug is much milder than with other opiates.\u003c/p>\n\u003cp>“You’re not going to be roaming the streets in six or eight hours looking for another fix,” Kornfeld said.\u003c/p>\u003c/blockquote>\n\u003cp>The Star Tribune reported that Andrew Kornfeld brought a small quantity of buprenorphine with him to give to Prince but that it was never administered.\u003c/p>\n\u003cp>The Associated Press has quoted an unidentified law enforcement official as saying that investigators are looking into whether Prince’s death was due to a drug overdose.\u003c/p>\n\u003cp>Attention has focused on an emergency stop the star’s plane made in Moline, Illinois, on April 15, while en route from Atlanta to the Twin Cities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Numerous published reports have said paramedics were called to the airfield to treat Prince, who was described as unresponsive. A staff member reportedly carried the entertainer from his plane to waiting EMTs, who administered a “save” shot of the opioid antidote Narcan, which revived him. Prince was taken to a hospital in Moline, but left several hours later to fly home to the Twin Cities.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Star Tribune of Minneapolis has published a detailed account of what it calls \u003ca href=\"http://m.startribune.com/addiction-doctor-was-to-have-seen-prince-just-before-his-death/378051471/\" target=\"_blank\" rel=\"noopener\">a “frantic” attempt\u003c/a> by Prince’s associates to call in a well-known Marin County addiction specialist to treat the entertainment superstar just before he died.\u003c/p>\n\u003cp>The Star Tribune account comes mainly from William Mauzy, an attorney the paper says represents Dr. Howard Kornfeld, who operates the \u003ca href=\"http://recoverywithoutwalls.com/\" target=\"_blank\" rel=\"noopener\">Recovery Without Walls\u003c/a> addiction treatment center in Mill Valley.\u003c/p>\n\u003cp>The paper reports that Prince’s staff called Kornfeld on April 20 and asked him to travel to the entertainer’s compound in the Twin Cities suburb of Chanhassen because the entertainer “was dealing with a grave medical emergency.”\u003c/p>\n\u003cp>The account continues:\u003c/p>\n\u003cblockquote>\u003cp>Kornfeld … could not clear his schedule to meet with Prince the next day, April 21, but he planned to fly out the following day.\u003c/p>\n\u003cp>So he sent his son, Andrew Kornfeld, who works with him, to Minnesota, with plans for him to go to Paisley Park to explain how the confidential treatment would work, Mauzy said.\u003c/p>\n\u003cp>“The plan was to quickly evaluate his health and devise a treatment plan,” Mauzy said, speaking on behalf of the Kornfelds. “… The doctor was planning on a lifesaving mission.”\u003c/p>\u003c/blockquote>\n\u003cp>The younger Kornfeld reportedly took an overnight flight and arrived at Prince’s Paisley Park estate about 9:30 a.m. on April 21, the Star Tribune account says. But he arrived too late to help, the paper says:\u003c/p>\n\u003cblockquote>\u003cp>When Andrew Kornfeld arrived at Paisley Park at 9:30 a.m. Thursday, Prince’s representatives could not find him, Mauzy said. Andrew Kornfeld was one of three people at Paisley Park when the musician’s body was found in an elevator a few minutes later — and it was Andrew Kornfeld \u003ca href=\"http://www.theroot.com/articles/news/2016/04/_the_person_is_dead_here_read_the_prince_911_call_transcript.html\" target=\"_blank\" rel=\"noopener\">who called 911\u003c/a>.\u003c/p>\n\u003cp>Mauzy said that Andrew Kornfeld told him that the others “screamed” when they found Prince and “were in too much shock” to call 911.\u003c/p>\n\u003cp>Unfamiliar with Paisley Park, Andrew Kornfeld simply told the dispatcher, “We’re at Prince’s house.”\u003c/p>\n\u003cp>Asked again to give an address, he said simply: “The people are just distraught. … We’re in Minneapolis, Minnesota, and we are at the home of Prince.”\u003c/p>\n\u003cp>Emergency responders arrived within five minutes. Prince was pronounced dead at 10:07 a.m., 19 minutes after responders arrived.\u003c/p>\u003c/blockquote>\n\u003cp>Howard Kornfeld’s Recovery Without Walls practice has drawn widespread attention for its use of buprenorphine, an opioid drug, for the treatment of chronic pain. The drug is considered safer and less addictive than other opioid pain treatments, reportedly because it doesn’t create the euphoric effect other drugs do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"http://www.mercurynews.com/ci_22532596/marin-doctor-pioneering-use-new-painkiller-chronic-pain\" target=\"_blank\" rel=\"noopener\">a 2013 profile\u003c/a> in the Marin Independent Journal, Kornfeld described the drug’s effects:\u003c/p>\n\u003cblockquote>\u003cp>“If a person is already dependent on an opiate, they don’t feel any high from buprenorphine,” Kornfeld said. “Whereas with OxyContin, methadone, morphine, and Vicodin there is a tendency for people to double or triple their dose and feel some kind of euphoria and then fall into addiction.”\u003c/p>\n\u003cp>Kornfeld said if someone takes too much buprenorphine, they will become very sleepy; but the drug won’t kill them.\u003c/p>\n\u003cp>Patients can become addicted to buprenorphine; however, withdrawal from the drug is much milder than with other opiates.\u003c/p>\n\u003cp>“You’re not going to be roaming the streets in six or eight hours looking for another fix,” Kornfeld said.\u003c/p>\u003c/blockquote>\n\u003cp>The Star Tribune reported that Andrew Kornfeld brought a small quantity of buprenorphine with him to give to Prince but that it was never administered.\u003c/p>\n\u003cp>The Associated Press has quoted an unidentified law enforcement official as saying that investigators are looking into whether Prince’s death was due to a drug overdose.\u003c/p>\n\u003cp>Attention has focused on an emergency stop the star’s plane made in Moline, Illinois, on April 15, while en route from Atlanta to the Twin Cities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Numerous published reports have said paramedics were called to the airfield to treat Prince, who was described as unresponsive. A staff member reportedly carried the entertainer from his plane to waiting EMTs, who administered a “save” shot of the opioid antidote Narcan, which revived him. Prince was taken to a hospital in Moline, but left several hours later to fly home to the Twin Cities.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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