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"disqusTitle": "Tootie Heath's 'Kwanza': A Reissue That Deserves Another Spin",
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"content": "\u003cp>It’s never too late for a great jazz musician to step into the spotlight. In recent years, drummer \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Heath\">Albert “Tootie” Heath\u003c/a> has finally gained the recognition commensurate with the esteem he’s long inspired among his peers.\u003c/p>\n\u003cp>The recent reissue of his second album as a leader, \"Kwanza\" (Xanadu) , helps fill out the creative profile of a musician who’s still going strong at 80.\u003c/p>\n\u003cp>Recorded in the spring of 1973, \"Kwanza\" captures a mid-career master with a long-established reputation as one of the most eloquent and adaptable drummers in jazz. Ever since making his recording debut on tenor saxophonist John Coltrane’s first solo record in 1957, he’d provided supple and unfailingly tasteful support for a series of classic albums by now legendary artists like guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Wes_Montgomery\">Wes Montgomery\u003c/a>, tenor saxophonist Dexter Gordon and vibraphonist Milt Jackson.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265791\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>He wasn’t forgotten during a four-year stint in Sweden, but when Heath moved back to the U.S. in 1969 he found fewer opportunities to record. With the chance to make \"Kwanza,\" a rare project of his own, Heath wasn’t content to organize an all-star jam session. He’d been collaborating and studying composition with multi-instrumental explorer \u003ca href=\"http://www.yuseflateef.com\">Yusef Lateef\u003c/a>, and he used \"Kwanza\" to investigate some of the chamber music concepts he’d been working on, like “A Notion,” a serene soundscape with a folk-like melody rendered beautifully on flute by Jimmy Heath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never too late for a great jazz musician to step into the spotlight. In recent years, drummer \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Heath\">Albert “Tootie” Heath\u003c/a> has finally gained the recognition commensurate with the esteem he’s long inspired among his peers.\u003c/p>\n\u003cp>The recent reissue of his second album as a leader, \"Kwanza\" (Xanadu) , helps fill out the creative profile of a musician who’s still going strong at 80.\u003c/p>\n\u003cp>Recorded in the spring of 1973, \"Kwanza\" captures a mid-career master with a long-established reputation as one of the most eloquent and adaptable drummers in jazz. Ever since making his recording debut on tenor saxophonist John Coltrane’s first solo record in 1957, he’d provided supple and unfailingly tasteful support for a series of classic albums by now legendary artists like guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Wes_Montgomery\">Wes Montgomery\u003c/a>, tenor saxophonist Dexter Gordon and vibraphonist Milt Jackson.\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/217265791&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/217265791'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He wasn’t forgotten during a four-year stint in Sweden, but when Heath moved back to the U.S. in 1969 he found fewer opportunities to record. With the chance to make \"Kwanza,\" a rare project of his own, Heath wasn’t content to organize an all-star jam session. He’d been collaborating and studying composition with multi-instrumental explorer \u003ca href=\"http://www.yuseflateef.com\">Yusef Lateef\u003c/a>, and he used \"Kwanza\" to investigate some of the chamber music concepts he’d been working on, like “A Notion,” a serene soundscape with a folk-like melody rendered beautifully on flute by Jimmy Heath.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
"title": "Black Love Festival Engages More Young People in Black Lives Matter",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Organizers chose Bayview-Hunters Point to help reclaim S.F.'s historically African-American neighborhood",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\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/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
"title": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216226221\" 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>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/flbce8yaBao?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Pop music critic Steve Hochman reviews new music from The Bird and The Bee, Miguel and Dawn Oberg.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\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/216226221&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/216226221'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n",
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"disqusTitle": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
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"content": "\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215213165\" 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>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\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/215213165&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/215213165'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few years, San Francisco’s \u003ca href=\"http://www.sfwmpac.org/\" target=\"_blank\" rel=\"noopener\">War Memorial Veterans Building\u003c/a> gradually shed its institutional office look. The august old space, site of the signing of the United Nations charter in 1945 and countless performance and literary events, temporarily closed for massive renovations in 2013 and reopens at the end of September.\u003c/p>\n\u003cp>The renovations to the Veterans Building, part of the larger War Memorial and Performing Arts Center complex (which also includes the opera house and Davies Symphony Hall) cost more than $150 million in total. The city of San Francisco, as well as grant makers like the Herbst Foundation provided funding for the project.\u003c/p>\n\u003cp>The Veterans Building originally opened in 1932. It hasn’t had a major facelift since the late 1970s.\u003c/p>\n\u003cfigure id=\"attachment_10841928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841928\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg\" alt=\"Renovations underway at the Veterans Building\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-2-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Renovations underway at the Veterans Building \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the most significant upgrades to the public areas of the site are the installation of a cafe with outdoor seating (scheduled to open in January 2016), new boxes in the Herbst Theatre auditorium with improved acoustics and sight lines, better acoustics, fresh paint and stage curtains, restored chandeliers, enlarged gallery space and the addition of restrooms on every floor. (The last item is a particular coup as patrons used to have to scurry to the basement to use the facilities.)\u003c/p>\n\u003cp>Rescuing the theater’s walls from ill-advised 1970s pink and orange to the original ochre color, the new paint job also helps highlight a series of large-scale murals that adorn the sides of the auditorium. Depicting the four elements — air, earth, fire and water — the murals were originally created by artist Frank Brangwyn for the Pan Pacific International Exposition in 1915.\u003c/p>\n\u003cfigure id=\"attachment_10841931\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841931\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg\" alt=\"A view from the balcony in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-3-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the balcony in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to the aesthetic improvements, the building underwent significant seismic retrofitting. The concrete and steel reinforcement system is mostly embedded in the walls, hidden from view.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The changes aren’t just for audience members. Artists who perform at the Herbst Theatre, hosted by organizations like the New Century Chamber Orchestra, the Philharmonia Baroque Orchestra and San Francisco Performances, also stand to benefit greatly. Most notably, there’s the swanky new 5,000 square-foot “Backstage Suite.” It includes five airy dressing rooms, a performers’ lounge and a rehearsal room.\u003c/p>\n\u003cp>And for the first time in its history, the Herbst has easily accessible dressing rooms. In the past, the cramped artist facilities were located on mezzanine levels flanking the stage and in the basement.\u003c/p>\n\u003cp>“Before, you had to take a circular spiral staircase to get to your dressing room,” Elizabeth Murray, managing director of the San Francisco War Memorial and Performing Arts Center said.\u003c/p>\n\u003cp>The dressing rooms themselves are bigger and brighter. Many of the furnishings, such as the dressing room tables, were salvaged from the old dressing rooms — an effort to be environmentally conscious and cost-efficient.\u003c/p>\n\u003cfigure id=\"attachment_10841932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10841932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg\" alt=\"A view from the new boxes in the Herbst Theatre\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-1400x1050.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Veterans-Building-4-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A view from the new boxes in the Herbst Theatre \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The artists used to have to warm up in the public hallways and bathrooms,” Murray said. “Now they don’t have to.”\u003c/p>\n\u003cp>Another major addition to the building is the Diane Wilsey Center for Opera on the fourth floor. The center includes a 330-seat performance space dedicated to opera. Construction on this piece of the project is expected to continue through October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ve always loved this theater,” San Francisco Performances president Ruth Felt said. “Now we’ll love it even more.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In San Pedro, a Battle Over the 'Sunken City'",
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"content": "\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/214192043\" 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>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It might look like a post-apocalyptic wasteland, but it’s in the city of Los Angeles. The ruins of Sunken City are part of the community of San Pedro, at LA’s southernmost tip.\u003c/p>\n\u003cp>Even though it’s closed to the public, Sunken City is a haven for graffiti artists and young people looking to party. Some residents want to open the area to the public during daylight hours, but others worry it’ll just lead to more noise, trash and rowdy behavior.\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/214192043&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/214192043'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Sunken City is a sprawl of broken pieces of sidewalk and foundations of houses covered in thick, colorful splashes of graffiti. Pipes and railroad lines jut out at odd angles. The dirt trails are littered with broken glass and trash. But it’s oddly serene. Palm trees sway in the light breeze coming off the ocean, and seagulls fly overhead.\u003c/p>\n\u003cp>“I come out here because I get away from the city. It’s not as busy,” said Anthony Bora, who came to scope out the area on a recent Saturday afternoon with his girlfriend. \"This is one of the most beautiful views that I’ve seen in Southern California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A 1929 landslide caused the ground to shift slowly, about 11 inches a day. It was slow enough to allow most of the homes to be moved safely, although two actually did fall into the ocean. Geologists say the ground continues to erode because of bentonite clay in the soil, which combined with water makes the land unstable.\u003c/p>\n\u003cfigure id=\"attachment_10594468\" class=\"wp-caption alignright\" style=\"max-width: 1902px\">\u003cimg class=\"size-full wp-image-10594468\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5498.jpg\" alt=\"Anthony Bora likes to explore Sunken City’s winding trails and graffiti, and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said.\" width=\"1902\" height=\"1427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498.jpg 1902w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5498-960x720.jpg 960w\" sizes=\"(max-width: 1902px) 100vw, 1902px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bora likes to explore Sunken City’s winding trails and graffiti and admire the view. “This is one of the most beautiful views that I’ve seen in Southern California,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunken City has been a forbidden playground for decades. Accidental falls and suicides also happen frequently. The city installed a fence in 1987 to keep out partiers, but that hasn’t done much to stem the tide. There are “no trespassing” signs all over. To get in, you have to either climb under or around an 8-foot-tall wrought iron fence, or find a break in it.\u003c/p>\n\u003cp>“Sometimes you see dolphins and whales out here, you know, for free. And people come here sometimes, young kids, they drink and, you know, do bonfires,” said Mohammed Sharif Jali, who lives down the street and comes to Sunken City to practice guitar and relax.\u003c/p>\n\u003cp>Not all of Sunken City’s visitors are so easygoing. Neighbors say visitors get loud and obnoxious at night. Yvonne Borgo has had enough.\u003c/p>\n\u003cfigure id=\"attachment_10594469\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594469\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5524.jpg\" alt=\"Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5524-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mohammed Sharif Jali lives down the street from Sunken City. “Sometimes you see dolphins and whales out here,” he said. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live about three doors from Sunken City,” Borgo said. “There’s kids here all times of day and night, dropping trash, partying, coming up at four in the morning from being down on the cliffs. It’s really tough.”\u003c/p>\n\u003cp>Some other neighbors, George Armstrong and William Gameroz, grew up in San Pedro in the 1950s and ‘60s, when it was a quiet town. Now they say it’s become a lawless area where police don’t go.\u003c/p>\n\u003cp>“I don’t understand it. I’ve called the police several times, you know, about the people I hear doing drugs,” Gameroz said.\u003c/p>\n\u003cp>“Yeah, it’s almost a joke, asking for law enforcement to patrol the area,\" said Armstrong. \"They don’t come down here unless there’s an absolute reason, like somebody got shot the other day or someone fell over the cliff, or they’re chasing somebody.”\u003c/p>\n\u003cp>The local neighborhood council and residents’ association have asked LA's Department of Recreation and Parks, which oversees the area, to consider opening it up to the public during the day, so people don’t have to break the law to go there. The proposal includes an automated gate that locks at sunset.\u003c/p>\n\u003cfigure id=\"attachment_10594471\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-10594471\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_5496.jpg\" alt=\"Yvonne and Al Borgo live down the street from Sunken City, and are fed up with late-night revelers making noise and leaving trash and graffiti behind.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_5496-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yvonne and Al Borgo live down the street from Sunken City and are fed up with late-night revelers making noise and leaving trash and graffiti behind. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parks department won’t comment until a feasibility study is finished. Supporters of the idea say coastal access is a right for everyone, and the city faces a low risk of liability.\u003c/p>\n\u003cp>Walker’s Cafe is just a stone’s throw from the fence separating Sunken City from the rest of San Pedro. There’s a line of Harleys parked out front. At the counter, Samira Silva is finishing her burger and fries. She’s from Brazil and lives in Fresno. She read about Sunken City on a website of exotic sites in LA and wishes it were open to the public.\u003c/p>\n\u003cp>“I think it’s a good idea, because I don’t like having to jump fences to get in there, and on the website it said that it was open for everybody,” she said.\u003c/p>\n\u003cp>But Anthony Bora said he hopes it stays off the beaten path, because that’s how he likes it.\u003c/p>\n\u003cp>“I think it’s the whole idea of I can go around the fence and get out here, that makes it kind of cool. It is a really quiet place, you can come relax and enjoy your day off, whereas if it’s open to the public, you’re gonna have a friggin’ dog park out here, you’re gonna have concerts, and a bunch of random stuff that people come here to get away from.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether Sunken City remains officially off limits or not, curious visitors will no doubt continue to find a way in.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>In the first of a three-part series on expert craftspeople in Berkeley, Melati Citrawireja, a summer 2015 photo intern for Berkeleyside, visits a Berkeley bookbindery run for the past 21 years by Klaus-Ullrich Rötzscher.\u003c/em>\u003c/p>\n\u003cp>As I push open the glass door to \u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> on Bancroft Avenue, I am greeted with a pleasant quietness, a rare occurrence in the busy hub of downtown Berkeley. The owner and master bookbinder, Klaus-Ullrich Rötzscher, greets me warmly and invites me into his workspace.\u003c/p>\n\u003cp>Rötzscher is a middle-aged tall and slender fellow, wearing a glue-coated apron and wire-rimmed spectacles. The long, narrow room is dimly lit, with quirky artwork and tchotchkes lining the walls. Ribbons, rolls of colorful paper and old tools fill every nook.\u003c/p>\n\u003cp>“I designed this place myself, and I am skinny,’ he jokes in his thick German accent as we squeeze through the walkway. “Actually, the bindery was set up this way when I bought it and I just filled it with more crap.” A Javanese wooden puppet dangling from a shelf seems to wink as I pass.\u003c/p>\n\u003cp>Rötzscher quickly tunes his Pandora to a French jazz station and gets to work pulling out a stack of greatly worn books and a few tools. Today’s job entails stripping off the tired spines of a first edition “Winnie the Pooh” book and a Wizard of Oz series from the 1940s, bringing them back to life with new foundations, polyvinyl acetate glue and patient care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Do you rely on Berkeleyside for your local news? You can support independent local journalism by\u003ca href=\"http://www.berkeleyside.com/support-berkeleyside/\">becoming a Berkeleyside Member\u003c/a>. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This practice is actually very stressful and physical,” Rötzscher admits. “People don’t realize it, but books are heavy. When you work with them for this long, you really feel it. I am tired in the evenings … It’s easier if you really love it. I’m lucky to be in a position where I like what I do.”\u003c/p>\n\u003cp>Shreds of yellowed paper fall to the floor as Rötzscher works. He stops briefly every few minutes to scoop the confetti into a trash bin or to gather a thought as he recounts his career as a bookbinder, a time that has defined over 40 years of his life.\u003c/p>\n\u003cp>Rötzscher began bookbinding in Leipzig, Germany, with an apprenticeship at Schürer Bookbindery in 1972. Asked what spurred him to pursue the vocation, he says simply, “I always liked books, and I always liked working with my hands.” After this two-year training, he followed a trail of opportunities, moving first to Frankfurt and then to Munich, Bavaria. After eight years of work and study, he graduated in 1980 with two master's degrees. Later that year he moved to San Francisco, eventually opening his own bindery in 1987.\u003c/p>\n\u003cp>“San Francisco was good business, but stressful. The type of work was very precise and high-end. I thought, I can’t do this anymore.”\u003c/p>\n\u003cp>After almost a decade, he decided to escape the bustle of the city and move with his wife at the time and their two kids across the bay, buying Pettingell in Berkeley in 1994. “Now it’s meditative and quiet, and I can be as stressed as I want.”\u003c/p>\n\u003cp>When asked what he might have become if he hadn’t pursued the craft of bookbinding, he ponders for a long moment. “I don’t know. I can’t imagine. Maybe a detective. Maybe it’s a romantic notion because I like mystery novels.” After another beat, he continues, “I think it’s good if you don’t know what you would have done. I have no regrets. It’s been a good life.”\u003c/p>\n\u003cp>The phone rings and he lets the machine take it. “My proudest moment is that I could send my kids through college without going into debt. It was not easy, but I made it.”\u003c/p>\n\u003cp>During my two-hour visit to the book bindery, one customer swings by with a stack of prayer books that need rebinding.\u003c/p>\n\u003cp>“Business is harder these days,” admits Rötzscher. “For example, years ago, around graduation time, I was busy with dissertation theses. These days that is gone. But other things opened up, like self-publishing and memoirs. You know, it’s just changing. We have to adapt.”\u003c/p>\n\u003cp>Rötzscher currently spends his days working on these self-published books, along with family heirlooms, dictionaries, novels and manuscripts.\u003c/p>\n\u003cp>Additionally, as a way to fill in spare hours and to nurture his creativity, Rötzscher has recently released a line of hand-made journals, called \u003ca href=\"http://italianstationeryblog.com/pettingell-bookbindery-florentine-collections/#more-2044\">the Florentine Collection\u003c/a> (inspired by his love for the ancient Italian city). Bound in different covers, including sheepskin, suede and patterned paper, and stamped with various golden emblems, they reflect his simple yet elegant aesthetic.\u003c/p>\n\u003cp>“These days we are so disengaged. When you buy something, you don’t know who made it. You know it’s made in China or Germany, but the human connection is gone. When you look at something like this” — Rötzscher gestures to a stack of freshly-glued Florentine books patiently serving their time in the book press — “you can say it’s made by a craftsman. You can really say it’s handmade.”\u003c/p>\n\u003cp>And Rötzscher believes there is life yet in the bookbinding craft.\u003c/p>\n\u003cp>“I definitely think there’s a future in bookbinding. I wouldn’t say it’s a lost art, it just depends on what you want to do,” says Rötzscher.\u003c/p>\n\u003cp>He goes on to explain how the Bay Area has actually seen an increase in bookbinding in recent years, a change from the two or three that existed when he first came to America. To his knowledge, there are now six commercial bookbinderies, and many more independent binders who operate under the radar from their homes as a part-time job or a hobby. This produces some competition for him but, because most bookbinders specialize in a particular aspect of the craft, he doesn’t mind.\u003c/p>\n\u003cp>“I specialize in old books,” he says, “because no one wants to do it. It’s not sexy, and there’s no money in it.” He pulls out a large family Bible that he has recently fixed, gently unwrapping it from a cocoon of gauze. The cover is made of textured maroon leather, and it’s obvious that it carries extensive history. He points out places where the leather had worn away so much that he’d had to replace it, recreating the signature patterns and creases.\u003c/p>\n\u003cp>Toward the end of my afternoon at Pettingell, Rötzscher turns to me and imparts a piece of wisdom: “When you start something you have no idea where you’ll end up. That’s the beauty of life.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://pettingellbookbindery.com/\">Pettingell Book Bindery\u003c/a> is at 2181 Bancroft Way, Berkeley, 94704. Tel: 510-845-3653. Connect with the business on\u003ca href=\"https://www.facebook.com/Number1Bindery\"> Facebook\u003c/a> and on \u003ca href=\"https://www.pinterest.com/Pettingellbook/pins/\">Pinterest\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Melati Citrawireja, a development studies undergraduate at UC Berkeley, is currently pursuing a career in visual journalism. She was a summer 2015 photo intern at Berkeleyside. More of her work can be found online at \u003ca href=\"http://www.melatiphotography.com/\">Melati Photography\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Do you rely on Berkeleyside for your local news? You can support independent local journalism by\u003ca href=\"http://www.berkeleyside.com/support-berkeleyside/\">becoming a Berkeleyside Member\u003c/a>. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Struggles to Keep Pace With Changing Graffiti Culture",
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"headTitle": "Oakland Struggles to Keep Pace With Changing Graffiti Culture | KQED",
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"content": "\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city’s cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can’t be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\" rel=\"noopener\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling’s business in West Oakland is the ‘cool art.’ \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling’s side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland’s new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,” he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don’t respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city’s culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.”\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/213883066\" 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>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fourth of July is a time when many friends and relatives come together to watch fireworks and have a barbecue, but members of the military are often deployed or stationed far from their extended families.\u003c/p>\n\u003cp>There’s a place in San Diego, though, where active-duty service members, their spouses and kids can always share a meal with their extended military family: the USO Downtown Center.\u003c/p>\n\u003cp>That’s where I meet Scotty Wells, a self-described Navy wife, who’s here with her husband, Petty Officer 1st Class Benjamin Wells. She tells me about his job.\u003c/p>\n\u003cp>“He is a mine man in the Navy,” she says, naming a job I never even knew existed.\u003c/p>\n\u003cp>“They go in first to make sure the big aircraft carriers won't set off any mines and explode,” she explains. “And some of the mines, oh my goodness! They're as big as a car. They're huge. It scares me to death.”\u003c/p>\n\u003cfigure id=\"attachment_10586815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586815\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_1-800x530.jpg\" alt=\"Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio.\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1440x954.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1-960x636.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotty and Benjamin Wells and their five kids come to the USO for the extended family. Their own are back in Ohio. \u003ccite>(Lisa Morehouse/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So tonight, she’s happy to be out to dinner with her husband and their five children: Wesley, 11; Reagan, 7; twins Charlie and Ryen, who are 6; and 4-year-old Parker, who insists on being called Parker Princess. They’re among 200 people waiting in the United Service Organization's spacious first floor. A handful of service members sit at computers, sending email. Families gather around a pool table and tumble into couches next to a large-screen TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re all waiting for their number to be called, so they can go upstairs to a clean, bright room lined with folding tables, each with a collection of noisemakers, which the kids are pulled to like magnets. It’s a kind of joyful chaos.\u003c/p>\n\u003cp>A few feet away in an industrial kitchen, volunteers work on the finishing touches for dinner.\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/213883066&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/213883066'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We’re having spaghetti and meatballs … with Zuppa Toscana soup ... broccoli, salad and French bread,” says volunteer Sabrina Price. She has to stand on a stool to stir the huge pot of tomato sauce.\u003c/p>\n\u003cp>“We made the spaghetti sauce from scratch. There are whole bay leaves in there, fresh oregano and parsley.”\u003c/p>\n\u003cp>The USO has been supporting active-duty service members (and National Guard and Reserve) and their families since 1941. \u003ca href=\"http://usosandiego.org/\">San Diego’s Downtown Center\u003c/a> hosts dinner every week, says director Tiana Caylor.\u003c/p>\n\u003caside class=\"pullquote alignleft\">“We do Tuesday night dinners because food speaks volumes. When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003cbr>\n\u003ccite>Tiana Caylor, Director of USO's San Diego Downtown Center\u003c/cite>\u003c/aside>\n\u003cp>“We do Tuesday night dinners because food speaks volumes,\" she says. \"When you're at home, the first thing you do is you go into the fridge. You ask Mom to make you a sandwich. It's our way of being a home away from home. And food is a love language.\"\u003c/p>\n\u003cp>“It's like having a family dinner,” says Kameron Richardson, holding her 3-month-old baby. She’s here with her best friend, who’s also a Navy spouse. Richardson’s husband is deployed on a carrier that hasn’t reached its destination, so she doesn’t know where he is.\u003c/p>\n\u003cp>“He’s an airman, so he brings in the planes when they come in on the ships,\" she says.\u003c/p>\n\u003cp>They’ve been together for six years. Since her husband joined the Navy almost three years ago, “we've spent more time apart than we have together,\" Richardson says with a bit of a laugh.\u003c/p>\n\u003cp>Here, she can meet people who know what she’s going through. “We can talk about stuff that you can't really talk about, with even your own family, because they don't really understand all the time.”\u003c/p>\n\u003cp>A few seats away, Barbara Melendez tells me she’s a hospital corpsman, a medic for the Navy and Marines. She’s sitting with her daughters: Maida, age 6, and Melinda, age 5. They’re USO regulars.\u003c/p>\n\u003cfigure id=\"attachment_10586861\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10586861\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/USO_2-800x491.jpg\" alt=\"Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars.\" width=\"800\" height=\"491\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-800x491.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1440x884.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-1180x724.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2-960x589.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/USO_2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hospital Corpsman Barbara Melendez and her daughters Maida and Melinda are USO regulars. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We love it here,” says Melendez. “Every once in a while they do a pantry where we get beans and rice and muffins. That helps me out tremendously.” The single mom says it can be tough in this economy, and in San Diego, to get by.\u003c/p>\n\u003cp>She’s grateful for the USO and the volunteers. “You seem to lose your faith in humanity sometimes, but then there's places like this where people come together and prove, ‘Hey, we still care. We still notice.’ ”\u003c/p>\n\u003cp>As the meal ends, Scotty Wells gets a rare moment to reflect on her future. It means the world to her to be raising these five great kids, and on top of that, she says, “My dream is just to grow old and sit on a porch someday with my husband. I know that might sound stupid, but it's what I want.”\u003c/p>\n\u003cp>She adds quietly, “I don’t want to lose my husband.”\u003c/p>\n\u003cp>Wells remembers a really difficult time, when he was deployed for four months, and she had newborn twins plus a 1- and 5-year-old at home.\u003c/p>\n\u003cp>“I can't even tell you how many times I brought that stroller here. I did that frequently, because you make friends, and they move,” she says, a fact of life for many military families in military towns. “So then you have nobody here.\"\u003c/p>\n\u003cp>She adds, \"Sometimes, you just get lonely, so you come to dinner.”\u003c/p>\n\u003cp>That’s something she can do every Tuesday night at the USO.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series \u003ca href=\"http://www.californiafoodways.com/\">California Foodways\u003c/a> is supported by \u003ca href=\"http://www.calhum.org/\">Cal Humanities\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I stop by the \u003ca href=\"http://www.burgerrecords.org/\">Burger Records\u003c/a> store in Fullerton, founders Lee Rickard and Sean Bohrman are days from jetting off to France for Paris Fashion Week — guests of a \u003ca href=\"http://hedislimane.com/diary/\">well-known designer \u003c/a>and Burger super fan.\u003c/p>\n\u003cp>“Constantly, doors are being opened and we’re walking through them,” says Rickard, sinking into an old couch in Burger’s cramped but cozy back office. “Because people are into the bands we’re working with.”\u003c/p>\n\u003cp>A pricy tailored suit, a gift from that fashion designer, hangs at the foot of a makeshift bunk bed, even though everyday life is more Anaheim thrift store than Beverly Hills clothier.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/213883810″ 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>“We live here, so you’re in my room right now. This is my bed right here,” says Bohrman. “Lee lives in the front of the store here, on the couch, so we’re here all the time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bohrman, a self-described workaholic, says he typically works until about 3 or 4 in the morning, sleeps a few hours and then gets back to work.\u003c/p>\n\u003cp>“So that’s why we’ve been able to do so many releases and grow so quickly,” says Bohrman. “And that’s why we still live at the shop and don’t shower much.”\u003c/p>\n\u003cp>Virtually every waking moment, every penny earned, goes right back into growing the Burger empire, which now includes the record store and label, concert promotion and merchandise.\u003c/p>\n\u003cp>The Burger machine never sleeps.\u003c/p>\n\u003cp>“Oh yeah, we’re burned out,” confesses Rickard, while Bohrman fields another incoming phone call. “But we kind of thrive on insanity and delirium. We don’t really dwell on what we’re missing out on because we’re grateful that this is our life. We’re tastemakers or whatever, and we get to produce cool content.”\u003c/p>\n\u003cp>Rickard and Bohrman, now in their early 30s, launched Burger eight years ago when they couldn’t find a label to put out a single by their own band, Thee Makeout Party.\u003c/p>\n\u003cp>They began doing the same for other Orange County bands like \u003ca href=\"https://www.youtube.com/watch?v=a0l214b5fmw\">Audacity\u003c/a>.\u003c/p>\n\u003cp>Kyle Gibson, one of Audacity’s two guitarists, says the band was pretty much the first to get a record out on Burger back when the band was still in high school.\u003c/p>\n\u003cfigure id=\"attachment_10585896\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585896\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg\" alt=\"Screen shot from Audacity’s 2013 Jam in the Van video shoot. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from Audacity’s 2013 Jam in the Van video shoot. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the eight years since, Burger has released around 900 records, CDs and cassette tapes.\u003c/p>\n\u003cp>“With them it’s more handshake kind of stuff. They hate contracts and money and stuff,” Gibson says.\u003c/p>\n\u003cp>Audacity now has a more formal deal with another indie label, he says. But the close relationship with Burger continues.\u003c/p>\n\u003cp>“Well, they don’t hate money, but I’ve heard Sean say lots of times like, ‘Money sucks, that’s when everything starts to get weird,’ ” laughs Bohrman.\u003c/p>\n\u003cp>Burger’s bread and butter is the one-off deal; cheaply priced limited edition cassettes or 7-inch singles for scores of bands and even rival labels.\u003c/p>\n\u003cp>That includes heavy hitters like Weezer and Dave Grohl, Sub Pop records and Universal Music. Clients like it because Burger works fast, works cheap and answers the phone.\u003c/p>\n\u003cp>It’s become a one-stop distributor, manufacturer and promoter for acts that fit into the Burger aesthetic, which lean toward messy but urgent lo-fi garage rock with a bubble-gum heart.\u003c/p>\n\u003cp>“We like to keep it raw and real and teenage and fun and colorful,” says Rickard. “A lot of our stuff might not be perfectly manicured. But the sounds are top shelf.”\u003c/p>\n\u003cp>And you don’t even have to be affiliated with the label to be part of the Burger world.\u003c/p>\n\u003cp>This weekend’s Burger Bugaloo festival in Oakland is chock full of bands that simply reflect or have been inspired by Burger’s cheeky DIY swagger.\u003c/p>\n\u003cp>None so more than Bay Area garage punk legends \u003ca href=\"https://www.youtube.com/watch?v=RyN7ibB2UEc\">The Mummies \u003c/a>— playing a rare reunion show after disbanding nearly 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10585948\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585948\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg\" alt=\"Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1440x1071.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ll be honest with you. We thought we were playing some kind of thing for an actual burger chain,” says Mummies singer and organist Trent Ruane. “There is a little bit of disappointment there, but we’ve entered into a contract so we’ll go through with it, this time.”\u003c/p>\n\u003cp>Or at least he says it’s Ruane. It’s hard to know because he’s speaking on the phone from the Bay Area. The band member’s true identities have always been purposely obscured.\u003c/p>\n\u003cp>Since forming in the suburbs south of San Francisco in the late 1980s, the Mummies have swaddled themselves from head to toe in bandages when appearing in public.\u003c/p>\n\u003cfigure id=\"attachment_10585900\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585900\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg\" alt=\"Screenshot from a rare 1991 Mummies performance on a Southern California cable access variety show. \" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1440x1042.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from a rare 1991 Mummies performance on a Southern California cable access variety show. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think the Munsters meet the Beatles.\u003c/p>\n\u003cp>“Yeah, I always thought of it more as ‘Night of the Living Dead’ meets the Monkees,” Ruane drawls. “We were really looking for something that could be one of the dumbest things you can do.”\u003c/p>\n\u003cp>In a sense, the Mummies were too punk for punk.\u003c/p>\n\u003cp>Recordings were deliberately raw and sloppy. LPs and singles were pressed in small quantities. When they sold out, they stayed sold out.\u003c/p>\n\u003cp>Then the band vanished.\u003c/p>\n\u003cp>“We wanted to be the Mummies, and that was like our idol band in high school that we looked up to,” gushes Burger Bohrman.\u003c/p>\n\u003cp>“Just the attitude and the confidence, standing up tall and just like who cares if I got a snotty nose,” adds Rickard.\u003c/p>\n\u003cp>And like the Mummies, says Rickard, Burger kind of began as a joke with a crudely drawn hamburger scrawled on a piece of paper.\u003c/p>\n\u003cp>“And now 10 years later, I mean we’re not laughing to the bank yet but we’re finally looking at houses to rent,” says Rickard. “And hopefully we can get something, because I really want a kitchen.”\u003c/p>\n\u003cp>A kitchen does make sense, because the Burger is getting bigger.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>On top of a torrent of new releases and a new music shop in L.A., there’s talk of opening a Burger bar and grill — with a stage, of course.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I stop by the \u003ca href=\"http://www.burgerrecords.org/\">Burger Records\u003c/a> store in Fullerton, founders Lee Rickard and Sean Bohrman are days from jetting off to France for Paris Fashion Week — guests of a \u003ca href=\"http://hedislimane.com/diary/\">well-known designer \u003c/a>and Burger super fan.\u003c/p>\n\u003cp>“Constantly, doors are being opened and we’re walking through them,” says Rickard, sinking into an old couch in Burger’s cramped but cozy back office. “Because people are into the bands we’re working with.”\u003c/p>\n\u003cp>A pricy tailored suit, a gift from that fashion designer, hangs at the foot of a makeshift bunk bed, even though everyday life is more Anaheim thrift store than Beverly Hills clothier.\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/213883810″&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/213883810″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We live here, so you’re in my room right now. This is my bed right here,” says Bohrman. “Lee lives in the front of the store here, on the couch, so we’re here all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bohrman, a self-described workaholic, says he typically works until about 3 or 4 in the morning, sleeps a few hours and then gets back to work.\u003c/p>\n\u003cp>“So that’s why we’ve been able to do so many releases and grow so quickly,” says Bohrman. “And that’s why we still live at the shop and don’t shower much.”\u003c/p>\n\u003cp>Virtually every waking moment, every penny earned, goes right back into growing the Burger empire, which now includes the record store and label, concert promotion and merchandise.\u003c/p>\n\u003cp>The Burger machine never sleeps.\u003c/p>\n\u003cp>“Oh yeah, we’re burned out,” confesses Rickard, while Bohrman fields another incoming phone call. “But we kind of thrive on insanity and delirium. We don’t really dwell on what we’re missing out on because we’re grateful that this is our life. We’re tastemakers or whatever, and we get to produce cool content.”\u003c/p>\n\u003cp>Rickard and Bohrman, now in their early 30s, launched Burger eight years ago when they couldn’t find a label to put out a single by their own band, Thee Makeout Party.\u003c/p>\n\u003cp>They began doing the same for other Orange County bands like \u003ca href=\"https://www.youtube.com/watch?v=a0l214b5fmw\">Audacity\u003c/a>.\u003c/p>\n\u003cp>Kyle Gibson, one of Audacity’s two guitarists, says the band was pretty much the first to get a record out on Burger back when the band was still in high school.\u003c/p>\n\u003cfigure id=\"attachment_10585896\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585896\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg\" alt=\"Screen shot from Audacity’s 2013 Jam in the Van video shoot. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-AUDCAITY.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from Audacity’s 2013 Jam in the Van video shoot. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the eight years since, Burger has released around 900 records, CDs and cassette tapes.\u003c/p>\n\u003cp>“With them it’s more handshake kind of stuff. They hate contracts and money and stuff,” Gibson says.\u003c/p>\n\u003cp>Audacity now has a more formal deal with another indie label, he says. But the close relationship with Burger continues.\u003c/p>\n\u003cp>“Well, they don’t hate money, but I’ve heard Sean say lots of times like, ‘Money sucks, that’s when everything starts to get weird,’ ” laughs Bohrman.\u003c/p>\n\u003cp>Burger’s bread and butter is the one-off deal; cheaply priced limited edition cassettes or 7-inch singles for scores of bands and even rival labels.\u003c/p>\n\u003cp>That includes heavy hitters like Weezer and Dave Grohl, Sub Pop records and Universal Music. Clients like it because Burger works fast, works cheap and answers the phone.\u003c/p>\n\u003cp>It’s become a one-stop distributor, manufacturer and promoter for acts that fit into the Burger aesthetic, which lean toward messy but urgent lo-fi garage rock with a bubble-gum heart.\u003c/p>\n\u003cp>“We like to keep it raw and real and teenage and fun and colorful,” says Rickard. “A lot of our stuff might not be perfectly manicured. But the sounds are top shelf.”\u003c/p>\n\u003cp>And you don’t even have to be affiliated with the label to be part of the Burger world.\u003c/p>\n\u003cp>This weekend’s Burger Bugaloo festival in Oakland is chock full of bands that simply reflect or have been inspired by Burger’s cheeky DIY swagger.\u003c/p>\n\u003cp>None so more than Bay Area garage punk legends \u003ca href=\"https://www.youtube.com/watch?v=RyN7ibB2UEc\">The Mummies \u003c/a>— playing a rare reunion show after disbanding nearly 25 years ago.\u003c/p>\n\u003cfigure id=\"attachment_10585948\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585948\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg\" alt=\"Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1440x1071.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-2011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Fan footage from a rare 2011 Mummies reunion show in Oslo, Norway. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ll be honest with you. We thought we were playing some kind of thing for an actual burger chain,” says Mummies singer and organist Trent Ruane. “There is a little bit of disappointment there, but we’ve entered into a contract so we’ll go through with it, this time.”\u003c/p>\n\u003cp>Or at least he says it’s Ruane. It’s hard to know because he’s speaking on the phone from the Bay Area. The band member’s true identities have always been purposely obscured.\u003c/p>\n\u003cp>Since forming in the suburbs south of San Francisco in the late 1980s, the Mummies have swaddled themselves from head to toe in bandages when appearing in public.\u003c/p>\n\u003cfigure id=\"attachment_10585900\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10585900\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg\" alt=\"Screenshot from a rare 1991 Mummies performance on a Southern California cable access variety show. \" width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-400x289.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1440x1042.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/07/BURGER-MUMMIES-cable.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screen shot from a rare 1991 Mummies performance on a Southern California cable access variety show. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Think the Munsters meet the Beatles.\u003c/p>\n\u003cp>“Yeah, I always thought of it more as ‘Night of the Living Dead’ meets the Monkees,” Ruane drawls. “We were really looking for something that could be one of the dumbest things you can do.”\u003c/p>\n\u003cp>In a sense, the Mummies were too punk for punk.\u003c/p>\n\u003cp>Recordings were deliberately raw and sloppy. LPs and singles were pressed in small quantities. When they sold out, they stayed sold out.\u003c/p>\n\u003cp>Then the band vanished.\u003c/p>\n\u003cp>“We wanted to be the Mummies, and that was like our idol band in high school that we looked up to,” gushes Burger Bohrman.\u003c/p>\n\u003cp>“Just the attitude and the confidence, standing up tall and just like who cares if I got a snotty nose,” adds Rickard.\u003c/p>\n\u003cp>And like the Mummies, says Rickard, Burger kind of began as a joke with a crudely drawn hamburger scrawled on a piece of paper.\u003c/p>\n\u003cp>“And now 10 years later, I mean we’re not laughing to the bank yet but we’re finally looking at houses to rent,” says Rickard. “And hopefully we can get something, because I really want a kitchen.”\u003c/p>\n\u003cp>A kitchen does make sense, because the Burger is getting bigger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On top of a torrent of new releases and a new music shop in L.A., there’s talk of opening a Burger bar and grill — with a stage, of course.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Two New Albums Are Latest Blooms From S.F.'s Red Poppy Art House",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/212163759\" 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>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cyGFpiZW5Do\u003c/p>\n\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8LX4uWyNWTo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Square foot for square foot, no venue in San Francisco has made a bigger impact over the past 15 years than the \u003ca href=\"http://redpoppyarthouse.org/\">Red Poppy Art House\u003c/a>. A storefront Mission District performance space and studio run on a shoestring budget, the venue has nurtured a fascinating array of hybrid artists, such as the Carnatic jazz of VidyA and the Ethio-soul of Meklit. Two recent albums by artists associated with the Red Poppy make it clear that the club hasn’t lost its mojo.\u003c/p>\n\u003cp>For her first album, \u003ca href=\"http://www.tiffanyaustinmusic.com/\">Tiffany Austin \u003c/a>relies on a time-tested strategy that alto sax great Jackie McLean once described as “new wine in old bottles.” A graduate of the UC Berkeley School of Law, she’s spent the past few years paying dues on the Bay Area jazz scene, singing with established bandleaders like bassist \u003ca href=\"http://www.marcusshelby.com/\">Marcus Shelby\u003c/a>, trombonist \u003ca href=\"http://www.jazzmafia.com/family/adam-theis/\">Adam Theis\u003c/a> and saxophonist Howard Wiley.\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/212163759&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/212163759'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Her new album, \"Nothing But Soul,\" came out of a 2013 SFJAZZ Hotplate concert exploring the songs of Hoagy Carmichael. She and Wiley came up with unfussy arrangements that refashioned some of Carmichael’s best-loved songs to fit the luxuriant contours of her voice.\u003c/p>\n\u003cp>She kicks off the album with a casually swinging version of “Stardust,” set to a lilting two-beat feel that doesn’t dilute the enduring power of Carmichael’s soaring melody. Her fleet and almost frantic take on “Baltimore Oriole” captures the bleak vision of abandonment behind the cutesy avian lyrics. The album’s most unexpected track is her barrelhouse sprint through Johnny Cash’s “I Walk the Line,” a tune that Carmichael evidentially covered in 1956.\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/cyGFpiZW5Do'\n title='//www.youtube.com/embed/cyGFpiZW5Do'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reimagining standards is just one facet of Austin’s creativity. She spent a year as artist in residence at the Red Poppy Art House, putting her own spin on songs gleaned from early Creole recordings from Louisiana. Accompanied by some of the best jazz musicians in the Bay Area -- pianist Glen Pearson, bassist Ron Belcher and drummer Sly Randolph -- Austin delivers an impressive debut that only hints at her potential.\u003c/p>\n\u003cfigure id=\"attachment_10578476\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10578476\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RobReich-800x554.jpg\" alt=\"Oakland accordionist Rob Reich.\" width=\"800\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-800x554.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-400x277.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1440x997.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-1180x817.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich-960x665.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RobReich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland accordionist Rob Reich \u003ccite>(Courtesy Rob Reich)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where Austin employs a canny strategy in approaching familiar material, Oakland accordionist \u003ca href=\"http://www.robreich.com/\">Rob Reich\u003c/a> merely has to play a few notes to establish his singular identity. A versatile composer who has thrived in many situations, from writing action-packed circus music to setting e.e. cummings verse to music in the chamber ensemble Tin Hat, Reich delivers a dozen original compositions on his entrancing new album \"Shadowbox.\"\u003c/p>\n\u003cp>The opening track, “Night Heron,” embodies so much of what makes his music memorable and evocative. There’s the subway rumble of Ben Goldberg’s contra alto clarinet and Todd Sickafoose’s elastic bass lines. There’s Eric Garland’s subtle but assertive cymbal touch, and guitarist Ila Cantor’s ominous notes that hang in the air.\u003c/p>\n\u003cp>Reich plays piano on several tracks, too, but it’s the tunes that pair his accordion with Goldberg’s clarinet that I keep coming back to, like “How Now,” a piece that makes me think of Thelonious Monk walking through the countryside in Eastern Europe.\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/8LX4uWyNWTo'\n title='//www.youtube.com/embed/8LX4uWyNWTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Using his own particular alchemy to combine various folk, jazz and classical elements, Reich creates soundscapes that linger like a half-remembered scent. It’s a realm where the accordion sheds many, but not all, of its Old World connotations, a Shadowbox brimming with half-buried feelings and memories just out of reach.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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