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"headline": "Mission Tenants Win Chance to Stay in 'Pigeon Palace'",
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"nprByline": "\u003cstrong>\u003ca href=\"http://missionlocal.org/author/lauraw/\" target=\"_blank\">Laura Wenus\u003c/a>\u003cbr />Mission Local\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents of the so-called Pigeon Palace, who have been resisting its sale for fear of a massive rent increase or eviction and out of respect for what they say are the wishes of its owner, scored a huge victory today when the Community Land Trust won the $3.28 million auction for the property in probate court.\u003c/p>\n\u003cp>Judge Peter Busch, presiding over the proceeding on the multiunit, three-story building at 2840-2848 Folsom St. earlier this week, called the case “probably the most spirited I have seen.”\u003c/p>\n\u003cp>That’s because tenants and neighbors have been objecting to the sale of the property for more than a month. They say its owner, Frances Carati, never wanted the building to be sold and planned for it to go to her tenants. When approached by the tenants, Carati even signed an Intent to Sell form.\u003c/p>\n\u003cp>Unfortunately for the tenants, she did so within 30 days of failing a mental aptitude test, making the document legally worthless because she has been deemed incapable of understanding her legal and financial situation.\u003c/p>\n\u003cp>Busch dismissed all objections against the sale, saying the tenant and neighbor objecting had no standing in the case and that a 2006 care directive indicating her unwillingness to sell the building had already been superseded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read full story at \u003ca href=\"http://missionlocal.org/2015/06/victory-for-pigeon-palace-tenants-in-court-auction/\" target=\"_blank\">Mission Local\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Albums from the Golden State: Dawes, Los Tres Amigos-Snuviko and Part Time",
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"content": "\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100977\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_Vz2qlIdnO0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s fascinating music to be found in unexpected, unexplored places. A Mixtec trio rooted in a Oaxacan village and a lo-fi savant fit that bill, while an LA band is poised for a big breakout. These three make for a rich array of new California music offerings this month.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Los Tres Amigos-Snuviko, \u003cem>The Three Friends from Where the Clouds Descend (Little Village Foundation)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\">\u003cimg class=\"alignleft size-full wp-image-10560889\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/lvf-amigos-outside.jpg\" alt=\"Los Tres Amigos-Snuviko\" width=\"357\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside.jpg 357w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/lvf-amigos-outside-75x75.jpg 75w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>\u003c/strong>With us all having recording studios in our pockets and everything we capture put on YouTube within minutes, the notion of an \u003ca href=\"http://www.culturalequity.org/alanlomax/ce_alanlomax_index.php\" target=\"_blank\">Alan Lomax \u003c/a>or \u003ca href=\"http://www.npr.org/2013/03/16/174452880/arhoolie-records-50-years-of-digging-for-down-home-music\" target=\"_blank\">Arhoolie Records’ Chris Strachwitz\u003c/a> intrepidly making field recordings to preserve cultural music expressions, seems anachronistic if not obsolete. \"The Three Friends from Where the Clouds Descend\" by the trio \u003ca href=\"http://littlevillagefoundation.com/blog/los-tres-amigos-snuviko-from-where-the-clouds-descend/\" target=\"_blank\">Los Tres Amigos - Snuviko\u003c/a> puts the lie to that.\u003c/p>\n\u003cp>One of four inaugural releases from the \u003ca href=\"http://littlevillagefoundation.com/\" target=\"_blank\">Little Village Foundation\u003c/a>, the venture of musician and insatiable seeker Jim Pugh, the album captures lively instrumental music originating in the Oaxacan mountain village of Snuviko, which in the local Mixtec language means “where the clouds descend.” Pugh found this music, though, in a vibrant Mixtec community that has come together among the farmworkers around \u003ca href=\"http://www.cityofsantamaria.org/\" target=\"_blank\">Santa Maria\u003c/a> in Central California. Pugh, a Chicago native now living in the Santa Ynez Valley, was tipped off to these guys by members of a Norteño band he met in Lompoc, who alerted him that they spoke neither English nor Spanish. But with a Mixtec translator, he found them — guitarist Juan Hernandez, violinist Alberto López and bassist Jacobo Martinez — and recorded them in a Buellton studio.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/210100977&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/210100977'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The music is raw, expressive, evocative of both life in Mexico and Central California. It’s a valuable document, sure. But more important, it’s a great listen — just like the best Lomax and Strachwitz recordings. The Little Village slogan is “Pebbles on the Beach, Sounds from the Margins.” The other initial releases are from cowboy balladeer Dave Ellis, soul man Wee Willie Walker and boogie blues guitarist Ron Thompson, just the first round of Pugh’s marginal beachcombing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe src=\"https://player.vimeo.com/video/108716929\" width=\"640\" height=\"360\" frameborder=\"0\" title=\"Los Tres Amigos- Snuviko 10.2014\" webkitallowfullscreen mozallowfullscreen allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Part Time, \u003cem>Virgo\u003c/em>\u003c/strong>\u003cstrong>\u003cem>’\u003c/em>\u003c/strong>\u003cstrong>\u003cem>s Maze (Burger Records)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560750\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg\" alt=\"Part Time- Virgo's Maze\" width=\"354\" height=\"363\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-400x410.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-800x819.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1440x1475.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-1180x1208.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-960x983.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15458_PT_VM1x-qut.jpg 1920w\" sizes=\"(max-width: 354px) 100vw, 354px\">\u003c/a>Lo-fi, these days, is an aesthetic choice, not an economic necessity. It’s been a good choice for David Loca, recording as Part Time. The muddy, made-in-the-bedroom patina is an integral part of his sound, every bit as much as the tinniness on old blues records. Clean it up too much and it’s not the same, or as appealing. With the new \u003ca href=\"https://www.facebook.com/pages/PART-TIME/105366072835033\" target=\"_blank\">Part Time\u003c/a> album, \u003cem>Virgo\u003c/em>\u003cem>’\u003c/em>\u003cem>s Maze\u003c/em>, that style doesn’t mask the wide reach and wide-eyed spirit of this artist. It’s probably a necessity as he flits from ‘80s electro-pop to vintage, sax-accented ‘50s rock ’n’ roll to ‘60s garage rock to quasi-soul balladry to quasi-punk-pop to a little Frank Zappa-esque weirdness, moving around in time as much as in style, as if he just can’t pick a place to land.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\">https://soundcloud.com/burgerrecords/sets/part-time-virgos-maze\u003c/a>\u003c/p>\n\u003cp>Even a loony version of the Beatles’ “I Saw Her Standing There” feels like just a restless stop along the way. It’s not lack of commitment — rather over-commitment, if anything. This guy loves music, loves all kinds of music and just wants to make as much music as he can. In some ways it calls to mind \u003ca href=\"http://www.allmusic.com/artist/todd-rundgren-mn0000936425/biography\" target=\"_blank\">Todd Rundgren\u003c/a>’s early-‘70s feeling-his-oats creative scattershot approach on \"Something/Anything.\" That both albums are three-fourths one-man-band efforts is a nice coincidence. (And here and there, such as on “It’s Elizabeth,” “Strangest Eyes” and the title song, the album explicitly recalls Rundgren’s pop delights.)\u003c/p>\n\u003cp>Few artists could, let alone would, go right from sounding like early \u003ca href=\"https://youtu.be/fVkN0VhOuZ0\" target=\"_blank\">Pet Shop Boys\u003c/a> on “My Jamey” to, on the next song, the chirpy “Honey Lips,” getting even more cornball old-time romantic than Paul McCartney on “Honey Pie.” But the keep-you-guessing quality is matched with a keep-you-entertained appeal, along with a handful of winking in-jokes. “Touch Me Responsibly”? Restrained/repressed lust has rarely been so tuneful. And in a time when nothing in pop culture is restrained, ever, in any way, it’s refreshing. As is the lo-fi pop throughout.\u003c/p>\n\u003cp>\u003cstrong>Dawes, \u003cem>All Your Favorite Bands (HUB)\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg\">\u003cimg class=\"alignleft wp-image-10560751\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg\" alt=\" Dawes-All Your Favorite Bands\" width=\"357\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15459_1428334636Dawescover_itunes-qut.jpg 1920w\" sizes=\"(max-width: 357px) 100vw, 357px\">\u003c/a>Earnestly sweet sentiments have abounded in music for, well, since there’s been music. But Los Angeles’ \u003ca href=\"http://dawestheband.com/\" target=\"_blank\">Dawes\u003c/a> has come up with a new one, and it’s as earnestly sweet as it gets. “May all your favorite bands stay together,” sings Taylor Goldsmith on the title song. It’s a beautiful song full of such nice wishes for, presumably, a fondly remembered ex, and as such sidles up nicely alongside, oh, Neil Young’s “Long May You Run” and John Martyn’s (via Eric Clapton) “May You Never.”\u003c/p>\n\u003cp>More than that, it anchors an album that sees Dawes justifying early praise that saw it poised to take over the mantle of classic California rock, with such fans/mentors as Jackson Browne prominent among supporters and reference points. (He’s taken them on the road as his backing band.) But this album also sees Dawes \u003cem>separating\u003c/em> itself from the reference points — not entirely, as there’s still a lot of Browne’s tone present, as well as \u003ca href=\"http://www.crosbystillsnash.com/\" target=\"_blank\">Crosby, Stills, Nash \u003c/a>and/or Young and, to some lesser extent, the Eagles. Perhaps Goldsmith’s stint alongside Elvis Costello, Marcus Mumford, My Morning Jacket’s Jim James and Rhiannon Giddens in the T-Bone Burnett-squired \u003ca href=\"http://www.thenewbasementtapes.com/\" target=\"_blank\">New Basement Tapes\u003c/a> (crafting new music for old unused Bob Dylan lyrics) broadened his writing palette.\u003c/p>\n\u003cp>Whatever the case, he and his bandmates have matured nicely. This is on display throughout the album — the hurting opener “Things Happen,” the layered, somber “I Can’t Think About It Now” and the Grateful Dead-like extended meditation “Now That It’s Too Late, Maria” — but nowhere stronger than on “Right On Time,” a crisp tour-de-force, entwining complex emotions and involving music. In its course it renders influence and antecedents moot, Dawes making a statement all its own. Here’s to Dawes becoming one of our favorite bands. And staying together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210079236\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area cafes have something of a reputation, maybe a stereotype, for young, hip baristas selling caffeine at top dollar.\u003c/p>\n\u003cp>So you might not expect the person carefully preparing your espresso to be an ex-convict.\u003c/p>\n\u003cp>But that is what you'll find at \u003ca href=\"http://bighousebeans.com/\">Big House Beans\u003c/a>, a cafe in the East Bay.\u003c/p>\n\u003cp>Its founder is an ex-con who discovered coffee on his road to redemption.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/210079236&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/210079236'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Big House Beans is a little hidden, tucked away in an Antioch strip mall, surrounded by car dealerships. John Krause, the owner and founder of the roastery, was working behind the counter when we first met.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Kenya -- this just came in as a sample and I roasted it up,\" says Krause. \"It’s a very light roast. This is probably our most popular, the Ethiopia Harrar. It’s kind of like a sweet, blueberryish.\"\u003c/p>\n\u003cp>Krause, a towering, serious and clean-cut figure who talks like any mustachioed barista you'd find on Valencia Street, has never been to Kenya or Ethiopia. He did, however, spend 12 years in and out of San Quentin State Prison. He is a former drug addict.\u003c/p>\n\u003cp>\"I spent a total of 12 years incarcerated,\" says Krause. \"Almost everything was linked to my drug addiction. Whether it was just me making poor decisions under the influence or a high-speed chase in a stolen car.\"\u003c/p>\n\u003cp>After his last arrest in 2009, Krause knew he was never going back in and decided to join a church. He was looking for God, but he also found coffee. His pastor, who dabbled in do-it-yourself roasting, introduced him to home-roasted coffee.\u003c/p>\n\u003cp>\"It was like a revelation,\" says Krause. \"The flavors were just rolling in my mouth.\"\u003c/p>\n\u003cp>It’s not that he hadn’t had coffee before. It’s just that it was really bad, especially at San Quentin. Krause started roasting as a hobby. With some investments from church friends and money from his own savings, Big House Beans roasted its first cup.\u003c/p>\n\u003cp>Today Krause employs another ex-con, and he wants to add more through an internship program that will teach roasting, wholesale and customer service.\u003c/p>\n\u003cp>Krause has big plans for Big House Beans. He wants to expand his cafe and launch a coffee truck at Bay Area farmers markets. And he’s essentially doing it on his own.\u003c/p>\n\u003cp>\"I can't make up for all the years that I lost, so I have to start fresh today and just do the best that I can every day,\" he says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But no matter what happens, Krause vows, in his own words, to remain teachable and stay humble.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
"title": "San Francisco Officials Want to Help Save the City's 'Legacy Businesses'",
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"content": "\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials plan to put a measure on the November ballot asking voters to back a preservation fund supporting longtime small businesses and nonprofits facing rising commercial rents and gentrification.\u003c/p>\n\u003cp>\"They have a very important part in the character of these neighborhoods, and unless the city makes an investment in helping them, they're going to fail,\" says Supervisor David Campos, who is sponsoring the legislation along with supervisors John Avalos, Jane Kim and Eric Mar.\u003c/p>\n\u003cp>Last year, the city's budget and legislative analyst \u003ca href=\"http://www.sfbos.org/Modules/ShowDocument.aspx?documentid=50557\" target=\"_blank\">issued a report\u003c/a> saying thousands of businesses would close, driven in part by commercial real estate prices. It predicted that if current trends continue, more than 5,000 businesses would close or change locations by 2019.\u003c/p>\n\u003cp>Campos says the proposed measure, the first of its kind in the nation, was crafted in consultation with a broad array of stakeholders, including the small business community, preservation activists like \u003ca href=\"http://www.sfheritage.org/\" target=\"_blank\">SF Heritage\u003c/a>, nonprofits, the Chamber of Commerce and realtors.\u003c/p>\n\u003cp>\"We have worked with folks that are not necessarily on the same page and said, 'How can we as San Francisco prioritize these legacy businesses?'\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The proposed Legacy Business Historic Preservation Fund would make businesses that are 30 years or older eligible for annual grants of up to $50,000, or $500 per employee, and an annual $4.50-per- square foot grant would be available to property owners up to $22,500. No more than 300 businesses could qualify each year. Campos says businesses will have to show to the \u003ca href=\"http://sfgsa.org/index.aspx?page=4204\">Small Business Commission\u003c/a> that they've contributed to the community and that they've benefited or provided character to the neighborhood.\u003c/p>\n\u003cp>He says it's especially important to give property owners incentives to provide 10-year leases, instead of short-term leases that are sometimes month to month.\u003c/p>\n\u003cp>\"That instability is very dangerous and actually has lead to businesses closing because the rents can go up so quickly,\" he says, pointing out that the state does not allow rent control on commercial properties.\u003c/p>\n\u003cp>Campos' office says there are 7,000 businesses in the city that are 30 years or older, and around 3,000 may be eligible for the program. The money for the fund, estimated annually at $3 million, would come out of the city's general fund.\u003c/p>\n\u003cp>The measure is expected to be put on the ballot by the Board of Supervisors, and early polling indicates voters would support it.\u003c/p>\n\u003cp>In recent years the city has seen a number of famous and beloved restaurants and bars close, including \u003ca href=\"http://ww2.kqed.org/news/2015/04/25/goodbye-lexington-owner-to-shut-doors-to-beloved-lesbian-bar\" target=\"_blank\">The Lexington Club\u003c/a>, \u003ca href=\"http://insidescoopsf.sfgate.com/blog/2014/03/17/joes-cable-car-says-goodbye/\" target=\"_blank\">Joe's Cable Car\u003c/a>, \u003ca href=\"http://www.sfexaminer.com/sanfrancisco/chinatown-landmark-empress-of-china-set-to-shutter/Content?oid=2915368\" target=\"_blank\">Empress of China\u003c/a>, and \u003ca href=\"http://ww2.kqed.org/pop/2014/02/27/esta-noche-to-close-nothing-is-sacred-san-francisco/\" target=\"_blank\">Esta Noche\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"This is not going to answer every problem, and it's not going to address every situation,\" says Campos. \"But it's some assistance and I think it will have an impact and make a difference.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "California's Juan Felipe Herrera Named U.S. Poet Laureate",
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"content": "\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>[contextly_sidebar id=”FNcbG4jWzzd1Hm8kCad0TKDD9g1ucwsD”]\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n",
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"nprByline": "\u003cstrong>\u003ca href=\"https://twitter.com/DCArtBeat\" target=\"_blank\">Brett Zongker\u003c/a>\u003cbr />Associated Press\u003cstrong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>WASHINGTON — Juan Felipe Herrera, a son of Mexican immigrant farm workers who was born in the San Joaquin Valley, will be the next U.S. poet laureate.\u003c/p>\n\u003cp>The Library of Congress announced Wednesday the appointment of Herrera as the nation’s 21st poet laureate for 2015 through 2016, beginning in September. Herrera, 66, whose parents emigrated from Mexico, will be the nation’s first Latino poet laureate since the position was created in 1936.\u003c/p>\n\u003cp>Librarian of Congress James Billington said he sees in Herrera’s poems the work of an American original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">“His poems engage in a serious sense of play — in language and in image — that I feel gives them enduring power,” Billington said in a written statement. “I see how they champion voices, traditions and histories, as well as a cultural perspective, which is a vital part of our larger American identity.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the works Herrera said he most enjoyed writing were captured in “Half the World in Light,” a book of poems lauded for his experimentation and for documenting his Chicano experience in America.\u003c/p>\n\u003cp>Herrera was born in 1948 in Fowler, a farm town south of Fresno. His family of migrant workers moved often, at times living in tents and trailers along roads. His father learned English by paying fellow workers pennies to teach him each new word.\u003c/p>\n\u003cp>Herrera said he is humbled and overwhelmed to be named U.S. poet laureate and to be the first of Latino descent.\u003c/p>\n\u003cp>The laureate position involves crafting poetry projects and broadening the audience for poetry. The 2013-14 poet laureate, Natasha Trethewey, launched a series of reports from locations nationwide for a “PBS NewsHour” poetry series to explore societal issues.\u003c/p>\n\u003cp>For his term, Herrera is envisioning a program with the Library of Congress that he calls Casa de Colores — House of Colors — to include people of every color and cultural background. He may host voice ensembles with young people to engage with poetry, perhaps taking a poem by Walt Whitman and then having a group write a poem together to perform in spoken word or with music. Or perhaps the public could contribute to a national writing project by making submissions online.\u003c/p>\n\u003cp>“Yes, I am the first Latino poet laureate in the United States. But I’m also here for everyone and from everyone. My voice is made by everyone’s voices,” Herrera said.\u003c/p>\n\u003cp>At the same time, he said, he also wants to encourage more young Latino students to write and read and benefit from the Library of Congress’ resources.\u003c/p>\n\u003cp>“You know, we speak about understanding each other, having those conversations nationwide — culturally, historically — and yet there’s a lot of gaps,” he said. “So I want to assist with closing the gap of knowing about and hearing about our Latino communities in terms of literature, in terms of writing.\u003c/p>\n\u003cp>“And I want our young Latinos and Latinas to write their hearts out and express their hearts out and let us all listen to each other.”\u003c/p>\n\u003cp>Herrera grew up speaking Spanish in his early years and became ashamed to speak at school, so he shut down, he said. But he eventually found his voice through joining choirs in middle school and high school.\u003c/p>\n\u003cp>Herrera eventually graduated from UCLA, earned graduate degrees at Stanford and the University of Iowa Writer’s Workshop, and built a career in teaching at Fresno State and UC Riverside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the past three years, 2012 to 2015, Herrera served as poet laureate of California. In March, he retired from teaching creative writing at the University of California, Riverside and is now a visiting professor in ethnic studies at the University of Washington.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
"title": "Archivists Recover 'Lost' 1961 TV Documentary on Homosexuality",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209017078\" params=\"color=0066cc&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>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Rejected” is believed to be the first American TV documentary on homosexuality, released in 1961. For decades many have thought the film was lost. Until now.\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/209017078&visual=true&color=0066cc&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/209017078'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>KQED-TV produced “The Rejected.” Critics say it was progressive, ahead of its time. In the film, openly gay men talked about their lives and the oppression they faced. That would not happen again on TV for years. The documentary has been studied and written about, but few have actually watched it.\u003c/p>\n\u003caside class=\"pullquote alignright\">'I just figured it was lost to the ages.'\u003ccite>Bob Connelly, Film Professor \u003c/cite>\u003c/aside>\n\u003cp>Professor Bob Connelly never thought he would see “The Rejected.” He says, “I just figured it was lost to the ages.”\u003c/p>\n\u003cp>Connelly has been teaching “The Rejected” for 14 years in his film class at American University in Washington, D.C. He wrote about it in graduate school, and again on the\u003ca href=\"http://www.advocate.com/politics/commentary/2011/09/21/op-ed-television-coming-out-story-1961\"> 50th anniversary of the film\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But like many others, Connelly could not find a copy. He called archives and scholars and even went to the Library of Congress. All he found there was a transcript.\u003c/p>\n\u003cp>So when Robert Chehoski called him a couple of years ago and said he was searching for the film, Connelly didn’t hold his breath.\u003c/p>\n\u003cp>Connelly says, “I really thought, 'buddy good luck. Nobody else has been able to find one, why would you be able to find one?'”\u003c/p>\n\u003cp>Chehoski is KQED's archivist. Now, you might think KQED would have the film. But no. Chehoski says local stations “simply did not have the room or resources to catalog everything.” The station had not kept a copy.\u003c/p>\n\u003cp>Today, archivists like Chehoski are trying to reclaim historic films like “The Rejected.”\u003c/p>\n\u003cfigure id=\"attachment_10552413\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg\">\u003cimg class=\"wp-image-10552413 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg\" alt=\"Archivist Alex Cherian finds old news footage and loads it up online.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15396_IMG_2682.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Archivist Alex Cherian finds old news footage and loads it up online. (Sam Harnett/KQED) \u003ccite>(Sam Harnett/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chehoski says, “It just became that unicorn that I was looking for. I get a little obsessive I guess.”\u003c/p>\n\u003cp>Chehoski teamed up with Alex Cherian, another local archivist. Cherian runs the \u003ca href=\"https://diva.sfsu.edu/\">Bay Area Television Archive \u003c/a>at San Francisco State University. Together they went on a hunt that ended up taking six years.\u003c/p>\n\u003cp>Cherian says, “There was no treasure map. All I knew was in 1961, KQED had made this film. Where the hell was it?\"\u003c/p>\n\u003cp>The pair first tried some archives. No luck. They tracked down the original producer, Irving Saraf, to see if he knew anything. More bad news. Saraf told Cherian, “Oh yeah I made that film in 1961 but I haven’t been able to find it. It’s probably lost.”\u003c/p>\n\u003cp>Cherian and Chehoski then discovered KQED did not actually own the film. A New York TV station, WNET, did -- it had provided the film's funding.\u003c/p>\n\u003cp>From there, the archivists learned that at least one physical copy of “The Rejected” did exist, hiding in plain sight.\u003c/p>\n\u003cp>Cherian says, “There’s that cliched phrase, did you look down the back of the sofa?” AKA: the Library of Congress.\u003c/p>\n\u003cp>Yup, it was actually there, buried in the archive. But the film was neither easily accessible nor in perfect shape. So the archivists convinced the library and WNET to let them clean up, digitize and upload the video. Then they sent a link to Professor Connelly. He couldn’t believe what he was seeing.\u003c/p>\n\u003cp>Connelly says, “I am just blown away by the fact that it does exist.”\u003c/p>\n\u003cp>Now, more than 50 years after the film was made, anyone can go online and \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/225539\">watch it\u003c/a>.\u003c/p>\n\u003cp>The documentary starts with KQED Station Manager James Day telling the audience that what they will see deals with a subject that is “controversial, delicate, and to some downright unpleasant.” But, Day says, the issue cannot be ignored and should be talked about.\u003c/p>\n\u003cp>The film has Twilight-Zone-esque music and some of the discourse about homosexuality is painful to hear. The opening voice-over says, “This is a program about homosexuality. What causes it? Is there a cure for it?”\u003c/p>\n\u003cfigure id=\"attachment_10556737\" class=\"wp-caption alignleft\" style=\"max-width: 372px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day.png\">\u003cimg class=\" wp-image-10556737\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/James-Day-800x548.png\" alt=\"KQED Station Manager James Day introducing the controversial subject of homosexuality. \" width=\"372\" height=\"255\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-800x548.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-400x274.png 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day-960x658.png 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/James-Day.png 1029w\" sizes=\"(max-width: 372px) 100vw, 372px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">KQED Station Manager James Day introducing the controversial subject of homosexuality. \u003ccite>(Still from 'The Rejected')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But remember, it was the early '60s. Connelly says the film was progressive for the time, a breakthrough. During the documentary, different people talk to the camera—an anthropologist, psychologist, lawyer, and most surprisingly for that time, gay men.\u003c/p>\n\u003cp>In one sequence, there is a panel of three gay men answering questions. They are from the Mattachine Society, an early gay rights group. The man on the far right says, “The homosexual is no different than anyone else,” and that homosexuals should enjoy the same rights as everyone else.\u003c/p>\n\u003cp>Connelly says many viewers had never heard from an openly gay man before.\u003c/p>\n\u003cp>A number of LGBT publications \u003ca href=\"http://www.out.com/popnography/2015/5/26/first-documentary-homosexuality-ever-aired-us-long-thought-lost-now-online\">have written\u003c/a> about the recovery of this historical documentary. But there may yet be more to see of \"The Rejected.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film's producer, Saraf, says that a longer version was made, one with rare footage inside an early '60s gay bar. Whether that version still exists is unknown. Maybe it is in a film can stacked in some archive. Or it might have been tossed away with countless other reels of film from a bygone era.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Afterschool Program Cultivates Music Pros",
"title": "Afterschool Program Cultivates Music Pros",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014153\" 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>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into a Boys & Girls Club after school, and you’ll see kids playing basketball, working on art projects, maybe getting a head start on their homework. And in a growing number of clubs, you’ll find kids creating music, through a free program called \u003ca href=\"http://notesfornotes.org/\">Notes for Notes.\u003c/a>\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/209014153&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/209014153'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Santa Barbara’s Westside Notes for Notes studio, an improv jam session is in full swing. Little kids sing along to karaoke, bang on drums and fiddle around on a mini-synthesizer. Ten-year-old Sam Sotelo is here nearly every day.\u003c/p>\n\u003cp>“I play keyboard and ukulele,” he says. “You get very creative, and I really like all of the instruments. I just hope everyone can come here because it’s very fun!”\u003c/p>\n\u003cfigure id=\"attachment_10552034\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552034\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg\" alt=\"Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15379_IMG_3772.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Budding musician Sam Sotelo strums a ukulele at the Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the next room, behind a wall plastered with posters of Tupac, the Red Hot Chili Peppers and Johnny Cash, there’s a professionally equipped recording studio. High school senior Maxton Schulte lays down drum tracks for his second studio album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Say one day I made it, I’d still want to track here,” he says with a laugh.\u003c/p>\n\u003cp>Schulte first picked up a guitar when he was 9 years old. Today, he’s a multi-instrumentalist, singer-songwriter and member of a band called The Caverns. He’s been recording at Notes for Notes for the past year.\u003c/p>\n\u003cp>“You’re not getting some cheesy-sounding garage band recording,” he explains. “Everyone is super supportive, you know, people want to collaborate with you. I meet new people here every week. It's always a good vibe here.”\u003c/p>\n\u003cp>Bre Wright is at the control board, helping Schulte fine-tune his recording. She’s a fellow musician, and a Notes for Notes program director.\u003c/p>\n\u003cp>“It’s unlike anything I’ve ever gotten to be involved with,” she says. “Just like this intermingling of all different generations of already musicians, or musicians to be. And I know that any of us who are the staff all say the same thing, 'Man, I wish I had one of these when I was a kid!' ”\u003c/p>\n\u003cfigure id=\"attachment_10552041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\">\u003cimg class=\"size-full wp-image-10552041\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg\" alt=\"Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15378_IMG_3744.JPG-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maxton Schulte, left, and Bre Wright in the control room at Santa Barbara’s Westside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giving all kids access to music is what Notes for Notes is all about. The first studio, called the Music Box, opened in a Santa Barbara teen center in 2007. Thanks to its partnership with the Boys & Girls Club, and sponsorships from Gibson, Les Paul and the Country Music Association, Notes for Notes has thrived. Today, there are studios in Nashville, Los Angeles and San Francisco. Just this week, a Ventura studio opened its doors, and Atlanta, Brooklyn and Detroit are set for later this year.\u003c/p>\n\u003cp>Guitars line the wall, and a drum kit dominates the room inside Santa Barbara’s Eastside studio, where three high school musicians rehearse an acoustic ballad. Seventeen-year-old Chimaway Lopez plays guitar.\u003c/p>\n\u003cp>“I've played violin since third grade, but I always wanted to play guitar ’cause of Jimi Hendrix,” he says. “But I was scared, because it had six strings.”\u003c/p>\n\u003cp>Brandi Rose Lentini, 15, is a third-generation musician with a powerful voice.\u003c/p>\n\u003cp>“I’ve been told so many times by my teachers, 'Music’s not going to get you anywhere so just stop, just stop it!' ” she says, shaking her head. “Then coming here, I actually told the people working here about that situation. They just said that’s completely wrong, and that there is people out there that’s supportive of you, and that's here.”\u003c/p>\n\u003cfigure id=\"attachment_10552040\" class=\"wp-caption alignright\" style=\"max-width: 1440px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\">\u003cimg class=\"wp-image-10552040 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg\" alt=\"Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio.\" width=\"1440\" height=\"1920\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15377_IMG_3690.JPG-qut-e1433528618892-960x1280.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandi Rose Lentini plays and sings at Santa Barbara’s Eastside Notes for Notes studio. \u003ccite>(Diane Bock/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notes for Notes arms these kids with the skills and confidence they need to market themselves as professional players and land gigs. Singer-songwriter Jamey Geston explains.\u003c/p>\n\u003cp>“I’m not a great student, like I'm you know, pretty average,” she says. “Coming to the Music Box makes me remember there’s more than just school, so it’s opened my eyes as to what’s after high school, and what you can do in the music industry.”\u003c/p>\n\u003cp>And these musicians will get a taste of just what they can do when they open for Peter Frampton at Notes for Notes' annual benefit concert this Sunday at Santa Barbara’s Lobero Theatre.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is dedicated to the memory of dear friend and fellow music lover Vivian Beutel.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"title": "Brian Wilson Reflects on New Biopic, 'Love & Mercy'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/209014039\" 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>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Soon Wilson sets off on a world tour, once again bringing music and joy to people he doesn’t know, and perhaps walking around a park near you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brian Wilson turns 73 this summer, but he’s not slowing down. The former Beach Boy has released \"No Pier Pressure,\" his 11th solo album, he’s rehearsing for a world tour, and this month the Wilson biopic \"\u003ca href=\"http://www.loveandmercyfilm.com/\">Love & Mercy\u003c/a>\" hits theaters, telling a deeply personal tale that’s not all fun, fun, fun.\u003c/p>\n\u003cp>Before we go any further, be aware that Wilson is not exactly a huge fan of interviews. While many celebrities have no problem engaging in lengthy discourse about themselves and their art, one gets the feeling that Wilson is far more interested in simply making music. Or relaxing with his family. Or eating a melted cheese sandwich. He loves a melted cheese sandwich.\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/209014039&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/209014039'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His answers are notoriously short, and often delivered in a breathless staccato. He says “right” a lot. Gets bored easily. And, coming up on his 73\u003csup>rd\u003c/sup> birthday, he's had to talk about himself to those looking to dissect his songs, his thoughts and his genius since Kennedy was in the White House.\u003c/p>\n\u003cp>Having said that, Wilson has his own unique charm. He’s an endearing guy. You root for him, by God. He’s painfully honest at times, though there’s apparently not a mean, rude or nasty bone in his body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Love & Mercy\" delves deeply into his life, examining his struggles with mental illness and drug abuse, his years under the care of controversial psychotherapist Dr. Eugene Landy, his relationship with second wife Melinda -- they met in 1986, married in ‘95 -- and the brilliant music he’s created that has come to define a time and place and state of mind for at least a couple of generations.\u003c/p>\n\u003cfigure id=\"attachment_10551024\" class=\"wp-caption alignright\" style=\"max-width: 493px\">\u003cimg class=\" wp-image-10551024\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BriansRoom-800x645.jpg\" alt=\"Artifacts in Brian Wilson’s music room.\" width=\"493\" height=\"397\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-800x645.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-400x323.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1440x1162.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-1180x952.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom-960x775.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BriansRoom.jpg 1920w\" sizes=\"(max-width: 493px) 100vw, 493px\">\u003cfigcaption class=\"wp-caption-text\">Artifacts in Brian Wilson’s music room. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Wilsons live with their five kids and 12 dogs in a big, but far from ostentatious, house in a gated Beverly Hills community.\u003c/p>\n\u003cp>Upstairs is Brian’s music room. Tall ceilings. Dark drapes. It’s quiet, peaceful. He’s got a grand piano, and a table covered with well-dusted awards and trophies. There are gold records, still crated, leaning against the wall, along with a portrait of his late brother, Carl, whose soaring, sweet high tenor voice graced many a Beach Boys hit. “God Only Knows”? That’s Carl.\u003c/p>\n\u003cp>Mr. and Mrs. Wilson enter the room -- Melinda rarely does interviews and has little truck with the spotlight -- and hunker down in a deep leather couch. They were involved with \"Love & Mercy\" to some degree, a Hollywood production they’ve been championing off and on for many years.\u003c/p>\n\u003cp>Brian spent time with the two actors who portray him, Paul Dano as 1960s Wilson at the apex of his creative powers, and John Cusack as the deeply troubled ’80s Wilson in the thrall of Dr. Landy. The psychotherapist helped bring Brian back from self-destruction, but ultimately took control over his patient’s life. He was barred from contact by court order in 1992. Melinda had a three-hour lunch with Elizabeth Banks, her onscreen counterpart, and consulted on the script.\u003c/p>\n\u003cp>Still, they weren’t ready for what they saw on screen.\u003c/p>\n\u003cp>“The first time I saw it, it was like, I didn’t know what to say,” recalls Melinda. “And Brian wasn’t with me ’cause I wanted to be the buffer in case it was just, 'Oh my God.\" And it was like, 'Oh my God.' I couldn’t keep my mouth shut. I said to Bill [Pohlad, the film’s director], ‘I’ve got to go. I don’t know what to think.’ And I drove around the city for two hours.’”\u003c/p>\n\u003caside class=\"pullquote alignleft\">'I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.'\u003ccite>Brian Wilson\u003c/cite>\u003c/aside>\n\u003cp>“It was tough to watch,” admits Brian. “It really was.” Given the vivid scenes of the musician’s downward mental spiral and substance abuse, one can only imagine.\u003c/p>\n\u003cp>These days the substances are long gone, but Melinda says her husband still suffers from “schizoaffective disorder, which is a manic depressive with auditory hallucinations.”\u003c/p>\n\u003cp>“I have voices in my head,” clarifies Brian. “Mostly it’s derogatory. Some of it’s cheerful. Most of it isn’t.”\u003c/p>\n\u003cp>It’s a condition that’s clearly very difficult to live with, and one that is often misunderstood.\u003c/p>\n\u003cp>“It shows you how strong he really is,” says Melinda, “to go through what he went through, to go through what he still goes through with the voices, to be brave enough to get up onstage and do a concert.\u003c/p>\n\u003cp>“That’s what I wish people would take away from Brian’s story. Not that he’s this poor, pathetic guy that has had all these horrible things happen to him. Yeah, he has, but he’s lived through it and he’s managed to make beautiful music at the same time, he’s managed to be a good dad to our kids, he’s managed to put up with me. And that’s not easy.”\u003c/p>\n\u003cp>The undercurrent to the film, and to their real lives, is far from dark.\u003c/p>\n\u003cfigure id=\"attachment_10551030\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/BWWedding-800x1065.jpg\" alt=\"Brian and Melinda Wilson on their wedding day in 1995.\" width=\"800\" height=\"1065\" class=\"size-medium wp-image-10551030\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-800x1065.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1440x1918.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-1180x1571.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding-960x1279.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/BWWedding.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian and Melinda Wilson on their wedding day in 1995.\u003cbr> \u003ccite>(Courtesy of the Wilson personal archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Basically, it’s a love story involving she and I,” says Brian. “Also it captured my life, you know. What I went through, what I did with the records I produced and stuff.\"\u003c/p>\n\u003cp>“And that was a love story in and of itself, the music aspect,” Melinda says. “So the whole thing’s a love story.\"\u003c/p>\n\u003cp>A love story that began 29 years ago. She was selling Cadillacs at a west Los Angeles dealership. He wanted to buy one. They were united over a brown ’86 Seville.\u003c/p>\n\u003cp>“Right! Right! Yeah,” gushes Brian, excited at the memory. And the conversation between them begins.\u003c/p>\n\u003cp>“It was the ugliest car we had.”\u003c/p>\n\u003cp>“I liked it, though, I chose that one 'cause I liked it. 'That one’s for me.' ”\u003c/p>\n\u003cp>“My take is that he liked it because it was the first one he saw and he didn’t have to go upstairs and traipse through 300 cars.”\u003c/p>\n\u003cp>“A car’s OK for me, you know? A car’s all right to drive. Not to look at, but to get in it and drive it.”\u003c/p>\n\u003cp>“You see what I mean?” says Melinda.\u003c/p>\n\u003cp>It should be pointed out that a car is also good to write songs about.\u003c/p>\n\u003cp>“Right, well, I wrote a few car songs, yeah.\"\u003c/p>\n\u003cfigure id=\"attachment_10549771\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\">\u003cimg class=\"size-full wp-image-10549771\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg\" alt=\"Musician Darian Sahanaja with his boss, Brian Wilson.\" width=\"1920\" height=\"2679\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-400x558.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-800x1116.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1440x2009.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-1180x1646.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15363_1.Darian-wilson-qut-960x1340.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Darian Sahanaja with his boss, Brian Wilson. \u003ccite>(Jeff McEvoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darian Sahanaja knows all about Wilson’s car songs, and every other song the man has written. Since 1999, Sahanaja has been a singer and keyboardist for Brian Wilson's Band. But far from being simply a hired gun, Sahanaja, 52, comes by his Brian passion honestly.\u003c/p>\n\u003cp>“The Beach Boys are my favorite group,” the Los Angeles native says. “They were since I was 12 years old. In a period when it was way cooler to be listening to Led Zeppelin and the Stones and Aerosmith and all those groups, I actually took regular beatings from neighborhood boys because I loved the Beach Boys.”\u003c/p>\n\u003cp>Sahanaja was supervising musical consultant on \"Love & Mercy,\" translating his passion and respect for the man and material into meticulous recreations of Wilson in the studio during the classic ‘60’s \"Pet Sounds\" era.\u003c/p>\n\u003cp>“The last cut I saw was very satisfying to the point where I actually teared up,” he says. “The filmmaking matched the artist. He’s an enigma, Brian’s an enigma, and the filmmaking felt enigmatic, so there’s lots of moments of beauty and sadness, which to me is a big part of Brian’s music. Joy and tragedy, you know?”\u003c/p>\n\u003cp>While joy seems a hard-won commodity in Wilson’s life, Sahanaja has witnessed it firsthand.\u003c/p>\n\u003cp>“I have to say, when he’s feeling the love from an audience and he’s feeling the band and the vocals and it sounds really good, it’s because it just makes him — for that moment — feel so happy, which is probably something he doesn’t feel a lot. Those are the moments he’s wanting, you know, he’s hoping for.”\u003c/p>\n\u003cfigure id=\"attachment_10549773\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\">\u003cimg class=\"wp-image-10549773 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg\" alt=\"A set list Wilson hand wrote for his upcoming tour.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15366_4.Brians-set-list-qut-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A set list Wilson hand-wrote for his upcoming tour. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the couch. If there’s one takeaway Wilson wants audiences to get from the film, it’s this:\u003c/p>\n\u003cp>“I want them to try and feel next to me, and feel what I went through. And if they’re going through something, they would be able to identify with me.”\u003c/p>\n\u003cp>“There’s light at the end of the tunnel,” offers Melinda. “People that have a mental illness, they don’t have to stay stuck with it. There’s help.”\u003c/p>\n\u003cp>Now, after talking for 44 minutes, Brian’s ready to get off the couch and get on with his daily ritual.\u003c/p>\n\u003cp>“I go to a park and take walks for a half-hour every day,” he says.\u003c/p>\n\u003cp>Does he get recognized?\u003c/p>\n\u003cp>“Yeah, a lot. Yeah. People say, ‘Hi Brian, how are you?’ and I don’t know who in the hell-heck they are. I don’t know. I think I’m going to take an exercise right now.”\u003c/p>\n\u003cp>He shakes hands, says, “Thank you very much” politely, and then he’s gone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/210100880\" 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\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>[contextly_sidebar id=\"Lwd2Fx7NiJfYPmcLikVOqL65SgNkzhGJ\"]\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Standing in front of a mirrored wall, dressed in khakis, a sweater and black ballet shoes, 84-year-old Carlos Carvajal taps along to the music. He’s rehearsing with a group of ballet students at a dance studio in San Leandro.\u003c/p>\n\u003cp>While the students watch, he moves his arms gracefully to demonstrate how to strike the proper pose. It’s effortless after all these years.\u003c/p>\n\u003cp>Carvajal is the co-artistic director for the annual \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-ethnic-dance-festival/\" target=\"_blank\">San Francisco Ethnic Dance Festival\u003c/a> opening this weekend, and an accomplished ballet dancer and choreographer.\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/210100880&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/210100880'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_10548471\" class=\"wp-caption alignright\" style=\"max-width: 743px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\">\u003cimg class=\"wp-image-10548471 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg\" alt=\"Carvajal strikes a pose while rehearsing a ballet as a young dancer.\" width=\"743\" height=\"1145\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut.jpg 743w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RS15346_PERDITA_Romania_0236_001-Copy-qut-400x616.jpg 400w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal strikes a pose while rehearsing a ballet as a young dancer. \u003ccite>(Courtesy of Carlos Carvajal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He got his start when he joined a folk dance class in San Francisco as a teenager. “The moment I got into the folk dance class it was, I always say, like a duck taking to water because it was the most natural thing in the world for me to do,” Carvajal says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He tried ballet soon after, and his talents led him to dance with ballet companies in France, Germany and his native San Francisco.\u003c/p>\n\u003cp>When Carvajal came back to San Francisco in the late 1960s, the city was at the height of a new wave of thinking, he says. It was the perfect environment to exercise his creativity. He did just that when he produced a dance for the San Francisco Ballet in the 1970s to \u003ca href=\"https://www.youtube.com/watch?v=yNi0bukYRnA\" target=\"_blank\">music composed by Terry Riley\u003c/a>.\u003c/p>\n\u003cp>“[The composition] was called 'In C,' got terrible reviews by the critics,\" Carvajal says. \"I mean just awful.\"\u003c/p>\n\u003cp>And the reviews for his ballet weren't much better. Undeterred, he decided to strike out on his own as a choreographer and started the San Francisco Dance Spectrum.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He says he enjoys stepping back to see the entirety of his production as much as dancing: “People have said, ‘Don't you miss not being on stage?’ and I say in return, ‘Do you see all of those people up there? That's me.' \"\u003c/p>\n\u003cp>At his new company’s studio, he hosted Flamenco Dancer \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=4818\" target=\"_blank\">Rosa Montoya\u003c/a> when she got her start in San Francisco. Indian classical dancer \u003ca href=\"http://www.kathak.org/\" target=\"_blank\">Chitresh Das\u003c/a> performed there as well.\u003c/p>\n\u003cp>It was there that the seeds for the Ethnic Dance Festival were planted. Carvajal helped bring the dancers to a larger stage at the festival. It was the first time dancers from such diverse backgrounds came together -- in 1978.\u003c/p>\n\u003cfigure id=\"attachment_10544999\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg\">\u003cimg class=\"wp-image-10544999 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg\" alt=\"Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \" width=\"800\" height=\"598\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-800x598.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-400x299.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-1180x881.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut-960x717.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15307_carlos_transition_2-qut.jpg 1296w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carlos Carvajal (right) works with two groups performing a cross-cultural transition piece for this year's Ethnic Dance Festival. \u003ccite>(Kyoungil Ong/San Francisco Ethnic Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s unique in the entire world,\" Carvajal says. \"There is no place in the world where I know of a festival of this caliber, of this variety and excellence, except here in California.\"\u003c/p>\n\u003cp>Carvajal was named artistic director 10 years ago. As a person who loves folklore, he says, this was “like a fulfillment of a total dream.”\u003c/p>\n\u003cp>As Carvajal watches an old video in his San Francisco home, he notes that his age has, of course, slowed him down a bit. While he talks, a younger Carvajal appears on the grainy black-and-white screen, leaping across the stage.\u003c/p>\n\u003cp>“At the age of 84, I always say I don't dance like I used to when I was 20, of course. And no one does, and I don’t expect to and I never wanted to,” he says.\u003c/p>\n\u003cfigure id=\"attachment_10534166\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg\">\u003cimg class=\"wp-image-10534166 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg\" alt=\"Carvajal rehearses with his ballet students at a dance studio in San Leandro.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/05/RS15252_IMG_4943.JPG-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Carvajal rehearses with his ballet students at a dance studio in San Leandro. \u003ccite>(Paayal Zaveri/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching him teach, it’s clear Carvajal still has the grace and spirit seen in that old video. It’s hard to tell he’s in his 80s as he demonstrates his choreography. And his students, like Jaliya Wilkinson, feel inspired by his enthusiasm.\u003c/p>\n\u003cp>“It makes me feel energetic and it just sort of brightens up the environment as well, too,” Wilkinson says. “It makes me want to work to my fullest potential.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this year’s Ethnic Dance Festival, Carvajal will program the shows and design the stage. The dance space is a sacred space, he says, and he’s honored to lend his unique touch to the event.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "megapolis-audio-festival-celebrates-the-art-of-sound",
"title": "Megapolis Audio Festival Celebrates the Art of Sound",
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"content": "\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/209013737″ 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>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Game Boy, a Sony PlayStation controller and a few other video game consoles litter Jordan Gray’s kitchen table. Holding one, he plays the buttons in rapid succession, emitting bleepy electronic sounds through a computer. Slowly, he starts assembling a song.\u003c/p>\n\u003cp>“The Nintendo has a five-channel sound chip that can produce certain sounds,” Gray explains. “And the Game Boy has a four-channel chip that provides different sounds.”\u003c/p>\n\u003cp>If you played video games growing up, you might recognize the sounds in Gray’s music. It falls into a genre called Chip Tune — music that’s written specifically on video game consoles. He uses them like a DJ, composing beats and loops, live in front of audiences.\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/209013737″&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/209013737″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This weekend, audiophiles will head to the\u003ca href=\"http://megapolisfestival.org/\"> Megapolis Audio Festival \u003c/a>in Oakland to hear and explore music like this. At Megapolis, Gray will lead a workshop showing people the basics of making a beat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’ve played games before, it comes as second nature,” Gray says.\u003c/p>\n\u003cfigure id=\"attachment_10550844\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10550844\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg\" alt=\"Chip music artist Jordan Gray, aka starpause, while on tour in Australia.\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1440x938.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/StarPause.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chip music artist Jordan Gray, aka starpause, while on tour in Australia. \u003ccite>(Courtesy Jordan Gray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He will join other musicians, podcasters and technologists who are obsessed with sound. In its three years, this is the first time Megapolis has come to California. In past years it was held in New York City, Baltimore and Boston. For an entry fee, visitors will get access to workshops, live performances and audio installations.\u003c/p>\n\u003cp>In the basement of a performing arts theater at Mills College in Oakland, Julie Herndon is working on her installation for the festival. She reaches into a paper bag and pulls out a handful of the 100 or so music boxes inside.\u003c/p>\n\u003cp>Herndon and her partner, Dan Gottwald, will stick them to buildings, bike racks, pipes — anything they can find that will resonate in downtown Oakland. They’re also attaching things they find around the city — like gravel — to the music boxes to change and distort how they sound.\u003c/p>\n\u003cp>“The music boxes aren’t playing the songs you’d expect them to play,” Herndon says. “They’re playing actual city textures.”\u003c/p>\n\u003cfigure id=\"attachment_10551182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10551182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg\" alt=\"Two of Julie Herndon's music boxes, attached to a resonant pole in Oakland.\" width=\"800\" height=\"967\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-800x967.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-400x484.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1440x1741.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-1180x1426.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole-960x1161.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/MusicBoxesPole.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Julie Herndon’s music boxes, attached to a resonant pole in Oakland. \u003ccite>(Courtesy Julie Herndon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says the point is to bring people closer to their city environment. “Like a pipe they’ve walked by 40 times, or 40,000 times and they’ve never really stopped to look at it or touch it,” she explains.\u003c/p>\n\u003cp>Usually Herndon writes classical music. But she says music boxes hold special emotion for her.\u003c/p>\n\u003cp>“The little songs they play, they’re not big enough to totally encapsulate the song, but they reference,” she says. “They’re kind of like memories. You can be like, ‘Oh, yeah, I remember being a child, or I remember that song in Cats.’ ”\u003c/p>\n\u003cp>She says they evoke nostalgia. Other sounds at the festival, however, are less delicate.\u003c/p>\n\u003cp>In his basement studio, San Francisco musician Matt Moldover shows me one of his newest creations. It’s a small circuit board attached to one corner of a CD case.\u003c/p>\n\u003cp>“It makes sounds. And you can modulate that sound with light,” Moldover says. “You can cast shadows on it, or just move it around so the ambient light hits it differently.”\u003c/p>\n\u003cp>But this synthesizer is actually soldered on to every CD case of his latest album. At Megapolis, he’ll teach people how to build their own simple synthesizer.\u003c/p>\n\u003cp>“I’ll show you what it looks like,” he says, explaining the circuit boards. “You match it up with the pictures on here, and you learn about polarity, how to orient these things so you’re putting the circuit together correctly.”\u003c/p>\n\u003cp>According to Moldover, with all the tools out there right now, digital or analog, there’s a whole universe of ways to create sound.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://megapolisfestival.org/schedule/\">Megapolis Audio Festival\u003c/a> runs through the weekend (June 5-7) at venues in downtown Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Disneyland Considers Surge Pricing",
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"content": "\u003cp>Disneyland is toying with the idea of surge pricing, a payment system in which prices move up or down according to demand. For example, when patrons visit the park on busier days, like in summer or over Christmas, they would have to pay more for their ticket.\u003c/p>\n\u003cp>\"I support it,\" said Darcy Forsell, a San Mateo urban planner and Disneyland mega-fan. \"It equates supply and demand.\"\u003c/p>\n\u003cp>Forsell takes her two daughters at least five times a year. But there are moments for her when the happiest place on earth turns into one of the most miserable.\u003c/p>\n\u003cp>“When it gets super crowded, I just want to leave,\" she says. “The lines just get to be so long.”\u003c/p>\n\u003cp>Forsell says she’d be willing to pay more if it meant there were fewer people she’d have to compete with to get onto Space Mountain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/208272089\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"200\" iframe=\"true\" /]\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disneyland is toying with the idea of surge pricing, a payment system in which prices move up or down according to demand. For example, when patrons visit the park on busier days, like in summer or over Christmas, they would have to pay more for their ticket.\u003c/p>\n\u003cp>\"I support it,\" said Darcy Forsell, a San Mateo urban planner and Disneyland mega-fan. \"It equates supply and demand.\"\u003c/p>\n\u003cp>Forsell takes her two daughters at least five times a year. But there are moments for her when the happiest place on earth turns into one of the most miserable.\u003c/p>\n\u003cp>“When it gets super crowded, I just want to leave,\" she says. “The lines just get to be so long.”\u003c/p>\n\u003cp>Forsell says she’d be willing to pay more if it meant there were fewer people she’d have to compete with to get onto Space Mountain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"If pricing it a little bit higher means the demand drops, I think that's appropriate,\" she says.\u003c/p>\n\u003cp>That's exactly the idea behind a congestion pricing system Disneyland is considering now. The company sent a survey to parkgoers, and says it will review responses before making a final decision on whether to implement a new pricing plan.\u003c/p>\n\u003cp>Mark Dvorchak, managing partner at Pro Forma Advisors, a theme park economics consultancy, says the concept of surge pricing is relatively new to amusement parks, but is ubiquitous in other industries.\u003c/p>\n\u003cp>\"It's like getting a discount at the movie theater when you go to a matinee,\" he says. \"Or a plane flight. Friday night the ticket’s more expensive and on a Tuesday afternoon, it’s not.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='200'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/208272089&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/208272089'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So people who’d go to Disneyland on weekdays in February or September would pay less, about $99. While people who go on holidays or during the summer would pay up to $115.\u003c/p>\n\u003cp>\"It's not worth it,\" says Becky Walley. She's lived in Pasadena all her life and takes her kids to Disneyland a few times a year. She says you could hardly pay her to go in the summer.\u003c/p>\n\u003cp>\"It's just too hot,\" she says. “It is literally so packed you can hardly move.\"\u003c/p>\n\u003cp>But Christmas? That brings back precious childhood memories.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I loved all the decorations. We used to go there over Christmas and just stand there on Main Street when it started to snow. And that was foreign to us in Southern California, so it was so cool to watch that,\" she remembers. \"I think I probably would pay extra for December.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Colin Hanks on His New Documentary About Tower Records",
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"content": "\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/207899709\" 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>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"All Things Must Pass\" screens at \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\">San Francisco's DocFest\u003c/a> on June 4.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you're looking to buy music these days, you can do it instantly online. But before you could download or stream music, there were record stores. And in California none was bigger than \u003ca href=\"http://towerrecordsproject.org/\" target=\"_blank\">Tower Records\u003c/a>. The chain, known for its big red-and-yellow logo, was born in Sacramento in 1960 -- and it peaked in 1999 with sales of $1 billion. But just five years later, Tower declared bankruptcy.\u003c/p>\n\u003cp>The rise and fall of Tower Records is the subject of the new documentary \"\u003ca href=\"http://www.towerrecordsmovie.com/\" target=\"_blank\">All Things Must Pass\u003c/a>.\" The California Report's Scott Shafer talked with the film's director, Colin Hanks.\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/207899709&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/207899709'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What was it about this story that said to you, and to producer Sean Stuart, \"You know, we gotta make a documentary about Tower Records?\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Colin Hanks: \u003c/strong>When I found out how Russ Solomon started selling records, that was as close to a lightbulb moment as I’ve ever had from a creative standpoint. In 2006, an old family friend of mine was visiting me in New York and we were talking about what a bummer it was that Tower was closing. And she said, sort of in passing, 'It’s hard to believe that this all started with Russ Solomon selling used 78s out of his father’s drugstore in the 1940s.’ And I said, ‘Excuse me?’ I didn’t know about the way that it all started. And then the fact that no one else had tackled the subject was kind of a shocker to me.\u003c/p>\n\u003cfigure id=\"attachment_10547167\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547167\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/RussSolomon-800x532.jpg\" alt=\"Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store.\" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1440x958.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/RussSolomon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tower Records founder Russ Solomon at the 1968 opening of Tower's San Francisco store. \u003ccite>(Courtesy Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You grew up in Sacramento, right? And that's where Tower Records started. What are your own memories of those stores?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>Tower was always a point of civic pride for Sacramento. The fact a company as big and as renowned as Tower was not only started in Sacramento, but had been based there. Growing up, I bought my concert tickets there, I bought my first CDs, my cassette singles. I spent a lot of time in Tower, getting my musical history lessons.\u003c/p>\n\u003cp>\u003cstrong>The heart and soul, not just of Tower Records, but of this documentary is founder Russ Solomon. He created the store out of the back of his dad's drugstore in the \u003ca href=\"http://www.sacbee.com/news/local/history/article2582306.html\" target=\"_blank\">Tower Theatre\u003c/a>\u003c/strong>\u003cstrong> building in downtown Sacramento and ran with it.\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks\u003c/strong>: Russ is such an amazing character. When you meet him, he's incredibly full of life. He's sharp-witted, quick-witted. And he's one of these guys who's constantly talking, constantly asking questions. He's a very curious individual, he's a very funny individual. And when we met Russ we just, you know, as soon as we met Russ, we knew we had something here. We had a lead character that was going to be engaging, that was going to be able to tell his story. And we just wanted to sort of get out of the way and capture that as best we could.\u003c/p>\n\u003cp>\u003cstrong>Shopping at Tower Records was an experience, but working there was a real experience, too. Virtually everyone it seems, at least according to the film, started there as a clerk and worked their way up, staying for, in some cases, 20 or 30 years. What was it that kept them there?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>I think just the overall vibe of the place. You know, when we were starting out the whole process, we were really interested in the fact that here is a company that could pretty much hire anyone it wanted. Insomuch as, at that time, especially in San Francisco, specifically in Sacramento, by that time the, you know, mid-'60s, late '60s, if you wanted a job in any sort of store, any place in which something needed to be sold, you needed a nice haircut. You needed to be in a suit. As \"Mad Men\" as it gets, that's what it was like.\u003c/p>\n\u003cfigure id=\"attachment_10547172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10547172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg\" alt=\"Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s.\" width=\"800\" height=\"580\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-800x580.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1440x1045.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-1180x856.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton-960x697.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/06/SolomonStockton.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russ Solomon (third from right) with employees at Tower Records' Stockton store in the 1970s. \u003ccite>(Courtesy 'All Things Must Pass' / Company Name)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And for Tower, none of that mattered. You could dress however you wanted. Your hair could be long. It really was the tip of the spear of the sort of counterculture vibe. So people who got jobs early on, in the company, in that period, you know the mid-'60s, late '60s, but even later on, as the company grew bigger, if you got that entry-level job you could stay there and work your way up. And that is incredibly special. I mean, especially if you look at companies nowadays, they don't have that kind of job security, the majority of the time.\u003c/p>\n\u003cp>\u003cstrong>And that loyalty ran both ways.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>And it ran both ways. It was not only respected by the company, it was encouraged. And so that is very special territory. And so, when our story ostensibly is about the beginning and middle and end of a company, what is that like for those people who worked there for 30 years? Twenty years? To have that kind of connection to the company and have that be severed? What is that heartbreak like for, you know, for people?\u003c/p>\n\u003cp>That part of the story I don't think started me off on this journey, but as we dug deeper we found these elements of this lineage of Tower that we just thought was incredibly special and unique. And was another reason why this film needed to be made. ’Cause we wanted people to realize that is part of Tower's legacy. It's not just where you bought that one CD a long time ago.\u003c/p>\n\u003cp>\u003cstrong>They had a good run. They peaked in 1999 taking in $1 billion and then in 2005 they filed for bankruptcy. What was that management style? Was the laid-back management style part of their downfall, or was it really bigger issues within the music industry?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks: \u003c/strong>It was most definitely bigger issues, not only within the music industry but within the company themselves. I don't think that alcohol or drugs brought the company down, but there were definitely decisions made by Russ and by the powers that be at Tower that helped lead to its downfall. One of the things that we really wanted to explore in the film was the concept that \u003ca href=\"http://www.thedailybeast.com/articles/2014/06/06/15-years-after-napster-how-the-music-service-changed-the-industry.html\" target=\"_blank\">Napster \u003c/a>destroyed Tower. That's not 100 percent accurate. Napster was a part of it for sure. And you know, it definitely took a large bite out of the industry and Tower's receipts as well, but Russ and some of the people at Tower expanded into countries far and wide and over-expanded and made decisions that were not necessarily prudent.\u003c/p>\n\u003cp>That were really sort of based on hubris more than anything else, thinking that the party wasn't ever going to end. And you gotta remember, at that time, in the late '90s, you wouldn't necessarily think that any of this stuff was going to go away anytime soon. But technology is, you know, it changes. It evolves very quickly, and Tower was never really able to adjust.\u003c/p>\n\u003cp>\u003cstrong>Shafer: Nowadays people buying music aren't looking through bins of records or CDs. They're shopping online on places like iTunes. What is the loss to our culture?\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hanks:\u003c/strong> There's so much conversation there about that, the personal connection is lost. There's the literal connotation of the personal connection of you buying music off of someone specifically, and then maybe a friendship being made from the clerk. And there is that, I don't deny that at all. But when I talk about the personal connection to music, I talk about the memories I have buying records.\u003c/p>\n\u003cp>I'm a little bit weird in that I remember where I was when I bought a specific album that means a great deal to me. I remember the city, I remember the store. There's an imprint on that music. And so, that personal connection to music I think is important because, look, I stream music, I buy music online. I don't remember where I was when I streamed a certain record or when I downloaded a certain record. But I remember where I was when I bought that CD that changed my life. So that personal connection definitely is hurting with this new era.\u003c/p>\n\u003cp>But the flip side of that is, I will never want for another record for as long as I live. I'll never be told, 'We just can't find that record anymore, you're never gonna be able to hear that one pressing from that one thing,' because it's all being digitized now and you can find it anywhere. So it's not necessarily bad. It's just different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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