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"content": "\u003cp>When you think of opera, you probably think lavish productions, performed in major metropolitan areas. But in the city of Visalia, in rural Tulare County, a small opera company is taking on a big task. It’s brought opera and mariachi music together, to create an original work that explores the lives of the farm workers who came to the US as part of the bracero program.\u003c/p>\n\u003cp>Mariachi in many ways is the soundtrack to people’s lives in Central California, documenting stories of love, heartache and struggle. It’s played at celebrations of all sorts. But rarely is it heard in the world of opera, until now.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/181264900″ 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>“When I hear mariachis, I feel very connected and rooted all of a sudden,” says Rosalinda Verde, a classically trained opera singer who runs the Visalia Opera Company.\u003c/p>\n\u003cp>She decided to fuse the two art forms into one production: a mariachi opera called \u003cem>El Bracero\u003c/em>. It’s thought to be the second of its kind in the world.\u003c/p>\n\u003cfigure id=\"attachment_10209435\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Noelvia.jpg\" alt=\"<i>El Bracero</i> is a story of love and struggle told through opera and mariachi.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10209435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> is a story of love and struggle told through opera and mariachi. Noelvia Prado, right, plays herself in the opera inspired by her father’s participation in the bracero program.\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is to tell a story through song and that’s what we’re doing,” Verde says. “We’re using traditional mariachi songs that people will know and recognize and that will bring them into the story.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Verde grew up in Visalia and saw a rendition of the first mariachi opera earlier this year by Mexico City’s Mariachi Vargas called \u003cem>Cruzar La Cara de la Luna\u003c/em>.\u003c/p>\n\u003cp>“I saw it in San Diego,” Verde recalls. “It was also an immigrant story, and at the end of it you could hear people bawling, crying so I thought ‘Wow, I want to do that actual opera but they are still performing it so I can’t get the rights to that.’”\u003cbr>\nSo she says she had to write her own. \u003c/p>\n\u003cp>Set in the 1940s, \u003cem>El Bracero\u003c/em> explores life in the bracero program, which opened the door for Mexican nationals to work temporarily in the U.S. The program started in 1942, during World War II, and ended in 1964.\u003c/p>\n\u003cp>Rosalinda’s father Francisco Verde narrates the opera, weaving storytelling through acting, folkloric dance and song.\u003c/p>\n\u003cfigure id=\"attachment_10209436\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Verde.jpg\" alt=\"Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\u003c/figcaption>\u003c/figure>\n\u003cp>“How many times have you heard opera being shared in the Mexican Heritage? Never,” Verde says. “The ballet folklorico has always been in existence but it’s going to come in with the mariachis and opera and acting.”\u003c/p>\n\u003cp>The opera is inspired by the story of Francisco Verde’s parents and also centers around the story of Noe Prado, who came to California as a bracero. The opera recounts how Prado struggles to make a living so he can support the love of his life in Mexico.\u003c/p>\n\u003cp>Prado’s daughter Noelvia plays herself in the production. She was pulled in last minute when the actor playing her got sick.\u003c/p>\n\u003cp>“Growing up, my dad always made it a very important part of our life to know our roots and what he came from,” Prado says.\u003c/p>\n\u003cp>Life wasn’t easy for the braceros. Many claim they were unfairly compensated, racially discriminated against, and that there was little federal enforcement of the rights they were promised.\u003c/p>\n\u003cp>“This is their story, including just the true hard labor of working in the fields,” Rosalinda Verde says. “All the promises that the U.S. had made did not turn out to be in a lot of the instances.”\u003c/p>\n\u003cfigure id=\"attachment_10209437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Working.jpg\" alt=\"<i>El Bracero </i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Bracero\u003c/em> is funded through a grant from the Fresno Regional Foundation, and part of the requirements mandate the opera be performed in a nontraditional setting. The first opera was held last month in a park in Visalia. It’s a neighborhood known for homelessness and gang activity. Still, more than 300 people attended.\u003c/p>\n\u003cp>Retired Visalia Teacher Richard Rodriguez says the mariachi opera reminded him of his family history.\u003c/p>\n\u003cp>“All of a sudden it engulfs you,” said Rodriguez. “You don’t even know you’re experiencing this but you’re feeling something until you go back home. Oh my God, I just saw my momma and poppa’s story. I just saw an orchestra that happened to be a mariachi group and they were excellent.”\u003c/p>\n\u003cp>It’s responses like this that Rosalinda Verde is looking for. It’s her desire to link the medium of opera to the community she lives in.\u003c/p>\n\u003cp>“I feel like it’s a very good marriage, simply because we can,” she says. “We live in the Valley and we are open to creating new things here.”\u003c/p>\n\u003cp>Verde says \u003cem>El Bracero\u003c/em> will be performed again in 2015, possibly in the Central California Community of Lindsay.\u003c/p>\n\u003cp>\u003cem>Featured image courtesy of the \u003ca href=\"http://www.visaliatimesdelta.com/\" target=\"_blank\" rel=\"noopener\">Visalia Times Delta.\u003c/a> View more photos of the opera at Times-Delta’s \u003ca href=\"http://www.visaliatimesdelta.com/media/cinematic/gallery/19182945/el-bracero/\" target=\"_blank\" rel=\"noopener\">gallery page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of opera, you probably think lavish productions, performed in major metropolitan areas. But in the city of Visalia, in rural Tulare County, a small opera company is taking on a big task. It’s brought opera and mariachi music together, to create an original work that explores the lives of the farm workers who came to the US as part of the bracero program.\u003c/p>\n\u003cp>Mariachi in many ways is the soundtrack to people’s lives in Central California, documenting stories of love, heartache and struggle. It’s played at celebrations of all sorts. But rarely is it heard in the world of opera, 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/181264900″&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/181264900″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I hear mariachis, I feel very connected and rooted all of a sudden,” says Rosalinda Verde, a classically trained opera singer who runs the Visalia Opera Company.\u003c/p>\n\u003cp>She decided to fuse the two art forms into one production: a mariachi opera called \u003cem>El Bracero\u003c/em>. It’s thought to be the second of its kind in the world.\u003c/p>\n\u003cfigure id=\"attachment_10209435\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Noelvia.jpg\" alt=\"<i>El Bracero</i> is a story of love and struggle told through opera and mariachi.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10209435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Noelvia-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> is a story of love and struggle told through opera and mariachi. Noelvia Prado, right, plays herself in the opera inspired by her father’s participation in the bracero program.\u003c/figcaption>\u003c/figure>\n\u003cp>“Opera is to tell a story through song and that’s what we’re doing,” Verde says. “We’re using traditional mariachi songs that people will know and recognize and that will bring them into the story.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Verde grew up in Visalia and saw a rendition of the first mariachi opera earlier this year by Mexico City’s Mariachi Vargas called \u003cem>Cruzar La Cara de la Luna\u003c/em>.\u003c/p>\n\u003cp>“I saw it in San Diego,” Verde recalls. “It was also an immigrant story, and at the end of it you could hear people bawling, crying so I thought ‘Wow, I want to do that actual opera but they are still performing it so I can’t get the rights to that.’”\u003cbr>\nSo she says she had to write her own. \u003c/p>\n\u003cp>Set in the 1940s, \u003cem>El Bracero\u003c/em> explores life in the bracero program, which opened the door for Mexican nationals to work temporarily in the U.S. The program started in 1942, during World War II, and ended in 1964.\u003c/p>\n\u003cp>Rosalinda’s father Francisco Verde narrates the opera, weaving storytelling through acting, folkloric dance and song.\u003c/p>\n\u003cfigure id=\"attachment_10209436\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Verde.jpg\" alt=\"Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Verde-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rosalinda Verde, right, wrote the mariachi opera in about a week this summer.\u003c/figcaption>\u003c/figure>\n\u003cp>“How many times have you heard opera being shared in the Mexican Heritage? Never,” Verde says. “The ballet folklorico has always been in existence but it’s going to come in with the mariachis and opera and acting.”\u003c/p>\n\u003cp>The opera is inspired by the story of Francisco Verde’s parents and also centers around the story of Noe Prado, who came to California as a bracero. The opera recounts how Prado struggles to make a living so he can support the love of his life in Mexico.\u003c/p>\n\u003cp>Prado’s daughter Noelvia plays herself in the production. She was pulled in last minute when the actor playing her got sick.\u003c/p>\n\u003cp>“Growing up, my dad always made it a very important part of our life to know our roots and what he came from,” Prado says.\u003c/p>\n\u003cp>Life wasn’t easy for the braceros. Many claim they were unfairly compensated, racially discriminated against, and that there was little federal enforcement of the rights they were promised.\u003c/p>\n\u003cp>“This is their story, including just the true hard labor of working in the fields,” Rosalinda Verde says. “All the promises that the U.S. had made did not turn out to be in a lot of the instances.”\u003c/p>\n\u003cfigure id=\"attachment_10209437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Working.jpg\" alt=\"<i>El Bracero </i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\" width=\"640\" height=\"360\" class=\"size-full wp-image-10209437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Working-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>El Bracero\u003c/i> depicts life in the bracero program, which allowed temporary contract laborers from Mexico to the United States.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>El Bracero\u003c/em> is funded through a grant from the Fresno Regional Foundation, and part of the requirements mandate the opera be performed in a nontraditional setting. The first opera was held last month in a park in Visalia. It’s a neighborhood known for homelessness and gang activity. Still, more than 300 people attended.\u003c/p>\n\u003cp>Retired Visalia Teacher Richard Rodriguez says the mariachi opera reminded him of his family history.\u003c/p>\n\u003cp>“All of a sudden it engulfs you,” said Rodriguez. “You don’t even know you’re experiencing this but you’re feeling something until you go back home. Oh my God, I just saw my momma and poppa’s story. I just saw an orchestra that happened to be a mariachi group and they were excellent.”\u003c/p>\n\u003cp>It’s responses like this that Rosalinda Verde is looking for. It’s her desire to link the medium of opera to the community she lives in.\u003c/p>\n\u003cp>“I feel like it’s a very good marriage, simply because we can,” she says. “We live in the Valley and we are open to creating new things here.”\u003c/p>\n\u003cp>Verde says \u003cem>El Bracero\u003c/em> will be performed again in 2015, possibly in the Central California Community of Lindsay.\u003c/p>\n\u003cp>\u003cem>Featured image courtesy of the \u003ca href=\"http://www.visaliatimesdelta.com/\" target=\"_blank\" rel=\"noopener\">Visalia Times Delta.\u003c/a> View more photos of the opera at Times-Delta’s \u003ca href=\"http://www.visaliatimesdelta.com/media/cinematic/gallery/19182945/el-bracero/\" target=\"_blank\" rel=\"noopener\">gallery page\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10144333\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/CAC-300-e1414012584579.jpg\" alt=\"CAC-300\" width=\"250\" height=\"67\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Funding for coverage of arts that explore social issues is provided by the California Arts Council.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Tarantino at Cannes to Collector in El Cerrito, Film Diehards Say Digital Just Not the Same",
"title": "From Tarantino at Cannes to Collector in El Cerrito, Film Diehards Say Digital Just Not the Same",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>When I write about movies, I like to substitute \"film\" or \"cinema,\" in ascending order of pretentiousness. Occasionally I'll even use \"pictures,\" though that makes me feel like Louis B. Mayer.\u003c/p>\n\u003cp>The thing about the word \"film,\" though -- it's no longer accurate. Because when you go to the movies these days, not only have many of those productions been shot digitally, but almost all are now \u003cem>projected\u003c/em> digitally.\u003c/p>\n\u003cp>\"There was a drop-dead date of Jan. 1, 2014,\" says Adam Bergeron, co-owner of the Balboa Theatre in San Francisco. \"If you haven’t converted to 35 mm digital, you are not going to be able to get new release content anymore.\"\u003c/p>\n\u003cp>Bergeron is talking about the deadline the film industry gave movie exhibitors to install the equipment necessary for screening \"Digital Cinema Packages,\" or DCPs. That’s a sort of hard drive you just plug into a server. Those reels of film that everyone from professional projectionists to any pre-videotape member of the junior high AV squad hoisted onto projectors in order for people to watch a movie -- well, those are fast fading into the hazy realm of nostalgia.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/181263803\" 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 reason is simple: Movie distributors save a lot of money by providing their content in digital form. But for a small neighborhood movie theater like the Balboa, the switchover was not a money saver. Last year it had to hustle up more than $100,000 through Kickstarter to convert to digital projection.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Digital projection...that’s just television in public. What I knew as cinema is dead.'\u003ccite>Quentin Tarantino\u003c/cite>\u003c/aside>\n\u003cp>Many cinema purists don't like it. But the handwriting has been written on the IMAX-size wall for a long time. Director \u003ca href=\"http://www.kqed.org/a/forum/R201412121000\">Paul Thomas Anderson \u003c/a>spoke out against the coming tide as far back as 1999:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The biggest scare that I have is digital projection,\" he said in an \u003ca href=\"https://www.youtube.com/watch?v=7npmu9Ge_OY\" target=\"_blank\">interview\u003c/a>. \"This sort of theory that George Lucas has about digitally projecting his films in theaters. I think that would be a big, big, big no-no. Because ultimately it’s just like watching the best TV screen in the world as opposed to watching 24 frames flicker through light, which is a hypnotic and wonderful experience and should never go away.\"\u003c/p>\n\u003cp>But it \u003cem>has\u003c/em> gone away. The Balboa still has film projectors, used for showing old movies, but even repertory houses have more and more been showing classics from the studio vaults on DCP. A recent retrospective on Stanley Kubrick at the Pacific Film Archive in Berkeley, for instance, projected most of the program digitally, not on film.\u003c/p>\n\u003cfigure id=\"attachment_10376903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/PaulThomasAnderson.jpg\">\u003cimg class=\"wp-image-10376903 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/PaulThomasAnderson-400x225.jpg\" alt=\"Director Paul Thomas Anderson released 2012's "The Master" in 70mm. (Alberto E. Rodriguez/Getty Images)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Paul Thomas Anderson released 2012's \"The Master\" in 70mm. (Alberto E. Rodriguez/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>This has left another major film auteur mincing no words about the topic at this year's Cannes Film Festival:\u003c/p>\n\u003cp>\"As far as I’m concerned, digital projection and DCPs is the death of cinema as I know it,\" \u003ca href=\"https://www.youtube.com/watch?v=hs-iawvv9NU\" target=\"_blank\">said Quentin Tarantino\u003c/a>. \"It’s not even about shooting your film on film or shooting your film on digital. The fact that most films are not presented in 35 mm means that the war is lost. And digital projection -- that's just television in public. And apparently the whole world is OK with television in public. But what I knew as cinema is dead.\"\u003c/p>\n\u003cp>Tarantino has fought back against digital exhibition by operating an old movie theater in L.A. where he shows 35 mm film prints from his private collection. Director Christopher Nolan is also not a digital fan, and his hit film “Interstellar” can be seen projected on film -- in 70 mm IMAX no less -- at some theaters. Anderson also released his 2012 film, \"The Master,\" in 70 mm film.\u003c/p>\n\u003cp>\u003cstrong>Keeping the Art Alive -- in an El Cerrito Basement\u003c/strong>\u003c/p>\n\u003cp>But it's not just these big-time directors who are clinging to film projection as a purer form of screening movies. Peter Conheim, 45, is known as a member of the audio collage band \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\">Negativland\u003c/a>. But he is also the former co-owner of a small movie theater in Albuquerque and the current proprietor of The Small Back Room. That’s an even smaller movie theater -- just 17 seats -- which he built himself.\u003c/p>\n\u003cp>In his basement.\u003c/p>\n\u003cp>The 35 and 16 mm projectors, he bought. The chairs and couches he found for free.\u003c/p>\n\u003cp>\"Virtually all this is street furniture,\" he says, giving me a tour one evening before showing \"Written on the Wind,\" a 1956 Douglas Sirk film. \"One of the chairs is from my old family home, one of them was my grandmother’s chair, and everything else was found on the street.\"\u003c/p>\n\u003cp>Conheim owns about 500 movie prints, in both the 16 and 35 mm formats.\u003c/p>\n\u003cp>\"Most of it is here now, but there was a period of time that I had to store a lot of it in my mother’s shop, in my family home, because I had no room.\"\u003c/p>\n\u003cfigure id=\"attachment_10373125\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/projector-e1418166671893.jpg\">\u003cimg class=\"size-thumbnail wp-image-10373125\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/projector-e1418166671893-400x527.jpg\" alt=\"A film projector at Peter Conheim's "Small Back Room" home movie theater in El Cerrito. (Jon Brooks/KQED)\" width=\"400\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893-400x527.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893-800x1055.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893.jpg 1029w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A film projector at Peter Conheim's \"Small Back Room\" home movie theater in El Cerrito. (Jon Brooks/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>He started collecting 16 mm films, a smaller format than the 35 mm prints most of us have grown up with at movie theaters. He graduated to 35 mm while owning the theater in Albuquerque.\u003c/p>\n\u003cp>\"I got the bug about 35mm projection when I had the opportunity to get a print of the Sam Peckinpah film, 'The Wild Bunch.' One night after we had closed at the theater, I put on a reel and it just hit me that I was seeing the actual art object, what is the closest experience possible to the 1969 showing of the movie, from a print that was made at that time and was made to look as good as possible for that time. ... That had a huge impact on me, and I started to think seriously about how I could put 35 mm projection in my home.\"\u003c/p>\n\u003cp>Before the audience arrives for \"Written on the Wind,\" Conheim gives me a little intro.\u003c/p>\n\u003cp>\"'Written on the Wind'\" is a \"beautiful, gaudy high-octane melodrama that uses colors as emotional signifiers,\" he tells me in a summation worthy of Turner Classic Movies. \"It’s particularly enjoyable to watch it on a 35 mm print because the colors really leap out.\"\u003c/p>\n\u003cp>After the invitation-only audience settles into their seats, filling to capacity Conheim's homemade El Cerrito movie palace, he puts on a little 1950s-era short subject called \"Living in a Trailer,\" about ... living in a trailer.\u003c/p>\n\u003cp>\"After the twins have cleaned up, they watch television while father reads and mother prepares dinner,\" the narrator says at the end of the film. \"Come to dinner! Father turns off the television. It has been a happy Saturday for the Burns family. They enjoy living in their trailer.\"\u003c/p>\n\u003cp>Then comes the feature -- the swelling, grandiloquent opening music followed by Rock Hudson and Lauren Bacall going at it.\u003c/p>\n\u003cp>\"So you’re the new executive secretary, huh?\" Hudson asks Bacall.\u003c/p>\n\u003cp>\"Well, don’t let that title deceive you, I do everything but wash windows,\" she retorts.\u003c/p>\n\u003cp>After some initial Mystery Science Theater 3000 cracks from the audience, any notion of treating the film as pure kitsch simply evaporates from the room. It's surprising with material this ripe for ironic disengagement, but the audience becomes totally immersed in the flickering lights on screen. An initial annoyance, the intrusive whir of the projector, which Conheim keeps in a back alcove (next to his washer and dryer), somehow adds to the immediacy of the experience. I've seen movies here several times now, and I am of the opinion that it would take a very dull picture indeed to render the experience less than inviting.\u003c/p>\n\u003cp>\"The thing that makes film so special,\" Conheim says, \"is it’s organic matter that’s having light shown through it, and it’s a magic lantern effect. It’s an optical illusion happening in a machine for your eyes, and the result is so much more tactile than a computer-generated video image. It’s a very different aesthetic experience. Your brain seems to know that you’re watching an actual object with light shining though it and hitting the screen, as opposed to a replica of 1's and 0's, a sort of simulacrum.\"\u003c/p>\n\u003cp>\"It’s like magic,\" says Craig Valenza. \"It’s magic. It always was.\"\u003c/p>\n\u003cp>Valenza is someone for whom the switchover to digital is not just a matter of aesthetics. He’s the projectionist -- for about 40 years now -- at the Pacific Film Archive, which collects and exhibits old films. When I visit him there, he gives me a tour of the projection room and a close-up look at the 35 mm projector.\u003c/p>\n\u003cp>\"It’s a precise piece of machinery,\" he says. \"If it wasn’t, you would know it. It wouldn’t show a nice steady picture on the screen.\"\u003c/p>\n\u003cfigure id=\"attachment_10376886\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/ConheimProjector.jpg\">\u003cimg class=\"wp-image-10376886 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/ConheimProjector-400x512.jpg\" alt=\"Peter Conheim (John Gullak/Courtesy Peter Conheim)\" width=\"400\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector-400x512.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector-800x1025.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Conheim (John Gullak/Courtesy Peter Conheim)\u003c/figcaption>\u003c/figure>\n\u003cp>PFA still shows 35 mm prints when it can get them. Valenza has to inspect the print of a movie on that night's bill: Jean-Luc Godard’s “Tout va bien,” from 1972. Valenza spins the film from one reel to another, checking the edges with his hands for defects.\u003c/p>\n\u003cp>What do you do if you find one? I ask.\u003c/p>\n\u003cp>\"I fix it. Various things you can do. These days a lot of people just slap tape on it. Or maybe you have to cut it out, amputate it. Or notch it, which is an old trick.\"\u003c/p>\n\u003cp>But with a Digital Cinema Package, there’s little he can do if something goes wrong. If it does, he has to call someone else in to service it.\u003c/p>\n\u003cp>\"Not much labor,\" he says of the digital system. \"I put the hard drive up and connect it in, and an hour later -- if you’re lucky -- it is transferred to the hard drive on the server. Anyone can run a computer. Theater managers can do it, popcorn people can do it. The profession’s gone. The art, or whatever you’d want to call it, of showing film is pretty much out of there.\"\u003c/p>\n\u003cp>PFA patrons are not always on board with the technological shift to digital.\u003c/p>\n\u003cp>\"There are people who don’t come here when we show digitally,\" Valenza says. \"They have never seen one and they don't want to. I won’t say there’s a lot of them, but I know several that are that way. They’ll come here for film, and I hope they’re happy with the dwindling selection.\"\u003c/p>\n\u003cp>On the other hand, he says, \"I think generally a lot of them don’t even know the difference.\" He tells me one person who's been on the technical end of the movie business asked him after the show where he got a beautiful print from. \"I said, 'It’s digital.' She said, 'Oh, I didn’t know that.' \"\u003c/p>\n\u003cp>But the audience at Conheim’s Small Back Room, well, they do notice.\u003c/p>\n\u003cp>\"I think it being, you know, on film and having the projector, it does have a nostalgic quality, even the sound of the projector,\" says Jason Stamberger. \"To me it looks better. The inherent errors and problems with the film, I like more than the errors and problems with the digital. (Digital) doesn’t have the same quality of image, the same artistry.\"\u003c/p>\n\u003cp>\"It’s very important to keep this alive,\" says Mark Wagner. \"It’s very much an art form.\"\u003c/p>\n\u003cp>Conheim is not alone in his dedication to the old way of showing movies. He notices other projectionists in online forums doing screenings for friends. I ask him what they're like.\u003c/p>\n\u003cp>\"Film collectors are anti-social, that live in caves. They’ve been working in caves, as projectionists oftentimes, receiving intravenous fluids from time to time,\" he says. \"I would say the average film collector is generally an older white guy who started in his teens because his grandfather was a projectionist and he became a projectionist.\"\u003c/p>\n\u003cp>Conheim will often trade films with his fellow cave dwellers and sometimes inspect their prints for them. There’s one terrible condition in particular that afflicts many prints. Collectors and archivists call it the dreaded vinegar syndrome, which affects prints made from acetate, a material that was discontinued in the 1980s.\u003c/p>\n\u003cp>\"Acetate, they later found out, returns to its natural state and becomes acetic acid after time,\" Conheim explains. \"It is like film’s disease, and it's contagious. It spreads from one film to the other, and you have to quarantine. I have a quarantine area in my garage. If a print has vinegar syndrome, eventually you won’t be able to project it anymore. It will curl up and shrink. It will turn to goo.\"\u003c/p>\n\u003cp>Fear of the vinegar syndrome, among other print pitfalls, has prevented one collector he knows from projecting what’s considered to be the Honus Wagner baseball card of film prints -- a rare and valuable British release of \"Star Wars.\"\u003c/p>\n\u003cp>\"The English prints were in this very stable, non-fading Technicolor process,\" Conheim says. \"Only in England and maybe a few other countries. In America it was printed on what was rapidly fading, horrible Eastman film that turned red very quickly. So to have a 'Star Wars' print from England with the color intact is a very special thing indeed. I never see them come up for sale.\u003c/p>\n\u003cp>\"One of the people that owns a Technicolor print of 'Star Wars' has never unsealed the box. I’ve seen it sitting on the shelf, and he tells me he just can’t bear the possibility of being disappointed.\"\u003c/p>\n\u003cp>Aside from the fact that many prints are just \"waiting to turn to goo,\" other obstacles await any would-be projectionist. For one thing, it’s just not as easy as, say, keeping a vinyl music collection going.\u003c/p>\n\u003cp>\"A lot of people throw that around, that film is going to have a comeback the way vinyl LPs have had a comeback,\" Conheim says. \"And it’s a really sweet romantic idea but it’s not going to happen because when LPs came back in vogue, it was as simple as going to a garage sale and picking up a turntable to listen to them. It’s not going to be that way for 35 mm projection because they’re too difficult to obtain. It was a rarefied professional thing. People don’t have those machines in their homes, and it’s not going to be very easy to put one in. You’re not going to know how to maintain it.\"\u003c/p>\n\u003cp>Plus, he says, it’s harder and harder to get the parts.\u003c/p>\n\u003cp>\"The maker of the most precision part of the projector that keeps image-rock steady -- that company has ceased to make the parts,\" he says\u003c/p>\n\u003cp>It’s also still technically illegal to own 35 mm prints.\u003c/p>\n\u003cp>\"Most people hold their collections very close to the vest,\" Conheim says. \"I know two who have been busted by the FBI back in the day. There are some paranoid people as a result. But today studios don’t really care, so you can sell on eBay. But when it was the only way to see something, there was much greater reason for studios to clamp down and consider it copyright infringement to own a print.\"\u003c/p>\n\u003cp>So with all this, why does Conheim thinks it's important to project movies instead of watch them on, say, Blu-ray, which even print enthusiasts agree looks really great?\u003c/p>\n\u003cp>\"I think it’s really important for the history of film and audiences going forward that they’re going to be able to see a film made as close to the way it was originally intended to be seen as possible,\" he says. \"And because of how digital takes you out of that experience. It’s a copy, a replica of motion picture film. It’s just a reference copy, and you should always be able to see what the original thing looked like, imperfections and all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"It’s the difference between seeing a reproduction in a book of, say, the 'Night Watch,' and going to the Rijksmuseum and seeing 'The Night Watch' in front of you. You have to be able to do that with film, as with any art form like it. You wouldn’t go to the symphony and expect you’re going to pay $40 for a recording. There \u003cem>is\u003c/em> an analogy there, and it’s going to be harder and harder as prints disappear.\"\u003c/p>\n\n",
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"excerpt": "An El Cerrito cinephile eschews the digital revolution by building a movie theater in his basement.",
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"description": "An El Cerrito cinephile eschews the digital revolution by building a movie theater in his basement.",
"title": "From Tarantino at Cannes to Collector in El Cerrito, Film Diehards Say Digital Just Not the Same | KQED",
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"headline": "From Tarantino at Cannes to Collector in El Cerrito, Film Diehards Say Digital Just Not the Same",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I write about movies, I like to substitute \"film\" or \"cinema,\" in ascending order of pretentiousness. Occasionally I'll even use \"pictures,\" though that makes me feel like Louis B. Mayer.\u003c/p>\n\u003cp>The thing about the word \"film,\" though -- it's no longer accurate. Because when you go to the movies these days, not only have many of those productions been shot digitally, but almost all are now \u003cem>projected\u003c/em> digitally.\u003c/p>\n\u003cp>\"There was a drop-dead date of Jan. 1, 2014,\" says Adam Bergeron, co-owner of the Balboa Theatre in San Francisco. \"If you haven’t converted to 35 mm digital, you are not going to be able to get new release content anymore.\"\u003c/p>\n\u003cp>Bergeron is talking about the deadline the film industry gave movie exhibitors to install the equipment necessary for screening \"Digital Cinema Packages,\" or DCPs. That’s a sort of hard drive you just plug into a server. Those reels of film that everyone from professional projectionists to any pre-videotape member of the junior high AV squad hoisted onto projectors in order for people to watch a movie -- well, those are fast fading into the hazy realm of nostalgia.\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/181263803&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/181263803'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The reason is simple: Movie distributors save a lot of money by providing their content in digital form. But for a small neighborhood movie theater like the Balboa, the switchover was not a money saver. Last year it had to hustle up more than $100,000 through Kickstarter to convert to digital projection.\u003c/p>\n\u003caside class=\"pullquote alignleft\">'Digital projection...that’s just television in public. What I knew as cinema is dead.'\u003ccite>Quentin Tarantino\u003c/cite>\u003c/aside>\n\u003cp>Many cinema purists don't like it. But the handwriting has been written on the IMAX-size wall for a long time. Director \u003ca href=\"http://www.kqed.org/a/forum/R201412121000\">Paul Thomas Anderson \u003c/a>spoke out against the coming tide as far back as 1999:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The biggest scare that I have is digital projection,\" he said in an \u003ca href=\"https://www.youtube.com/watch?v=7npmu9Ge_OY\" target=\"_blank\">interview\u003c/a>. \"This sort of theory that George Lucas has about digitally projecting his films in theaters. I think that would be a big, big, big no-no. Because ultimately it’s just like watching the best TV screen in the world as opposed to watching 24 frames flicker through light, which is a hypnotic and wonderful experience and should never go away.\"\u003c/p>\n\u003cp>But it \u003cem>has\u003c/em> gone away. The Balboa still has film projectors, used for showing old movies, but even repertory houses have more and more been showing classics from the studio vaults on DCP. A recent retrospective on Stanley Kubrick at the Pacific Film Archive in Berkeley, for instance, projected most of the program digitally, not on film.\u003c/p>\n\u003cfigure id=\"attachment_10376903\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/PaulThomasAnderson.jpg\">\u003cimg class=\"wp-image-10376903 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/PaulThomasAnderson-400x225.jpg\" alt=\"Director Paul Thomas Anderson released 2012's "The Master" in 70mm. (Alberto E. Rodriguez/Getty Images)\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/PaulThomasAnderson.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Paul Thomas Anderson released 2012's \"The Master\" in 70mm. (Alberto E. Rodriguez/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>This has left another major film auteur mincing no words about the topic at this year's Cannes Film Festival:\u003c/p>\n\u003cp>\"As far as I’m concerned, digital projection and DCPs is the death of cinema as I know it,\" \u003ca href=\"https://www.youtube.com/watch?v=hs-iawvv9NU\" target=\"_blank\">said Quentin Tarantino\u003c/a>. \"It’s not even about shooting your film on film or shooting your film on digital. The fact that most films are not presented in 35 mm means that the war is lost. And digital projection -- that's just television in public. And apparently the whole world is OK with television in public. But what I knew as cinema is dead.\"\u003c/p>\n\u003cp>Tarantino has fought back against digital exhibition by operating an old movie theater in L.A. where he shows 35 mm film prints from his private collection. Director Christopher Nolan is also not a digital fan, and his hit film “Interstellar” can be seen projected on film -- in 70 mm IMAX no less -- at some theaters. Anderson also released his 2012 film, \"The Master,\" in 70 mm film.\u003c/p>\n\u003cp>\u003cstrong>Keeping the Art Alive -- in an El Cerrito Basement\u003c/strong>\u003c/p>\n\u003cp>But it's not just these big-time directors who are clinging to film projection as a purer form of screening movies. Peter Conheim, 45, is known as a member of the audio collage band \u003ca href=\"http://ww2.kqed.org/arts/2014/10/28/negativland-is-still-cultural-jamming-taking-on-our-masters/\">Negativland\u003c/a>. But he is also the former co-owner of a small movie theater in Albuquerque and the current proprietor of The Small Back Room. That’s an even smaller movie theater -- just 17 seats -- which he built himself.\u003c/p>\n\u003cp>In his basement.\u003c/p>\n\u003cp>The 35 and 16 mm projectors, he bought. The chairs and couches he found for free.\u003c/p>\n\u003cp>\"Virtually all this is street furniture,\" he says, giving me a tour one evening before showing \"Written on the Wind,\" a 1956 Douglas Sirk film. \"One of the chairs is from my old family home, one of them was my grandmother’s chair, and everything else was found on the street.\"\u003c/p>\n\u003cp>Conheim owns about 500 movie prints, in both the 16 and 35 mm formats.\u003c/p>\n\u003cp>\"Most of it is here now, but there was a period of time that I had to store a lot of it in my mother’s shop, in my family home, because I had no room.\"\u003c/p>\n\u003cfigure id=\"attachment_10373125\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/projector-e1418166671893.jpg\">\u003cimg class=\"size-thumbnail wp-image-10373125\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/projector-e1418166671893-400x527.jpg\" alt=\"A film projector at Peter Conheim's "Small Back Room" home movie theater in El Cerrito. (Jon Brooks/KQED)\" width=\"400\" height=\"527\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893-400x527.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893-800x1055.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/projector-e1418166671893.jpg 1029w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A film projector at Peter Conheim's \"Small Back Room\" home movie theater in El Cerrito. (Jon Brooks/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>He started collecting 16 mm films, a smaller format than the 35 mm prints most of us have grown up with at movie theaters. He graduated to 35 mm while owning the theater in Albuquerque.\u003c/p>\n\u003cp>\"I got the bug about 35mm projection when I had the opportunity to get a print of the Sam Peckinpah film, 'The Wild Bunch.' One night after we had closed at the theater, I put on a reel and it just hit me that I was seeing the actual art object, what is the closest experience possible to the 1969 showing of the movie, from a print that was made at that time and was made to look as good as possible for that time. ... That had a huge impact on me, and I started to think seriously about how I could put 35 mm projection in my home.\"\u003c/p>\n\u003cp>Before the audience arrives for \"Written on the Wind,\" Conheim gives me a little intro.\u003c/p>\n\u003cp>\"'Written on the Wind'\" is a \"beautiful, gaudy high-octane melodrama that uses colors as emotional signifiers,\" he tells me in a summation worthy of Turner Classic Movies. \"It’s particularly enjoyable to watch it on a 35 mm print because the colors really leap out.\"\u003c/p>\n\u003cp>After the invitation-only audience settles into their seats, filling to capacity Conheim's homemade El Cerrito movie palace, he puts on a little 1950s-era short subject called \"Living in a Trailer,\" about ... living in a trailer.\u003c/p>\n\u003cp>\"After the twins have cleaned up, they watch television while father reads and mother prepares dinner,\" the narrator says at the end of the film. \"Come to dinner! Father turns off the television. It has been a happy Saturday for the Burns family. They enjoy living in their trailer.\"\u003c/p>\n\u003cp>Then comes the feature -- the swelling, grandiloquent opening music followed by Rock Hudson and Lauren Bacall going at it.\u003c/p>\n\u003cp>\"So you’re the new executive secretary, huh?\" Hudson asks Bacall.\u003c/p>\n\u003cp>\"Well, don’t let that title deceive you, I do everything but wash windows,\" she retorts.\u003c/p>\n\u003cp>After some initial Mystery Science Theater 3000 cracks from the audience, any notion of treating the film as pure kitsch simply evaporates from the room. It's surprising with material this ripe for ironic disengagement, but the audience becomes totally immersed in the flickering lights on screen. An initial annoyance, the intrusive whir of the projector, which Conheim keeps in a back alcove (next to his washer and dryer), somehow adds to the immediacy of the experience. I've seen movies here several times now, and I am of the opinion that it would take a very dull picture indeed to render the experience less than inviting.\u003c/p>\n\u003cp>\"The thing that makes film so special,\" Conheim says, \"is it’s organic matter that’s having light shown through it, and it’s a magic lantern effect. It’s an optical illusion happening in a machine for your eyes, and the result is so much more tactile than a computer-generated video image. It’s a very different aesthetic experience. Your brain seems to know that you’re watching an actual object with light shining though it and hitting the screen, as opposed to a replica of 1's and 0's, a sort of simulacrum.\"\u003c/p>\n\u003cp>\"It’s like magic,\" says Craig Valenza. \"It’s magic. It always was.\"\u003c/p>\n\u003cp>Valenza is someone for whom the switchover to digital is not just a matter of aesthetics. He’s the projectionist -- for about 40 years now -- at the Pacific Film Archive, which collects and exhibits old films. When I visit him there, he gives me a tour of the projection room and a close-up look at the 35 mm projector.\u003c/p>\n\u003cp>\"It’s a precise piece of machinery,\" he says. \"If it wasn’t, you would know it. It wouldn’t show a nice steady picture on the screen.\"\u003c/p>\n\u003cfigure id=\"attachment_10376886\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/ConheimProjector.jpg\">\u003cimg class=\"wp-image-10376886 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/ConheimProjector-400x512.jpg\" alt=\"Peter Conheim (John Gullak/Courtesy Peter Conheim)\" width=\"400\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector-400x512.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector-800x1025.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/ConheimProjector.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Conheim (John Gullak/Courtesy Peter Conheim)\u003c/figcaption>\u003c/figure>\n\u003cp>PFA still shows 35 mm prints when it can get them. Valenza has to inspect the print of a movie on that night's bill: Jean-Luc Godard’s “Tout va bien,” from 1972. Valenza spins the film from one reel to another, checking the edges with his hands for defects.\u003c/p>\n\u003cp>What do you do if you find one? I ask.\u003c/p>\n\u003cp>\"I fix it. Various things you can do. These days a lot of people just slap tape on it. Or maybe you have to cut it out, amputate it. Or notch it, which is an old trick.\"\u003c/p>\n\u003cp>But with a Digital Cinema Package, there’s little he can do if something goes wrong. If it does, he has to call someone else in to service it.\u003c/p>\n\u003cp>\"Not much labor,\" he says of the digital system. \"I put the hard drive up and connect it in, and an hour later -- if you’re lucky -- it is transferred to the hard drive on the server. Anyone can run a computer. Theater managers can do it, popcorn people can do it. The profession’s gone. The art, or whatever you’d want to call it, of showing film is pretty much out of there.\"\u003c/p>\n\u003cp>PFA patrons are not always on board with the technological shift to digital.\u003c/p>\n\u003cp>\"There are people who don’t come here when we show digitally,\" Valenza says. \"They have never seen one and they don't want to. I won’t say there’s a lot of them, but I know several that are that way. They’ll come here for film, and I hope they’re happy with the dwindling selection.\"\u003c/p>\n\u003cp>On the other hand, he says, \"I think generally a lot of them don’t even know the difference.\" He tells me one person who's been on the technical end of the movie business asked him after the show where he got a beautiful print from. \"I said, 'It’s digital.' She said, 'Oh, I didn’t know that.' \"\u003c/p>\n\u003cp>But the audience at Conheim’s Small Back Room, well, they do notice.\u003c/p>\n\u003cp>\"I think it being, you know, on film and having the projector, it does have a nostalgic quality, even the sound of the projector,\" says Jason Stamberger. \"To me it looks better. The inherent errors and problems with the film, I like more than the errors and problems with the digital. (Digital) doesn’t have the same quality of image, the same artistry.\"\u003c/p>\n\u003cp>\"It’s very important to keep this alive,\" says Mark Wagner. \"It’s very much an art form.\"\u003c/p>\n\u003cp>Conheim is not alone in his dedication to the old way of showing movies. He notices other projectionists in online forums doing screenings for friends. I ask him what they're like.\u003c/p>\n\u003cp>\"Film collectors are anti-social, that live in caves. They’ve been working in caves, as projectionists oftentimes, receiving intravenous fluids from time to time,\" he says. \"I would say the average film collector is generally an older white guy who started in his teens because his grandfather was a projectionist and he became a projectionist.\"\u003c/p>\n\u003cp>Conheim will often trade films with his fellow cave dwellers and sometimes inspect their prints for them. There’s one terrible condition in particular that afflicts many prints. Collectors and archivists call it the dreaded vinegar syndrome, which affects prints made from acetate, a material that was discontinued in the 1980s.\u003c/p>\n\u003cp>\"Acetate, they later found out, returns to its natural state and becomes acetic acid after time,\" Conheim explains. \"It is like film’s disease, and it's contagious. It spreads from one film to the other, and you have to quarantine. I have a quarantine area in my garage. If a print has vinegar syndrome, eventually you won’t be able to project it anymore. It will curl up and shrink. It will turn to goo.\"\u003c/p>\n\u003cp>Fear of the vinegar syndrome, among other print pitfalls, has prevented one collector he knows from projecting what’s considered to be the Honus Wagner baseball card of film prints -- a rare and valuable British release of \"Star Wars.\"\u003c/p>\n\u003cp>\"The English prints were in this very stable, non-fading Technicolor process,\" Conheim says. \"Only in England and maybe a few other countries. In America it was printed on what was rapidly fading, horrible Eastman film that turned red very quickly. So to have a 'Star Wars' print from England with the color intact is a very special thing indeed. I never see them come up for sale.\u003c/p>\n\u003cp>\"One of the people that owns a Technicolor print of 'Star Wars' has never unsealed the box. I’ve seen it sitting on the shelf, and he tells me he just can’t bear the possibility of being disappointed.\"\u003c/p>\n\u003cp>Aside from the fact that many prints are just \"waiting to turn to goo,\" other obstacles await any would-be projectionist. For one thing, it’s just not as easy as, say, keeping a vinyl music collection going.\u003c/p>\n\u003cp>\"A lot of people throw that around, that film is going to have a comeback the way vinyl LPs have had a comeback,\" Conheim says. \"And it’s a really sweet romantic idea but it’s not going to happen because when LPs came back in vogue, it was as simple as going to a garage sale and picking up a turntable to listen to them. It’s not going to be that way for 35 mm projection because they’re too difficult to obtain. It was a rarefied professional thing. People don’t have those machines in their homes, and it’s not going to be very easy to put one in. You’re not going to know how to maintain it.\"\u003c/p>\n\u003cp>Plus, he says, it’s harder and harder to get the parts.\u003c/p>\n\u003cp>\"The maker of the most precision part of the projector that keeps image-rock steady -- that company has ceased to make the parts,\" he says\u003c/p>\n\u003cp>It’s also still technically illegal to own 35 mm prints.\u003c/p>\n\u003cp>\"Most people hold their collections very close to the vest,\" Conheim says. \"I know two who have been busted by the FBI back in the day. There are some paranoid people as a result. But today studios don’t really care, so you can sell on eBay. But when it was the only way to see something, there was much greater reason for studios to clamp down and consider it copyright infringement to own a print.\"\u003c/p>\n\u003cp>So with all this, why does Conheim thinks it's important to project movies instead of watch them on, say, Blu-ray, which even print enthusiasts agree looks really great?\u003c/p>\n\u003cp>\"I think it’s really important for the history of film and audiences going forward that they’re going to be able to see a film made as close to the way it was originally intended to be seen as possible,\" he says. \"And because of how digital takes you out of that experience. It’s a copy, a replica of motion picture film. It’s just a reference copy, and you should always be able to see what the original thing looked like, imperfections and all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It’s the difference between seeing a reproduction in a book of, say, the 'Night Watch,' and going to the Rijksmuseum and seeing 'The Night Watch' in front of you. You have to be able to do that with film, as with any art form like it. You wouldn’t go to the symphony and expect you’re going to pay $40 for a recording. There \u003cem>is\u003c/em> an analogy there, and it’s going to be harder and harder as prints disappear.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"title": "Pop Music Review: Silk Rhodes' Quirky Debut Album ",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/180182206\" 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>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The group's name is a giveaway. Silk, as in smooth, and Rhodes, as in \u003ca title=\"Fender Rhodes Electric Piano- Smithsonian\" href=\"http://americanhistory.si.edu/collections/search/object/nmah_606755\">Fender Rhodes\u003c/a>, the electric piano that gave a signature sound to a lot of ‘70s funk and soul. By and large, that’s the spiritual model for what we have here on \u003ca title=\"Stones Throw Records-Silk Rhodes\" href=\"http://www.stonesthrow.com/silkrhodes\">Silk Rhodes\u003c/a>’ self-titled debut album.\u003c/p>\n\u003cp>It’s there from the first notes of the first track, simply titled “Intro” — smooth funk going back a few decades, but stripped down to the bone by a couple of mad sonic scientists.\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/180182206&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/180182206'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And the album cover, too. It’s a photo of a miniature Silk Rhodes logo on a young woman’s tongue, like a pill. Well, the album is made up of pieces that are basically miniatures -- concise, minimalist sketches. “Pains,” for example, is like a distant dream of a soul song, alluringly so.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg\">\u003cimg class=\"alignleft wp-image-10367635\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg\" alt=\"Silk Rhodes\" width=\"362\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2014/12/Silk-Rhodes-Cover-Art.jpg 1500w\" sizes=\"(max-width: 362px) 100vw, 362px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So who are the guys behind this? Producer Michael Collins and singer Sasha Desree came to California from Baltimore and New York, respectively, via rather circuitous routes, becoming friends and collaborators along the way.\u003c/p>\n\u003cp>The story goes, and we may as well believe it, that the two turned their 1997 Honda CR-V into a mobile recording studio, incorporating its vintage sound system, so they could record whatever crazy ideas might strike them in the moment, often with whoever was around at the moment. Sometimes they’d even give the music test runs for random folks on the street.\u003c/p>\n\u003cp>Much of this is pretty weird -- oddball experiments and goofs. One interlude, “Laurie’s Machine,” is apparently just that, messages left on someone’s answering machine.\u003c/p>\n\u003cp>So who do we hear in this? Maybe the Spinners or Delfonics? \u003ca title=\"Gamble-Huff Music\" href=\"http://www.gamble-huffmusic.com/home2/\">Gamble and Huff\u003c/a>’s classic Sound of Philadelphia productions for sure. Maybe some of the era’s jazz-soul crossovers, the Crusaders and George Benson?\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SoxbvE1Doog?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp style=\"text-align: justify\">More than any of those, this brings to mind the little experiments that knitted together Prince’s brilliant, still hard-to-get-a-handle-on “\u003ca title=\"Rolling Stone's 500 Greatest Albums of All Time; #93\" href=\"http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531/prince-sign-o-the-times-20120524\">Sign 'o' the Times\u003c/a>.” There’s even a track on this called “Group 1987,\" the year when the Prince album was released. Coincidence? Maybe, but.…\u003c/p>\n\u003cp>But then it also fits nicely in the current run of California oddballs making distinctively weird, and weirdly engaging, music — \u003ca title=\"Tumblr- Flying Lotus\" href=\"http://officialflylo.tumblr.com/\">Flying Lotus\u003c/a> and \u003ca title=\"4AD Records-Ariel Pink\" href=\"http://www.4ad.com/artists/arielpink\">Ariel Pink\u003c/a> among them. As with them, Silk Rhodes’ weirdness can coalesce into some wondrous, coherently creative music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s exactly where it all leads when we get to the album’s closer, “The System.” It’s a real song. It still evokes some of the vintage acts, but has its own shape, its own character. It even has something to say, and points to promising directions for the future. Sounds like after poking around the past, Collins and Desree are ready to explore some new roads.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 2:\u003c/strong> We've added a few dozen more rain and storm-themed songs to help us make it through the wet week ahead. Enjoy! And keep sharing your suggestions in the comments section below or on our \u003ca href=\"https://www.facebook.com/KQEDnews\" target=\"_blank\">Facebook page. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Original post: \u003c/strong>\u003c/p>\n\u003cp>We know -- this week's rain, as welcome as it is, doesn't spell an end to The Drought. But you know, we want to savor the weather while we can -- each and every drop that falls from the sky onto shrinking reservoirs and too-thirsty fields. And to get in the mood just a little more, here's a playlist of a few favorites -- and a prompt for you to name a few of your own. Enjoy!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://embed.spotify.com/?uri=spotify:user:hubertallen:playlist:0tIByxVUe93RQCdFxQ8suG\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Adam Grossberg, Amanda Stupi, Dan Brekke, David Marks, Lisa Pickoff-White, Kevin Jones, Issac Silk and Olivia Allen-Price contributed to this post.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "East Bay Dragons Motorcycle Club: On the Road for 55 Years",
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"content": "\u003cp>California and motorcycles go way back: from Marlon Brando’s star turn as an outlaw biker in 1953’s \"The Wild One\" to the current TV hit \"Sons of Anarchy,\" set in the fictional town of Charming, California. Real-life California is packed with motorcycle clubs, from the notorious Hells Angels (founded in Fontana, with its best-known chapter in Oakland) to the hundreds of clubs that crisscross the state on bikes today. That includes dozens of African-American groups, like Oakland’s \u003ca href=\"http://www.eastbaydragons.com\" target=\"_blank\">East Bay Dragons\u003c/a>.\u003c/p>\n\u003cp>This year marks the Dragons’ 55th year as a motorcycle club, and they enjoy elder statesman status among the black motorcycle set.\u003cbr>\nCalifornia’s black clubs descend on Fresno each October, convening to celebrate motorcycles. The weekend is known as the Halfway Run -- because of Fresno’s location roughly halfway between Los Angeles and the Bay Area.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/179081945\" 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>In Fresno, the Dragons team up with two L.A. clubs to rent out a Days Inn. The motel is just off Highway 99, and the low din of car traffic from the road is regularly punctuated by roaring motorcycles. On Saturday afternoon, hundreds of people pack into the parking lot. The clubs are grilling food, lounging by the swimming pool and checking out each other’s rides. There’s gridlock, with motorcycles of every color glistening in the sun and blasting music.\u003c/p>\n\u003cfigure id=\"attachment_10356446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston.jpg\">\u003cimg class=\"wp-image-10356446 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg\" alt=\"East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\" width=\"400\" height=\"291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-800x582.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In front of his hotel room, Ali Ar Rasheed takes in the scene. Rasheed is a member of the East Bay Dragons. A consultant by day, he helps manage the club’s finances. “Riding is sort of like an active form of meditation,” Rasheed says, smoke rising off the cigar in his hand. “If you ride -- and you’re serious about riding -- you’re not worried about bills. You know, that’s not your focus, mentally. It’s the traffic, it’s the people you’re riding with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Dragons' other business manager goes by the name \"Tug Boat.\" He’s a solidly built man with a shaved head. Like Rasheed, he stresses that the image of bikers as outlaws doesn’t apply to the laid-back gathering in Fresno, which crosses generational lines. Not that the police get the message. “I don’t think any cop has a day off when we’re in town,\" Tug Boat says. For Tug Boat, the gathering represents unity. We all enjoy one thing, and that’s riding motorcycles,\" he says.\u003c/p>\n\u003cp>Bikers at the Halfway Run all give their own reasons for riding motorcycles. MC Raw, a Fresno-based rapper, calls a motorcycle “a missile with handlebars.” Watts-based construction worker Blackie says “being on a Harley is like having sex.” And G-14 Classified, who rode his Suzuki Boulevard 1500 from Sacramento, calls riding a bike “almost like a low-level flying. I enjoy the feeling of the wind, the music and sometimes even solitude.”\u003c/p>\n\u003cp>Many of the riders here are affiliated with clubs, like Los Angeles’ Divided Time and Chosen Few, Sacramento’s Aftermath and Fresno’s Unknown Riders. A handful of all-female clubs, like Compton’s Red Pearls, also make the trip to Fresno.\u003c/p>\n\u003cfigure id=\"attachment_10356452\" class=\"wp-caption alignleft\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg\">\u003cimg class=\"wp-image-10356452 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg\" alt=\"Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\" width=\"427\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg 1440w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The motorcycles they fly around the state on are bigger and brighter than the ones the Dragons rode through Oakland in the 1950s. But through all the changes, the Dragons stuck with the same man as president: \u003ca href=\"https://www.facebook.com/pages/Soul-on-Bikes-The-East-Bay-Dragons-MC-and-the-Black-Biker-Set/411720312256104?rf=408110289271195\" target=\"_blank\">Tobie Gene Levingston.\u003c/a> He goes by “Prez” to club members.\u003c/p>\n\u003cp>Levingston grew up in rural Louisiana, the son of a sharecropper. After World War II, his family moved to Oakland. “I had some brothers, and they was all behind me. And they was kind of crazy!” he remembers. “So I started a car club to work on old cars and get their mind occupied working on cars.”\u003c/p>\n\u003cp>It worked, and the club began attracting other kids from the neighborhood. Levingston and the Dragons made the switch from cars to bikes in 1959. He says bikes were cheaper, and they didn’t get hassled by cops as much on two wheels.\u003c/p>\n\u003cp>The Dragons adopted their own uniform. They wore black, grease-stained Levi’s and vests with their signature patch: a green dragon against a gold background. The club’s name and hometown are in bright red stitching: \"East Bay Dragons OAKLAND CALIFORNIA”.\u003c/p>\n\u003cp>The Dragons are an all-male, all-black club. And they ride only \u003ca href=\"http://www.harley-davidson.com/content/h-d/en_US/home.html\" target=\"_blank\">Harley-Davidsons.\u003c/a> “Because it’s made in America and they keep jobs here,” Levingston explains. “That’s the reason I ride the Harley Davidson.”\u003c/p>\n\u003cp>He looks back fondly on the early days of the Dragons: going to dances in the '50s, and partying with hippies, \u003ca href=\"http://affa.hells-angels.com\" target=\"_blank\">Hells Angels\u003c/a> and Black Panthers in the '60s. At the group’s clubhouse in Oakland, pictures of old dances, parties and motorcycle “runs” cover the walls.\u003c/p>\n\u003cfigure id=\"attachment_10356449\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg\">\u003cimg class=\"size-thumbnail wp-image-10356449\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg\" alt=\"Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\" width=\"400\" height=\"390\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-800x781.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The toughest moments for Levingston and the Dragons came in the 1980s, as crack ripped through East Oakland. “I seen a lot of good men, I mean a whole bunch of them, get hooked on that s---\" Levingston recalls. \"I lost a lot of good friends behind that s---.”\u003c/p>\n\u003cp>But the club survived, and continues to attract new members. More than 50 made the trip to Fresno, including Levingston. He’s had health problems in recent years, including a bout with cancer, so he wasn’t able to ride his own Harley to the Halfway Run. “You know it’s like an old car,” he says. “You wear out man!” But he’s still there. “I ain’t never gonna get rid of my bike, man.”\u003c/p>\n\u003cp>Many Dragons are decades younger than Levingston -- a few are in their 20s -- and he gives them all the same message: “I want ya’ll to keep it going on when I’m gone. All I say: Don’t you get your butt outta here and get in and get out and jump and run off. Carry it on.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For now, though, Levingston’s going strong at 80, and looking to buy his next Harley: a three-wheeler.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California and motorcycles go way back: from Marlon Brando’s star turn as an outlaw biker in 1953’s \"The Wild One\" to the current TV hit \"Sons of Anarchy,\" set in the fictional town of Charming, California. Real-life California is packed with motorcycle clubs, from the notorious Hells Angels (founded in Fontana, with its best-known chapter in Oakland) to the hundreds of clubs that crisscross the state on bikes today. That includes dozens of African-American groups, like Oakland’s \u003ca href=\"http://www.eastbaydragons.com\" target=\"_blank\">East Bay Dragons\u003c/a>.\u003c/p>\n\u003cp>This year marks the Dragons’ 55th year as a motorcycle club, and they enjoy elder statesman status among the black motorcycle set.\u003cbr>\nCalifornia’s black clubs descend on Fresno each October, convening to celebrate motorcycles. The weekend is known as the Halfway Run -- because of Fresno’s location roughly halfway between Los Angeles and the Bay Area.\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/179081945&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/179081945'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In Fresno, the Dragons team up with two L.A. clubs to rent out a Days Inn. The motel is just off Highway 99, and the low din of car traffic from the road is regularly punctuated by roaring motorcycles. On Saturday afternoon, hundreds of people pack into the parking lot. The clubs are grilling food, lounging by the swimming pool and checking out each other’s rides. There’s gridlock, with motorcycles of every color glistening in the sun and blasting music.\u003c/p>\n\u003cfigure id=\"attachment_10356446\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston.jpg\">\u003cimg class=\"wp-image-10356446 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg\" alt=\"East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\" width=\"400\" height=\"291\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-400x291.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston-800x582.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/TobieGeneLevingston.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">East Bay Dragons President Tobie Gene Levingston at the group’s clubhouse in East Oakland. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In front of his hotel room, Ali Ar Rasheed takes in the scene. Rasheed is a member of the East Bay Dragons. A consultant by day, he helps manage the club’s finances. “Riding is sort of like an active form of meditation,” Rasheed says, smoke rising off the cigar in his hand. “If you ride -- and you’re serious about riding -- you’re not worried about bills. You know, that’s not your focus, mentally. It’s the traffic, it’s the people you’re riding with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Dragons' other business manager goes by the name \"Tug Boat.\" He’s a solidly built man with a shaved head. Like Rasheed, he stresses that the image of bikers as outlaws doesn’t apply to the laid-back gathering in Fresno, which crosses generational lines. Not that the police get the message. “I don’t think any cop has a day off when we’re in town,\" Tug Boat says. For Tug Boat, the gathering represents unity. We all enjoy one thing, and that’s riding motorcycles,\" he says.\u003c/p>\n\u003cp>Bikers at the Halfway Run all give their own reasons for riding motorcycles. MC Raw, a Fresno-based rapper, calls a motorcycle “a missile with handlebars.” Watts-based construction worker Blackie says “being on a Harley is like having sex.” And G-14 Classified, who rode his Suzuki Boulevard 1500 from Sacramento, calls riding a bike “almost like a low-level flying. I enjoy the feeling of the wind, the music and sometimes even solitude.”\u003c/p>\n\u003cp>Many of the riders here are affiliated with clubs, like Los Angeles’ Divided Time and Chosen Few, Sacramento’s Aftermath and Fresno’s Unknown Riders. A handful of all-female clubs, like Compton’s Red Pearls, also make the trip to Fresno.\u003c/p>\n\u003cfigure id=\"attachment_10356452\" class=\"wp-caption alignleft\" style=\"max-width: 427px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg\">\u003cimg class=\"wp-image-10356452 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg\" alt=\"Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\" width=\"427\" height=\"370\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-400x347.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1-800x695.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/FresnoHalfwayRide1.jpg 1440w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Motorcycles glisten in the sun at the halfway run in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The motorcycles they fly around the state on are bigger and brighter than the ones the Dragons rode through Oakland in the 1950s. But through all the changes, the Dragons stuck with the same man as president: \u003ca href=\"https://www.facebook.com/pages/Soul-on-Bikes-The-East-Bay-Dragons-MC-and-the-Black-Biker-Set/411720312256104?rf=408110289271195\" target=\"_blank\">Tobie Gene Levingston.\u003c/a> He goes by “Prez” to club members.\u003c/p>\n\u003cp>Levingston grew up in rural Louisiana, the son of a sharecropper. After World War II, his family moved to Oakland. “I had some brothers, and they was all behind me. And they was kind of crazy!” he remembers. “So I started a car club to work on old cars and get their mind occupied working on cars.”\u003c/p>\n\u003cp>It worked, and the club began attracting other kids from the neighborhood. Levingston and the Dragons made the switch from cars to bikes in 1959. He says bikes were cheaper, and they didn’t get hassled by cops as much on two wheels.\u003c/p>\n\u003cp>The Dragons adopted their own uniform. They wore black, grease-stained Levi’s and vests with their signature patch: a green dragon against a gold background. The club’s name and hometown are in bright red stitching: \"East Bay Dragons OAKLAND CALIFORNIA”.\u003c/p>\n\u003cp>The Dragons are an all-male, all-black club. And they ride only \u003ca href=\"http://www.harley-davidson.com/content/h-d/en_US/home.html\" target=\"_blank\">Harley-Davidsons.\u003c/a> “Because it’s made in America and they keep jobs here,” Levingston explains. “That’s the reason I ride the Harley Davidson.”\u003c/p>\n\u003cp>He looks back fondly on the early days of the Dragons: going to dances in the '50s, and partying with hippies, \u003ca href=\"http://affa.hells-angels.com\" target=\"_blank\">Hells Angels\u003c/a> and Black Panthers in the '60s. At the group’s clubhouse in Oakland, pictures of old dances, parties and motorcycle “runs” cover the walls.\u003c/p>\n\u003cfigure id=\"attachment_10356449\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg\">\u003cimg class=\"size-thumbnail wp-image-10356449\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg\" alt=\"Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\" width=\"400\" height=\"390\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-400x390.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-800x781.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/MelvinDragonsPatch.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Melvin, 71, of the East Bay Dragons displays the group’s patch in Fresno. (Aaron Mendelson/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The toughest moments for Levingston and the Dragons came in the 1980s, as crack ripped through East Oakland. “I seen a lot of good men, I mean a whole bunch of them, get hooked on that s---\" Levingston recalls. \"I lost a lot of good friends behind that s---.”\u003c/p>\n\u003cp>But the club survived, and continues to attract new members. More than 50 made the trip to Fresno, including Levingston. He’s had health problems in recent years, including a bout with cancer, so he wasn’t able to ride his own Harley to the Halfway Run. “You know it’s like an old car,” he says. “You wear out man!” But he’s still there. “I ain’t never gonna get rid of my bike, man.”\u003c/p>\n\u003cp>Many Dragons are decades younger than Levingston -- a few are in their 20s -- and he gives them all the same message: “I want ya’ll to keep it going on when I’m gone. All I say: Don’t you get your butt outta here and get in and get out and jump and run off. Carry it on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For now, though, Levingston’s going strong at 80, and looking to buy his next Harley: a three-wheeler.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Los Straitjackets' Founder Finds Musical Kinship South of the Border",
"title": "Los Straitjackets' Founder Finds Musical Kinship South of the Border",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/178827643\" 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>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=5FjpHTiImBk&w=640&h=350]\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=SKgidw7glcw&w=640&h=350]\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To see Danny Amis waiting to cross the street, to see him in line at the market, to see him pumping gas or petting his small dog, Seymour, are not particularly memorable sights. He is a soft-spoken, middle-aged guy, a regular joe, a man who walks among his fellow Californians unnoticed.\u003c/p>\n\u003cp>But to see him wearing a Mexican wrestling mask and a tuxedo, slinging a sparkling \u003ca href=\"http://www.dipintoguitars.com/category.php?id=1\">DiPinto guitar\u003c/a> onstage south of the border in front of tens of raging thousands is to see a transformation not soon forgotten. For this is no longer Danny Amis, this is the legendary Daddy-O Grande of the instrumental band \u003ca href=\"http://www.yeproc.com/artists/los-straitjackets\">Los Straitjackets\u003c/a>, a longtime cult favorite in the states that’s inspired a massive music scene in Mexico, where this simple chap has become an icon.\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/178827643&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/178827643'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Danny Amis is considered the godfather of the surf music sound here in Mexico,” says Gabriel Lopez, guitarist for Twin Tones, a wildly popular Mexican group that has collaborated with Amis on the aptly named new album \"Super Spy Western Tones.\" “He's very respected and his songs have been covered by an enormous number of bands here.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\">\u003cimg class=\"alignright size-full wp-image-10344301\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/10/superspysleeve350.jpg\" alt=\"LPJ1200S PSD\" width=\"350\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350.jpg 350w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2014/10/superspysleeve350-75x75.jpg 75w\" sizes=\"(max-width: 350px) 100vw, 350px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The beautifully produced instrumental collection is a bold soundtrack of primal twang, moody reverb and the six-string sound of the spaghetti West, songs written mostly by Amis that are as evocative of time and place as they are catchy.\u003c/p>\n\u003cp>“For a whole generation, mine and the one after, the guitar-playing style of Danny Amis was a huge influence,” continues Lopez. “I think it's a sound that a lot of Mexican bands consciously and unconsciously adopted.”\u003c/p>\n\u003cp>Born in Memphis, Amis grew up in Minneapolis, where he got his first exposure to the music that would pattern his life. “When I was a little kid my older brother had all the Ventures records and Link Wray and Duane Eddy records,” he says. “I just grew up with that as my definition of what an electric guitar should sound like.”\u003c/p>\n\u003cp>By the late ‘70s, Amis was leading his first instrumental band, The Overtones, before heading to New York in 1980 to join the seminal surf combo \u003ca href=\"http://www.bar-none.com/bios/raybio.html\">The Raybeats\u003c/a>. His next move was to Nashville, where he worked for the Grand Ole Opry as an audio engineer and, briefly, for a late incarnation of “Hee Haw.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5FjpHTiImBk'\n title='//www.youtube.com/embed/5FjpHTiImBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It was excruciating,” Amis recalls. “Fourteen takes of the same joke.”\u003c/p>\n\u003cp>In 1989 he took a fateful trip south of the border, one that would spark an ongoing passion for Mexico. “First time I went down I was just looking for some sort of an adventure,” Amis says. “I took a bus down to Chihuahua. I had heard some Mexican rock and roll stuff, and I wanted to look for some of that, so I went to a record store. I not only found that, but I found a lot of new bands from Mexico City that were just dynamite. I felt at home right away and I knew I wouldn’t be able to stay away, so I’ve been going back pretty regularly ever since.”\u003c/p>\n\u003cp>In 1994 Amis co-founded Los Straitjackets, and it wasn’t long before bootleg copies of the group’s music began filtering into Mexico. The ingredients were ripe for popularity. The band all wore Lucha Libre masks, the music was fun, festive and powerful, and translation was not an issue. There were no lyrics.\u003c/p>\n\u003cp>Initially, however, Amis admits concern that the masks might have been viewed as culturally insensitive. “We had that fear a little but it was the opposite,” he says. “They were flattered that an American band would find elements of their culture really cool and really hip, which we do, and they just didn’t expect that. It touched a nerve down there, and then a whole music scene.”\u003c/p>\n\u003cp>Amis befriended one of the first groups in that scene,\u003ca href=\"http://www.lostacapulco.com/\"> Lost Acapulco\u003c/a>, and produced its hit debut album in 1998.\u003c/p>\n\u003cp>“When you have a chemical music thing it’s very easy to play and to do music, and that’s what happened with Danny and Lost Acapulco,” says Caleb Franco, aka Senor Ramirez, the band’s bassist. “We are big fans of Los Straitjackets as well. There’s so much influence for us. Of course, they wear wrestling masks, which is really good for Mexicans, but I think the crowd in Mexico likes their music so much [because] it’s so clear, so clean and super fantastic.”\u003c/p>\n\u003cp>The popularity of the Lost Acapulco album paved the way for Los Straitjackets to cross the border. “Because it was such a huge hit everybody wanted to know more about me and Los Straitjackets, so we finally went down and did a couple of shows in Mexico City and Guadalajara,” Amis says. “It was amazing the response we got.”\u003c/p>\n\u003cp>Bear in mind, we’re talking about a group that draws on the average “a couple hundred” folks to gigs in America. Last fall, Amis and his masked men attracted a frenzied audience of 50,000 to Mexico City’s Foro Sol arena -- two nights in a row.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SKgidw7glcw'\n title='//www.youtube.com/embed/SKgidw7glcw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s huge! What he’s got going on down there is huge and really unbelievable,” says musician Ben Vaughn. He produced Los Straitjackets’ first three albums and has known Amis since 1983. “It’s a mystery to me, but it also makes sense, mainly because it’s Danny Amis. He’s a visionary and he doesn’t question his motives. He just follows whatever he’s excited about.”\u003c/p>\n\u003cp>Amis also takes Daddy-O Grande very seriously.\u003c/p>\n\u003cp>“He never takes the mask off when he’s down there,” Vaughn reveals. “He goes out to dinner, after sound check, keeps it on. He’s very dedicated to Daddy-O Grande, and they love him down there. He’s the right guy, and Los Straitjackets are the right band. It’s a really interesting phenomenon.”\u003c/p>\n\u003cp>While Amis was in Mexico City last year, he joined forces with the Twin Tones, spending a week in the band’s studio recording, Super Spy Western Tones. A successful Kickstarter campaign helped fund the project.\u003c/p>\n\u003cp>“This album is more than a collaboration between Danny and Los Twin Tones,” offers Vaughn. “It’s actually more cinematic almost, because of the orchestration and the horns and the strings, and the elements of film music dramatics and melodies. It has a sweeping larger feel than a standard instrumental record.”\u003c/p>\n\u003cp>The international project was hatched years ago, but was shelved when Amis hit a major, and very unexpected, road bump.\u003c/p>\n\u003cp>“We had talked about doing some recording together, but of course everything got put on hold when I got cancer,” Amis says. “I had a stem cell transplant to treat multiple myeloma. It got everything under control. I’m not technically in remission, but I’m doing OK, so last year we finally got together and made it happen.”\u003c/p>\n\u003cp>While he still records with Los Straitjackets, he no longer tours with the band, leaving him free to leave California for the land that he loves where his music is king, and he is the godfather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It dawned on me, you know my favorite place in the world is Mexico City. The more I thought about it, I thought that’s where I really want to be,” says Amis. “I’ll probably play and record a lot more music down there because I don’t have to travel to do it. I got cancer in 2010, and a year ago I had a heart attack. Now I have the two leading causes of death and I’m still here. And I feel like I’m the luckiest guy in the world.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Stanford University Opens Private Art Collection to the Public",
"title": "Stanford University Opens Private Art Collection to the Public",
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"content": "\u003cp>The 1947 Jackson Pollock painting “Lucifer” used to hang over Mary Patricia Anderson Pence’s bed. The 121 works collected by Harry W. and Mary Margaret Anderson and their daughter, Mary Patricia, now hang on the walls of a free museum on Stanford’s campus that opened to the public this September.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=s3EJUEjyrCU&w=1050&h=591]\u003c/p>\n\u003cp>Focusing on post-WWII American art, the stunning collection includes 86 artists, including Jackson Pollock, Willem de Kooning, Ellsworth Kelly and Mark Rothko.\u003c/p>\n\u003cp>The museum has been drawing large crowds since its opening. Aimee Shapiro, the director of programming and engagement at the Anderson Collection, said: “We’ve evened out averaging 2,800 people a week since we opened. So we’ve already had 16,000 people here in the five weeks that we’ve been open.”\u003c/p>\n\u003cp>The museum, like the Cantor Arts Center next door on the Stanford campus, doesn’t charge for admission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Adding a $20 ticket to a museum experience is quite prohibitive to families or to people who are not upper-middle class … It’s completely free — so if you have three kids and a spouse, you don’t have to pay $100 to walk into a museum for an hour,” Shapiro said.\u003c/p>\n\u003cp>“Institutions can sometimes be intimidating,” said Sophia Villarreal Licona, the arts-in-student-life coordinator at the Stanford Arts Institute. “They can be expensive or hard to get to. … I think that the fact that the museum is free is fantastic. It does a lot in terms of accessibility … but it is not the end of what the museum needs to do in terms of reaching new audiences.”\u003c/p>\n\u003cp>One such effort was the theatrical dance performance “Scene in Action,” staged by Stanford dance professor Aleta Hayes and a seminar of students. The performance brought huge crowds to the museum that may not have seen the collection otherwise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taylor Litchfield, a dancer in the production, praised the collection and the staff for not only inviting them into the space but also teaching them about art history in the process. “Only at Stanford,” Litchfield said. “It’s amazing how generous [the Andersons] are to donate their art and this entire collection.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 1947 Jackson Pollock painting “Lucifer” used to hang over Mary Patricia Anderson Pence’s bed. The 121 works collected by Harry W. and Mary Margaret Anderson and their daughter, Mary Patricia, now hang on the walls of a free museum on Stanford’s campus that opened to the public this September.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/s3EJUEjyrCU'\n title='//www.youtube.com/embed/s3EJUEjyrCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Focusing on post-WWII American art, the stunning collection includes 86 artists, including Jackson Pollock, Willem de Kooning, Ellsworth Kelly and Mark Rothko.\u003c/p>\n\u003cp>The museum has been drawing large crowds since its opening. Aimee Shapiro, the director of programming and engagement at the Anderson Collection, said: “We’ve evened out averaging 2,800 people a week since we opened. So we’ve already had 16,000 people here in the five weeks that we’ve been open.”\u003c/p>\n\u003cp>The museum, like the Cantor Arts Center next door on the Stanford campus, doesn’t charge for admission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Adding a $20 ticket to a museum experience is quite prohibitive to families or to people who are not upper-middle class … It’s completely free — so if you have three kids and a spouse, you don’t have to pay $100 to walk into a museum for an hour,” Shapiro said.\u003c/p>\n\u003cp>“Institutions can sometimes be intimidating,” said Sophia Villarreal Licona, the arts-in-student-life coordinator at the Stanford Arts Institute. “They can be expensive or hard to get to. … I think that the fact that the museum is free is fantastic. It does a lot in terms of accessibility … but it is not the end of what the museum needs to do in terms of reaching new audiences.”\u003c/p>\n\u003cp>One such effort was the theatrical dance performance “Scene in Action,” staged by Stanford dance professor Aleta Hayes and a seminar of students. The performance brought huge crowds to the museum that may not have seen the collection otherwise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taylor Litchfield, a dancer in the production, praised the collection and the staff for not only inviting them into the space but also teaching them about art history in the process. “Only at Stanford,” Litchfield said. “It’s amazing how generous [the Andersons] are to donate their art and this entire collection.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Internet's favorite sourpuss, Grumpy Cat, unveiled Macy's holiday windows in Union Square on Friday night.\u003c/p>\n\u003cp>For nearly a decade, the San Francisco Society for the Prevention of Cruelty to Animals has teamed up with the department store to find homes for animals and to raise money for the nonprofit.\u003c/p>\n\u003cp>Grumpy Cat wore the only scowl as fans lined up to get a selfie with this famous feline.\u003c/p>\n\u003cfigure id=\"attachment_10351872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006.jpg\">\u003cimg class=\"size-medium wp-image-10351872\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg\" alt=\"The line for Grumpy Cat stretches down the street in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The line for Grumpy Cat stretched down the street. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Karen Pennington, a self-described Grumpy Cat groupie, took the day off from her job in Livermore just to see the cat. Pennington said she expects to feel \"lots of warmth and love.\"\u003c/p>\n\u003cfigure id=\"attachment_10351873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007.jpg\">\u003cimg class=\"wp-image-10351873 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg\" alt=\"20141121_grumpycat_jt_007\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people waited hours to see Grumpy Cat.\u003c/p>\n\u003cfigure id=\"attachment_10351871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005.jpg\">\u003cimg class=\"wp-image-10351871 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg\" alt=\"Alma Quintero, center, takes a video students from the De Marillac Academy sing at the unveiling of the Holiday Windows at Macy's in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alma Quintero, center, watches as the De Marillac Academy sings holiday songs before the unveiling of the Holiday Windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Though Grumpy Cat could only take visitors Friday evening, the display will be up through January 4th.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Internet's favorite sourpuss, Grumpy Cat, unveiled Macy's holiday windows in Union Square on Friday night.\u003c/p>\n\u003cp>For nearly a decade, the San Francisco Society for the Prevention of Cruelty to Animals has teamed up with the department store to find homes for animals and to raise money for the nonprofit.\u003c/p>\n\u003cp>Grumpy Cat wore the only scowl as fans lined up to get a selfie with this famous feline.\u003c/p>\n\u003cfigure id=\"attachment_10351872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006.jpg\">\u003cimg class=\"size-medium wp-image-10351872\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg\" alt=\"The line for Grumpy Cat stretches down the street in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_006-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The line for Grumpy Cat stretched down the street. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Karen Pennington, a self-described Grumpy Cat groupie, took the day off from her job in Livermore just to see the cat. Pennington said she expects to feel \"lots of warmth and love.\"\u003c/p>\n\u003cfigure id=\"attachment_10351873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007.jpg\">\u003cimg class=\"wp-image-10351873 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg\" alt=\"20141121_grumpycat_jt_007\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_007-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people waited hours to see Grumpy Cat.\u003c/p>\n\u003cfigure id=\"attachment_10351871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005.jpg\">\u003cimg class=\"wp-image-10351871 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg\" alt=\"Alma Quintero, center, takes a video students from the De Marillac Academy sing at the unveiling of the Holiday Windows at Macy's in San Francisco, Calif. on Friday, Nov. 11, 2014. Internet sensation Grumpy Cat was one of the stars of the unveiling of the Holiday Windows at Macy's.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_005-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alma Quintero, center, watches as the De Marillac Academy sings holiday songs before the unveiling of the Holiday Windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Last year's event raised more than $100,000 for the SPCA, and helped 343 pets find new families.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF SPCA Co-President Jennifer Scarlett hopes that the celebrity appeal of Grumpy Cat will encourage people to adopt more than 350 pets this year.\u003c/p>\n\u003cfigure id=\"attachment_10351874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008.jpg\">\u003cimg class=\"wp-image-10351874 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg\" alt=\"20141121_grumpycat_jt_008\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/20141121_grumpycat_jt_008-1440x960.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This is the ninth year Macy's has featured adoptable animals in their windows. (James Tensuan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Though Grumpy Cat could only take visitors Friday evening, the display will be up through January 4th.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When last we checked on filmmaker George Lucas and his quest to build a museum for his collection of narrative art, he was \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">decamping from San Francisco\u003c/a> and embracing a plan to erect \u003ca href=\"http://www.lucasmuseum.org/\" target=\"_blank\">his dream facility\u003c/a> on Chicago's lakefront.\u003c/p>\n\u003cp>Lucas trudged through a long and, for him, \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\">ultimately disappointing process\u003c/a> trying to persuade San Francisco's Presidio Trust to let him build his museum on a highly-sought-after site adjacent to Crissy Field. When that effort failed, Chicago officials, led by Mayor Rahm Emanuel, swooped in to pitch Lucas on bringing the museum there. Lucas agreed after the city offered a piece of real estate on the Lake Michigan waterfront -- near several existing museums, Soldier Field and the massive McCormick Place convention center.\u003c/p>\n\u003cp>So everyone lived happily ever after.\u003c/p>\n\u003cp>Sure. What's actually happened is that the museum proposal has found itself in the midst of a growing controversy.\u003c/p>\n\u003cp>Park groups contend the project violates development controls on lakefront property, and they've \u003ca href=\"http://www.chicagotribune.com/news/local/breaking/chi-lucas-museum-lawsuit-20141112-story.html\" target=\"_blank\">filed a lawsuit\u003c/a> that claims it's illegal to build on the reclaimed lakeshore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The museum's \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-kamin-met-1104-20141103-column.html#page=1\" target=\"_blank\">recently unveiled design proposal\u003c/a> is also drawing fire. The Chicago Tribune's Pulitzer Prize-winning architecture critic, Blair Kamin, has written a series of pieces decrying the design as \u003ca href=\"http://www.chicagotribune.com/news/columnists/ct-lucas-museum-critique-kamin-met-1107-20141106-column.html\" target=\"_blank\">\"needlessly massive\u003c/a>.\" (I'd add, \"And needlessly like an albino cousin of \u003ca href=\"http://www.starwars.com/databank/jabba-the-hutt\" target=\"_blank\">Jabba the Hutt.\"\u003c/a>)\u003c/p>\n\u003cp>On Thursday, Lucas' latest museum-related migraine arrived. The \u003ca href=\"http://www.ibtimes.com/star-wars-museum-rahm-emanuel-got-campaign-cash-disney-george-lucas-wife-pushing-1726849\" target=\"_blank\">International Business Times is reporting\u003c/a> that before offering the lakefront site, Emanuel had gotten nearly $50,000 in campaign donations from Mellody Hobson, Lucas' wife, and from the Disney Corp., which now owns Lucasfilm and the \"Star Wars\u003cem>\"\u003c/em> franchise.\u003c/p>\n\u003cp>From the IBT story:\u003c/p>\n\u003cblockquote>\u003cp>... Windy City preservationists [have sued] to block the construction of a so-called “Star Wars” museum after Mayor Rahm Emanuel offered to let George Lucas build the $400 million project on publicly owned lakefront land. The mayor has defended the proposal to lease the prime real estate to the billionaire Lucas for just $1 a year, insisting the project is on “solid legal ground,” \u003ca href=\"http://politics.suntimes.com/article/chicago/emanuel-confident-hell-win-court-fight-over-lucas-museum/wed-06252014-304pm\" target=\"_blank\">the Sun Times reported\u003c/a>.\u003c/p>\n\u003cp>What he hasn’t mentioned is the almost $50,000 worth of campaign donations he has received from those with vested interests in the project.\u003c/p>\n\u003cp>One of those donors is one of the museum’s key board members, who also happens to be Lucas’ wife. Mellody Hobson, a prominent Chicago businesswoman, is a major Emanuel supporter, contributing $31,500 to his 2011 mayoral race, according to campaign records. In fact, it was Hobson who apparently came up with the idea to build the museum in Chicago. The plan came to fruition after Lucas failed to get the project approved in San Francisco earlier this year.\u003c/p>\n\u003cp>“Don’t worry,” Hobson reportedly told Lucas. “I’ll talk to the mayor.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>So far, neither the mayor nor museum officials have commented on the IBT's story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Discussing the comedian's \"huge, complicated\" legacy, \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/09/19/349922912/bill-cosbys-huge-complicated-post-cosby-show-legacy\">NPR's Gene Demby wrote\u003c/a> in September:\u003c/p>\n\u003cblockquote>\u003cp>\"Cosby's renown has become less neat in the years since the show went off the air, his squeaky-clean family image tarnished by confessions of infidelity and allegations of sexual assault. His politics have become polarizing, and his name is invoked as a shorthand for a specific strain of black conservatism.\"\u003c/p>\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+And+Netflix+Shelve+Bill+Cosby+Projects+As+New+Rape+Claim+Emerges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A TV comedy Bill Cosby had been developing for NBC has been canceled, after new allegations of rape have been made against the comedian. Netflix made a similar move late Tuesday, shelving a comedy special that had been slated to premiere the week of Thanksgiving.\u003c/p>\n\u003cp>Cosby, 77, has not publicly addressed the claims against him, which have now been made publicly by at least six women. In an NPR interview that \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\">aired over the weekend\u003c/a>, Cosby refused to discuss the allegations.\u003c/p>\n\u003cp>Marty Singer, Cosby's attorney, has said the comedian did nothing wrong. Responding to former model Janice Dickinson's claim that Cosby drugged and sexually assaulted her, Singer called the story an \"\u003ca href=\"http://www.thewrap.com/bill-cosbys-lawyer-blasts-janice-dickinsons-sexual-assault-claims-as-outrageous-defamatory/\">outrageous defamatory lie\u003c/a>.\" In a letter to website The Wrap, Singer said the version of events Dickinson relayed this week doesn't match what she wrote about the encounter in a memoir.\u003c/p>\n\u003cp>Dickinson spoke to \u003ca href=\"http://news-briefs.ew.com/2014/11/19/janice-dickinson-bill-cosby-sexual-assault/\">Entertainment Weekly\u003c/a> several days after former actress Barbara Bowman wrote in last Friday's \u003ca href=\"http://www.washingtonpost.com/posteverything/wp/2014/11/13/bill-cosby-raped-me-why-did-it-take-30-years-for-people-to-believe-my-story/\">Washington Post\u003c/a>, \"Cosby had drugged and raped me, too.\"\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2014/11/17/364736453/bill-cosbys-silence-on-rape-allegations-makes-huge-media-noise\">NPR's Eric Deggans wrote\u003c/a> this week, \"Several recent events, including the 30th anniversary of \u003cem>The Cosby Show\u003c/em> and the publication of the biography, have pushed media to reconsider Cosby's legacy.\"\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>Discussing the comedian's \"huge, complicated\" legacy, \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/09/19/349922912/bill-cosbys-huge-complicated-post-cosby-show-legacy\">NPR's Gene Demby wrote\u003c/a> in September:\u003c/p>\n\u003cblockquote>\u003cp>\"Cosby's renown has become less neat in the years since the show went off the air, his squeaky-clean family image tarnished by confessions of infidelity and allegations of sexual assault. His politics have become polarizing, and his name is invoked as a shorthand for a specific strain of black conservatism.\"\u003c/p>\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NBC+And+Netflix+Shelve+Bill+Cosby+Projects+As+New+Rape+Claim+Emerges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan’s highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he’s pulled the same unlikely feat in San Francisco, turning a regular Tuesday night spot into an avidly attended event, first at the Rrazz Room and then at Yoshi’s San Francisco (which was recently rechristened as The Addition). Boasting some of the finest players and arrangers in the region, his recent album. \"The Tommy Igoe Groove Conspiracy,\" gives a good sense of what the fuss is all about.\u003c/p>\n\u003cp>As its name suggests, Igoe’s 15-piece Groove Conspiracy doesn’t traffic in the classic jazz orchestra sound, though the band can swing with authority. But Igoe gets bored quickly, and every track stakes out new rhythmic territory, from funk and R&B to Cuban and Brazilian grooves. What makes the album work isn’t so much the variety of beats as the consistently smart arrangements.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/176981187\" 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 album opens with a simmering version of Joe Zawinul’s “Mercy, Mercy, Mercy,” a gospel-powered tune that was a big hit for Cannonball Adderley in the mid-1960s. Trombonist John Gove’s arrangement turns Joshua Redman’s tune “Jazz Crimes” into a sleek vehicle for the orchestra, making it sound like a forgotten track from Steely Dan’s “Aja.” The saxophone star recorded the tune at a time when he was veering away from straight ahead jazz syncopation, which is where Igoe wants to live.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An arrangement of “Aquele Um” by Brazilian pop star Djavan features trumpeter Stephen Kuehn, the co-leader of the Pacific Mambo Orchestra, which scored an upset Grammy for Best Tropical Album back in February. Like Kuehn and the PMO, Igoe had the good sense to recruit vocalist Kenny Washington as a regular guest star. The sensational singer is featured on two tracks, including the Rodgers and Hart standard “I Didn’t Know What Time It Was.” The Latin-tinged chart features Santana percussionist Karl Perazzo, another high-profile guest star.\u003c/p>\n\u003cp>Tall and lanky, Igoe is a marvel behind the drum kit, his limbs a furious swirl of movement. He’s always at the center of the action, but he keeps the spotlight on his soloists. On the hard-charging “Plan B,” which was arranged and composed by trombonist and Groove Conspiracy staple Mike Rinta, he showcases the great Bay Area saxophonist Alex Murzyn and a ringer, trumpet star Randy Brecker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Igoe closes the album with “Quarter Master,” a slinky tune and arrangement by special guest Michael League, who also plays bass on the funk-laden track. Collaborating with the leader of Grammy-winning R&B combo Snarky Puppy is another savvy move by Igoe, a definite sign that the Groove Conspiracy is determined to spread.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tommy Igoe had a good thing going in New York City. The widely respected jazz drummer and his powerhouse big band regularly attracted a full house of devoted fans to Friday nights at Birdland, one of Manhattan’s highest-profile jazz clubs.\u003c/p>\n\u003cp>Since moving to the Bay Area about three years ago he’s pulled the same unlikely feat in San Francisco, turning a regular Tuesday night spot into an avidly attended event, first at the Rrazz Room and then at Yoshi’s San Francisco (which was recently rechristened as The Addition). Boasting some of the finest players and arrangers in the region, his recent album. \"The Tommy Igoe Groove Conspiracy,\" gives a good sense of what the fuss is all about.\u003c/p>\n\u003cp>As its name suggests, Igoe’s 15-piece Groove Conspiracy doesn’t traffic in the classic jazz orchestra sound, though the band can swing with authority. But Igoe gets bored quickly, and every track stakes out new rhythmic territory, from funk and R&B to Cuban and Brazilian grooves. What makes the album work isn’t so much the variety of beats as the consistently smart arrangements.\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/176981187&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/176981187'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The album opens with a simmering version of Joe Zawinul’s “Mercy, Mercy, Mercy,” a gospel-powered tune that was a big hit for Cannonball Adderley in the mid-1960s. Trombonist John Gove’s arrangement turns Joshua Redman’s tune “Jazz Crimes” into a sleek vehicle for the orchestra, making it sound like a forgotten track from Steely Dan’s “Aja.” The saxophone star recorded the tune at a time when he was veering away from straight ahead jazz syncopation, which is where Igoe wants to live.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An arrangement of “Aquele Um” by Brazilian pop star Djavan features trumpeter Stephen Kuehn, the co-leader of the Pacific Mambo Orchestra, which scored an upset Grammy for Best Tropical Album back in February. Like Kuehn and the PMO, Igoe had the good sense to recruit vocalist Kenny Washington as a regular guest star. The sensational singer is featured on two tracks, including the Rodgers and Hart standard “I Didn’t Know What Time It Was.” The Latin-tinged chart features Santana percussionist Karl Perazzo, another high-profile guest star.\u003c/p>\n\u003cp>Tall and lanky, Igoe is a marvel behind the drum kit, his limbs a furious swirl of movement. He’s always at the center of the action, but he keeps the spotlight on his soloists. On the hard-charging “Plan B,” which was arranged and composed by trombonist and Groove Conspiracy staple Mike Rinta, he showcases the great Bay Area saxophonist Alex Murzyn and a ringer, trumpet star Randy Brecker.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Igoe closes the album with “Quarter Master,” a slinky tune and arrangement by special guest Michael League, who also plays bass on the funk-laden track. Collaborating with the leader of Grammy-winning R&B combo Snarky Puppy is another savvy move by Igoe, a definite sign that the Groove Conspiracy is determined to spread.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Wende Museum: Preserving the Cold War in Culver City",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/175879866\" params=\"color=ff5500&inverse=false&auto_play=false&show_user=true\" width=\"100%\" height=\"20\" iframe=\"true\" /]\u003c/p>\n\u003cp>Nov. 9, 2014, marks \u003ca href=\"http://www.visitberlin.de/en/event/11-09-2014/25-years-fall-of-the-berlin-wall\">25 years since the fall of the Berlin Wall\u003c/a> -- what Germans call the “Wende,” or turning point. It was the end of the Cold War, the end of an era and, in a practical sense, the end of a country, East Germany. The \u003ca href=\"http://www.wendemuseum.org/\">Wende Museum \u003c/a>in Culver City (Los Angeles County) is keeping its memories alive.\u003c/p>\n\u003cfigure id=\"attachment_10347645\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_7.jpg\">\u003cimg class=\"size-thumbnail wp-image-10347645\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_7-400x602.jpg\" alt=\"Stasi Briefcase, n.d. Black plastic, metal, colored plastic and other materials East Germany. Credit: Marie Astrid González/Wende Museum\" width=\"400\" height=\"602\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_7-400x602.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_7.jpg 797w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stasi Briefcase, n.d.\u003cbr>Black plastic, metal, colored plastic and other materials\u003cbr>East Germany. Credit: Marie Astrid González/Wende Museum\u003c/figcaption>\u003c/figure>\n\u003cp>The main storage hall in the museum looks like a smaller version of that one in \"Raiders of the Lost Ark,\" crossed with a really messy IKEA. Aisles of industrial shelving are piled 15 feet high with stacks of film reels, modernist chairs from the 1960s, briefcases of decommissioned spy equipment, Hungarian paintings, even a gas pump.\u003c/p>\n\u003cp>Cultural historian Justin Jampol started the collection 12 years ago. “The Wende Museum has become this sort of like alternative repository,” he says. It began with East German stuff that, frankly, no one else wanted.\u003c/p>\n\u003cp>“There are collections that were, for lack of a better word, orphaned,” he explains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of the Cold War, Jampol says, everything from the East was a reminder of the bad old days: “In 1999, East German artwork was backed in plastic and put on the ground, along with Third Reich artworks, so people could walk around it, and it was wrapped in garbage bags.”\u003c/p>\n\u003cp>People couldn't get past the politics of East Bloc music, furniture, even family scrapbooks. Overnight, they became worthless, or embarrassing. All people wanted to do was to get rid of them.\u003c/p>\n\u003cp>As a historian, Jampol wanted to save them. The question was -- where to put it all? Jampol's answer: His hometown, Los Angeles.\u003c/p>\n\u003cp>“It’s often criticized for not having a history of its own but in fact there is freedom in that. And it also means that people are open to learning about a past that might not be their own.”\u003c/p>\n\u003cp>Today, the Wende Museum is one of the world's largest collections of material culture from the former East Bloc, hundreds of thousands of pieces. New boxes arrive every week from Germany, Hungary, the Ukraine -- people sending away memories of the Cold War, or safeguarding them. In Los Angeles, free of their history, they can take on a new meaning. Take the museum's piece of the Berlin Wall, installed in May on Wilshire Boulevard.\u003c/p>\n\u003cfigure id=\"attachment_10347741\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_10_0.jpg\">\u003cimg class=\"size-thumbnail wp-image-10347741\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_10_0-400x601.jpg\" alt=\"Vandalized Lenin Bust, 1965/89, made of plaster and produced in East Germany. (Marie Astrid González/Wende Museum)\" width=\"400\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_10_0-400x601.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_10_0.jpg 798w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vandalized Lenin Bust,\u003cbr>1965/89, made of plaster and produced in East Germany. (Marie Astrid González/Wende Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>“If the Berlin Wall installation is in Berlin, it's about this border that separated people East and West in Berlin. There's no other meaning to it, because that's where it occurred, that's what happened,” says Jampol.\u003c/p>\n\u003cp>But in L.A., it's become a place for talking about the present, not the past. There have been protests there against the U.S.-Mexico border and the Chinese government. “It is still one of the top locations for engagement photos for the Korean community in L.A., which is on the first glance surprising. Maybe on the second hand not so surprising, since Korea has a wall, too,” he says.\u003c/p>\n\u003cp>Right now, the museum itself is just a few rooms in an office park, and most of the collection is in storage. But starting this week, the Wende Museum will give new life to another Cold War relic -- this time, an American one. It's moving to a nearby location in Culver City, a decommissioned armory built in 1950.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Wende Museum opens in its new location next year. To see some of the collection before then, see Justin Jampol's new book about the collection, \"\u003ca href=\"http://www.amazon.co.uk/Beyond-Wall-German-Collection-Taschen/dp/3836548852\">Beyond the Wall.\" \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the Cold War, Jampol says, everything from the East was a reminder of the bad old days: “In 1999, East German artwork was backed in plastic and put on the ground, along with Third Reich artworks, so people could walk around it, and it was wrapped in garbage bags.”\u003c/p>\n\u003cp>People couldn't get past the politics of East Bloc music, furniture, even family scrapbooks. Overnight, they became worthless, or embarrassing. All people wanted to do was to get rid of them.\u003c/p>\n\u003cp>As a historian, Jampol wanted to save them. The question was -- where to put it all? Jampol's answer: His hometown, Los Angeles.\u003c/p>\n\u003cp>“It’s often criticized for not having a history of its own but in fact there is freedom in that. And it also means that people are open to learning about a past that might not be their own.”\u003c/p>\n\u003cp>Today, the Wende Museum is one of the world's largest collections of material culture from the former East Bloc, hundreds of thousands of pieces. New boxes arrive every week from Germany, Hungary, the Ukraine -- people sending away memories of the Cold War, or safeguarding them. In Los Angeles, free of their history, they can take on a new meaning. Take the museum's piece of the Berlin Wall, installed in May on Wilshire Boulevard.\u003c/p>\n\u003cfigure id=\"attachment_10347741\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_10_0.jpg\">\u003cimg class=\"size-thumbnail wp-image-10347741\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/11/WendeMuseum_10_0-400x601.jpg\" alt=\"Vandalized Lenin Bust, 1965/89, made of plaster and produced in East Germany. (Marie Astrid González/Wende Museum)\" width=\"400\" height=\"601\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_10_0-400x601.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2014/11/WendeMuseum_10_0.jpg 798w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vandalized Lenin Bust,\u003cbr>1965/89, made of plaster and produced in East Germany. (Marie Astrid González/Wende Museum)\u003c/figcaption>\u003c/figure>\n\u003cp>“If the Berlin Wall installation is in Berlin, it's about this border that separated people East and West in Berlin. There's no other meaning to it, because that's where it occurred, that's what happened,” says Jampol.\u003c/p>\n\u003cp>But in L.A., it's become a place for talking about the present, not the past. There have been protests there against the U.S.-Mexico border and the Chinese government. “It is still one of the top locations for engagement photos for the Korean community in L.A., which is on the first glance surprising. Maybe on the second hand not so surprising, since Korea has a wall, too,” he says.\u003c/p>\n\u003cp>Right now, the museum itself is just a few rooms in an office park, and most of the collection is in storage. But starting this week, the Wende Museum will give new life to another Cold War relic -- this time, an American one. It's moving to a nearby location in Culver City, a decommissioned armory built in 1950.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Wende Museum opens in its new location next year. To see some of the collection before then, see Justin Jampol's new book about the collection, \"\u003ca href=\"http://www.amazon.co.uk/Beyond-Wall-German-Collection-Taschen/dp/3836548852\">Beyond the Wall.\" \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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