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"content": "\u003cp>[dropcap]C[/dropcap]ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you're going to find bigger crowds than ever.\u003c/p>\n\u003cp>But if you look up from your iPhone or laptop once the boat's left the dock, you'll find yourself in direct contact with the always unfolding drama of San Francisco Bay -- the changing light, surging water and expansive vistas of bridges, skylines, shipping and, yes, even nature.\u003c/p>\n\u003cp>The people who experience this drama more often and more intimately than anyone else are those who work on the boats. To give the rest of us a glimpse of their world and how they see it, one group of workers is putting on a photo exhibition opening Friday at San Francisco's Pier 1.\u003c/p>\n\u003cp>The \"\u003ca href=\"http://www.bluecollargreenwater.com/\" target=\"_blank\">Blue Collar Green Water\u003c/a>\" show features juried work from deckhands, guest service reps, bartenders, captains and others who work for the \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\">Blue & Gold Fleet\u003c/a>. That's the company that operates the \u003ca href=\"http://sanfranciscobayferry.com/\" target=\"_blank\">San Francisco Bay Ferry\u003c/a> service under contract with the Water Emergency Transportation Authority. It's also known for its tourist cruises from San Francisco's Pier 41.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/05/BrekkeFerryService.mp3\" title=\"'Blue Collar Green Water': The Art of Working on S.F. Bay Ferries\" program=\"KQED News\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/1A-Vince-Forever-1920x1281.jpg\"]\u003c/p>\n\u003cp>Rebecca Johnson, an Oakland native who's been a deckhand on the bay for 20 years, is the moving spirit behind \"Blue Collar Green Water.\" The idea was inspired by the pictures she saw other ferry workers taking every day on the job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Working on the bay, you see it so many different ways,\" she says. \"You see it cold and foggy, you see it sunny and bright. And so I thought, why not find a way to share these photos with each other and with the people who don’t know what our jobs are.\"\u003c/p>\n\u003cp>When she suggested a group photo project to her fellow workers a couple of years ago, she found lots of excitement. Out of that, a collective was formed to invite submissions from Blue & Gold crew members, design a website and produce a promotional video. A panel that included local professional photographers was created to judge the submissions for the exhibit.\u003c/p>\n\u003cp>Someone else really liked the \"Blue Collar Green Water\" idea, too: company management. Johnson brought her plan for a photo exhibition to Carolyn Horgan, then Blue & Gold's president.\u003c/p>\n\u003cp>The project allowed workers from the fleet's different units and unions to work together on something. The proposed show also fits in with a company goal.\u003c/p>\n\u003cp>\"The thing that really appealed to me about it is that Blue & Gold was working hard on employee engagement,\" Horgan says. \"And this would be the ultimate of employee engagement.\"\u003c/p>\n\u003cp>But there was more to it than that. Horgan, who is now retired, says the pictures in the show highlight the skill and grace involved in operating a fleet that carries millions of passengers each year.\u003c/p>\n\u003cp>\"It's just people doing something -- tasks that I saw a lot, but other people maybe are not as familiar with, even tying up a boat,\" Horgan says. There's a beauty in something as simple as a deckhand \"taking a line and putting it around a cleat.\"\u003c/p>\n\u003cfigure id=\"attachment_11440262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel.jpg\">\u003cimg class=\"size-medium wp-image-11440262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-800x621.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1020x792.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1180x916.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-960x746.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-375x291.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Pastel,\" by Joe Lovett. \u003ccite>(Courtesy of \"Blue Collar Green Water\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson says the show has another point, too. At a time when unions and recognition of the importance of blue-collar work have become topics of national conversation, the exhibit showcases the humanity and pride of those who labor on the bay.\u003c/p>\n\u003cp>\"I would love for people to just know that the workers on these ferries -- they’re union workers, and they’re getting wages that allow them to live in the Bay Area,\" Johnson says. \"And why not? It should be this way.\"\u003c/p>\n\u003cp>“Blue Collar Green Water” will be on display at Pier 1 on San Francisco's Embarcadero, next to the Ferry Building, through May 31.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/183445426\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you're going to find bigger crowds than ever.\u003c/p>\n\u003cp>But if you look up from your iPhone or laptop once the boat's left the dock, you'll find yourself in direct contact with the always unfolding drama of San Francisco Bay -- the changing light, surging water and expansive vistas of bridges, skylines, shipping and, yes, even nature.\u003c/p>\n\u003cp>The people who experience this drama more often and more intimately than anyone else are those who work on the boats. To give the rest of us a glimpse of their world and how they see it, one group of workers is putting on a photo exhibition opening Friday at San Francisco's Pier 1.\u003c/p>\n\u003cp>The \"\u003ca href=\"http://www.bluecollargreenwater.com/\" target=\"_blank\">Blue Collar Green Water\u003c/a>\" show features juried work from deckhands, guest service reps, bartenders, captains and others who work for the \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\">Blue & Gold Fleet\u003c/a>. That's the company that operates the \u003ca href=\"http://sanfranciscobayferry.com/\" target=\"_blank\">San Francisco Bay Ferry\u003c/a> service under contract with the Water Emergency Transportation Authority. It's also known for its tourist cruises from San Francisco's Pier 41.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rebecca Johnson, an Oakland native who's been a deckhand on the bay for 20 years, is the moving spirit behind \"Blue Collar Green Water.\" The idea was inspired by the pictures she saw other ferry workers taking every day on the job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Working on the bay, you see it so many different ways,\" she says. \"You see it cold and foggy, you see it sunny and bright. And so I thought, why not find a way to share these photos with each other and with the people who don’t know what our jobs are.\"\u003c/p>\n\u003cp>When she suggested a group photo project to her fellow workers a couple of years ago, she found lots of excitement. Out of that, a collective was formed to invite submissions from Blue & Gold crew members, design a website and produce a promotional video. A panel that included local professional photographers was created to judge the submissions for the exhibit.\u003c/p>\n\u003cp>Someone else really liked the \"Blue Collar Green Water\" idea, too: company management. Johnson brought her plan for a photo exhibition to Carolyn Horgan, then Blue & Gold's president.\u003c/p>\n\u003cp>The project allowed workers from the fleet's different units and unions to work together on something. The proposed show also fits in with a company goal.\u003c/p>\n\u003cp>\"The thing that really appealed to me about it is that Blue & Gold was working hard on employee engagement,\" Horgan says. \"And this would be the ultimate of employee engagement.\"\u003c/p>\n\u003cp>But there was more to it than that. Horgan, who is now retired, says the pictures in the show highlight the skill and grace involved in operating a fleet that carries millions of passengers each year.\u003c/p>\n\u003cp>\"It's just people doing something -- tasks that I saw a lot, but other people maybe are not as familiar with, even tying up a boat,\" Horgan says. There's a beauty in something as simple as a deckhand \"taking a line and putting it around a cleat.\"\u003c/p>\n\u003cfigure id=\"attachment_11440262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel.jpg\">\u003cimg class=\"size-medium wp-image-11440262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-800x621.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1020x792.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1180x916.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-960x746.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-375x291.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Pastel,\" by Joe Lovett. \u003ccite>(Courtesy of \"Blue Collar Green Water\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson says the show has another point, too. At a time when unions and recognition of the importance of blue-collar work have become topics of national conversation, the exhibit showcases the humanity and pride of those who labor on the bay.\u003c/p>\n\u003cp>\"I would love for people to just know that the workers on these ferries -- they’re union workers, and they’re getting wages that allow them to live in the Bay Area,\" Johnson says. \"And why not? It should be this way.\"\u003c/p>\n\u003cp>“Blue Collar Green Water” will be on display at Pier 1 on San Francisco's Embarcadero, next to the Ferry Building, through May 31.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/183445426\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hollywood Writers, Producers Reach Deal Averting Strike",
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"content": "\u003cp>Hollywood writers and producers reached a tentative deal early Tuesday, averting a strike that could have crippled TV and film production and inflicted harm on the wider California economy.\u003c/p>\n\u003cp>The three-year agreement, which requires ratification by members of the Writers Guild of America, was confirmed by the union and Alliance of Motion Picture and Television Producers spokesman Jarryd Gonzales shortly after the current contract expired early Tuesday. The deal followed a flurry of last-minute bargaining, conducted during a media blackout that offered no tangible details about whether picket lines would go up Tuesday morning.\u003c/p>\n\u003cp>\"There was a collective applause when it happened,\" said screenwriter Bert V. Royal. \"I think we’re all relieved and excited to get back to the work at hand.\"\u003c/p>\n\u003cp>https://twitter.com/Travon/status/859322462240198656\u003c/p>\n\u003cp>In a memo to its members, the Guild said gains were made across the board, including contributions to the union's health plan that should \"ensure its solvency for years to come\" — an issue that writers considered key.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Guild said it also made strides in pay for series with fewer episodes per season, and in residuals. Members overall will net $130 million more over the contract's life than they were expected to accept, according to the memo.\u003c/p>\n\u003cp>It's hard to know what the figure means; The Guild said on Friday it was seeking $156 million annually in enhancements from the studios.\u003c/p>\n\u003cp>\"There's a lot of messaging here,\" said Jonathan Handel, an entertainment lawyer and editor at the Hollywood Reporter.\u003c/p>\n\u003cp>Handel said the deal includes important gains for Guild members, most notably increased contributions for health insurance and raises for TV writers. However, he said the deal does not appear to be as favorable for screenwriters, noting that \u003ca href=\"http://www.wga.org/members/membership-information/contract-2017/bulletin/\">the Guild had removed a contract bulletin from its website that talked about declining income for screenwriters.\u003c/a>\u003c/p>\n\u003cp>\"That page is gone,\" said Handel. \"The other bulletins are still up there.\"\u003c/p>\n\u003cp>The producers did not release any details regarding the agreement.\u003c/p>\n\u003cp>https://twitter.com/ellenstutzman/status/859329077529858048\u003c/p>\n\u003cp>The agreement spares the late-night shows that would immediately have gone dark without writers, and allows the networks to pursue their schedules for the upcoming TV season without interruption. Movie production would have felt a strike's sting more gradually.\u003c/p>\n\u003cp>Guild members voted overwhelmingly last month to authorize a strike, and the WGA could have called for an immediate walkout Tuesday absent a deal. The previous writers' strike exacted an estimated $2 billion toll on the state. The producers group said the 2007-08 strike cost writers $287 million in lost compensation.\u003c/p>\n\u003cp>Russ DeVol, the chief research officer at the Milken Institute, estimated a strike of similar duration would have cost California $2.5 billion today.\u003c/p>\n\u003cp>After the 2007-08 strike, the two sides reached agreements in 2010 and 2013, but TV writers in particular have seen their earnings slide since then and wanted to claw back some of those losses.\u003c/p>\n\u003cp>Driving the dispute were changes in how television is distributed, with streaming platforms, including Netflix and Amazon, joining broadcast and cable TV and rising in importance.\u003c/p>\n\u003cp>More outlets have led to more shows, but the TV season model is greatly changed. Despite the fact that there are more series than ever -- 455 this season, more than double the number six years ago -- shows run for fewer episodes than the traditional 22-24 episode broadcast series.\u003c/p>\n\u003cp>Short seasons of eight, 10 or 12 episodes means less pay for writers whose payment is structured on a per-episode basis.\u003c/p>\n\u003cp>To address that, the guild said it won additional compensation for writers who spend more than 2.4 weeks working on a script.\u003c/p>\n\u003cp>https://twitter.com/sheilacalla/status/859307942176210944\u003c/p>\n\u003cp>https://twitter.com/travishelwig/status/859302117055512576\u003c/p>\n\u003cp>https://twitter.com/saraschaefer1/status/859311332021030912\u003c/p>\n\u003cp>The guild also touted first-time job protection for writers on parental leave.\u003c/p>\n\u003cp>\"That shows that there is a cultural shift that’s happening in the industry in terms of who writers are -- there are women working in the industry,\" said Miranda Banks, author of \"The Writers: A History of American Screenwriters and Their Guild.\"\u003c/p>\n\u003cp>The agreement avoided a repeat of the 2007-08 strike, which played out in true Hollywood style. Writers took to social media to make their case, entertainingly. Stars, including Julia Louis-Dreyfus and Tina Fey, joined picket lines, and then-\"Tonight Show\" host Jay Leno brought doughnuts for strikers.\u003c/p>\n\u003cp>Before Tuesday's deal was announced, writer-actress Lena Dunham said she would back a strike this time.\u003c/p>\n\u003cp>\"I would never have had the health coverage I had without the union, and that's one of the main points in this,\" Dunham said at the Met Gala on Monday night.\u003c/p>\n\u003cp>Actress Debra Winger said she would support any reasonable job action by the writers, but was mindful of the damage it would cause.\u003c/p>\n\u003cp>\"I'm thinking of all the businesses that I work with at Warner Bros. for several months out of the year and (the) restaurants, shoe repair, dry cleaners,\" Winger said during an interview promoting her new film, \"The Lovers.\" ''The last writers' strike affected the city of Los Angeles in a devastating way.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Met Gala, CBS chairman and CEO Les Moonves said he was guardedly optimistic that a deal would be reached without a strike.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Guild said it also made strides in pay for series with fewer episodes per season, and in residuals. Members overall will net $130 million more over the contract's life than they were expected to accept, according to the memo.\u003c/p>\n\u003cp>It's hard to know what the figure means; The Guild said on Friday it was seeking $156 million annually in enhancements from the studios.\u003c/p>\n\u003cp>\"There's a lot of messaging here,\" said Jonathan Handel, an entertainment lawyer and editor at the Hollywood Reporter.\u003c/p>\n\u003cp>Handel said the deal includes important gains for Guild members, most notably increased contributions for health insurance and raises for TV writers. However, he said the deal does not appear to be as favorable for screenwriters, noting that \u003ca href=\"http://www.wga.org/members/membership-information/contract-2017/bulletin/\">the Guild had removed a contract bulletin from its website that talked about declining income for screenwriters.\u003c/a>\u003c/p>\n\u003cp>\"That page is gone,\" said Handel. \"The other bulletins are still up there.\"\u003c/p>\n\u003cp>The producers did not release any details regarding the agreement.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The agreement spares the late-night shows that would immediately have gone dark without writers, and allows the networks to pursue their schedules for the upcoming TV season without interruption. Movie production would have felt a strike's sting more gradually.\u003c/p>\n\u003cp>Guild members voted overwhelmingly last month to authorize a strike, and the WGA could have called for an immediate walkout Tuesday absent a deal. The previous writers' strike exacted an estimated $2 billion toll on the state. The producers group said the 2007-08 strike cost writers $287 million in lost compensation.\u003c/p>\n\u003cp>Russ DeVol, the chief research officer at the Milken Institute, estimated a strike of similar duration would have cost California $2.5 billion today.\u003c/p>\n\u003cp>After the 2007-08 strike, the two sides reached agreements in 2010 and 2013, but TV writers in particular have seen their earnings slide since then and wanted to claw back some of those losses.\u003c/p>\n\u003cp>Driving the dispute were changes in how television is distributed, with streaming platforms, including Netflix and Amazon, joining broadcast and cable TV and rising in importance.\u003c/p>\n\u003cp>More outlets have led to more shows, but the TV season model is greatly changed. Despite the fact that there are more series than ever -- 455 this season, more than double the number six years ago -- shows run for fewer episodes than the traditional 22-24 episode broadcast series.\u003c/p>\n\u003cp>Short seasons of eight, 10 or 12 episodes means less pay for writers whose payment is structured on a per-episode basis.\u003c/p>\n\u003cp>To address that, the guild said it won additional compensation for writers who spend more than 2.4 weeks working on a script.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The guild also touted first-time job protection for writers on parental leave.\u003c/p>\n\u003cp>\"That shows that there is a cultural shift that’s happening in the industry in terms of who writers are -- there are women working in the industry,\" said Miranda Banks, author of \"The Writers: A History of American Screenwriters and Their Guild.\"\u003c/p>\n\u003cp>The agreement avoided a repeat of the 2007-08 strike, which played out in true Hollywood style. Writers took to social media to make their case, entertainingly. Stars, including Julia Louis-Dreyfus and Tina Fey, joined picket lines, and then-\"Tonight Show\" host Jay Leno brought doughnuts for strikers.\u003c/p>\n\u003cp>Before Tuesday's deal was announced, writer-actress Lena Dunham said she would back a strike this time.\u003c/p>\n\u003cp>\"I would never have had the health coverage I had without the union, and that's one of the main points in this,\" Dunham said at the Met Gala on Monday night.\u003c/p>\n\u003cp>Actress Debra Winger said she would support any reasonable job action by the writers, but was mindful of the damage it would cause.\u003c/p>\n\u003cp>\"I'm thinking of all the businesses that I work with at Warner Bros. for several months out of the year and (the) restaurants, shoe repair, dry cleaners,\" Winger said during an interview promoting her new film, \"The Lovers.\" ''The last writers' strike affected the city of Los Angeles in a devastating way.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Met Gala, CBS chairman and CEO Les Moonves said he was guardedly optimistic that a deal would be reached without a strike.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California Sounds: Nite Jewel, Derrick Anderson and Adam Turchin",
"title": "California Sounds: Nite Jewel, Derrick Anderson and Adam Turchin",
"headTitle": "The California Report | KQED News",
"content": "\u003ch3>Nite Jewel\u003c/h3>\n\u003cp>When a young woman with a philosophy degree has a song called “The Answer,” you might expect something a little heavier than what \u003ca href=\"http://www.nitejewel.com/\" target=\"_blank\">Nite Jewel\u003c/a>, aka Ramona Gonzalez, has done. But you also might not expect something so pleasurable.\u003c/p>\n\u003cp>Having taken the Nite Jewel nom-de-music while still an undergrad at Occidental College more than a decade ago, she’s long sought a balance between heavy and light, between art and pop in her songs and videos. Heck, she had a 2011 song asking the ultimate philosophy question, “Am I Real?” posed in bubbly electro-pop and accompanied by a dreamscape video befitting someone who has done multimedia installations. And she has collaborated with always-arty Angeleno musician Julia Holter in the combined guise of Jewelia.\u003c/p>\n\u003cp>But with her new album, “Real High,” she’s given herself over to the pure joys -- and sorrows -- of love in the sensual realm, not the philosophical one, and is inviting us to join her in that pursuit. That invitation comes in the delightful form of understated, silky-smooth soul-pop, her lovely voice set in spare, deftly crafted electronics made by her and her producer/husband Cole M.G.N., who has worked with Beck, Snoop Dogg and many others. And yet, throughout the album there’s a smartness, and artfulness, at every turn. It almost seems, in the title of another highlight from the album, “2 Good 2 Be True.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rDeiQvoCT_A\u003c/p>\n\u003cp>As that title’s spelling might tip off, there’s a strong grounding here in the music of the early ‘80s. You could easily imagine the silky-smooth, understated sounds of almost anything here slotted alongside, oh, a Madonna song on MTV late night circa 1983, or used as a cool-down track in the hands of a savvy club deejay around that same time. It’s not a big shift -- she’s cited Janet Jackson and Mariah Carey among her influences. But there’s both a dreaminess and maturity in these tracks that break away from any nostalgia.\u003c/p>\n\u003ch3>Derrick Anderson\u003c/h3>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg\" alt=\"Derrick Anderson Press Photo by W. Scott Prestwood\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1920x1537.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1180x945.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-960x768.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’ve seen the Bangles in the last decade or so, you may have been wondering, “Who’s that guy off to the side?” Well, that’s \u003ca href=\"https://www.derrickandersonmusic.com/\" target=\"_blank\">Derrick Anderson\u003c/a>. If you’ve had the great pleasure of being at any of the shows done in the L.A. area by the Wild Honey organizations — all-star full-album benefit tributes to the Beatles, Big Star, the Band and so on — you’ve seen Anderson anchoring the house band as well.\u003c/p>\n\u003cp>So then you won’t be too surprised to hear that his solo album, the first after a long career primarily as a sideman, is a full-on blast of power-pop glory. Or maybe you didn’t notice him. He tends to be a quiet guy, stays out of the spotlight, just gets the job done. But that has won him a fan base among his fellow musicians, and many of them eagerly joined in to help on this.\u003c/p>\n\u003cp>“A World of My Own” is populated with the three principal Bangles, the Smithereens, three Cowsills, Kim Shattuck of the Muffs and Pandoras, Steve Barton of Translator -- most of them Big Honey regulars, too. And, on the somber waltz “Spring,” Anderson reunites with Robby Rist, Wil O’Brien and Marc Joseph, his partners in the ’90s-‘00s L.A. band the Andersons! (exclamation point included).\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-11428555 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Revolver”-esque guitars (naturally) chime throughout, from the very first notes of opener “Send Me Down a Sign.” There’s a swampy Creedence-via-Memphis kick to “You Don’t Have to Hurt No More.” “Waiting for You,” featuring the Smithereens, has a bit of that band’s darkness -- the Smithereens are a clear influence in several of the songs. And the Beatles (naturally) are never really out of earshot, implicitly present throughout and implicitly in “Happiness,” with its “Dr. Robert”-like riff, and “Stop Messin’ About,” with an audience cheering along to evoke the Fabs’ Shea Stadium romp through “I’m Down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LMJtpyzc8TY\u003c/p>\n\u003cp>As if there’s any doubt, the set closes with “Norwegian Wood,” transformed into a garage-rock rave (though with the odd choice to replace John Lennon’s original, dreamy melody with an enthusiastic, but less-interesting line).\u003c/p>\n\u003cp>OK, so it’s not exactly, as one song title puts it, “Something New.” Anderson and friends still put some sparkle on the old sounds.\u003c/p>\n\u003ch3>Adam Turchin\u003c/h3>\n\u003cfigure id=\"attachment_11428557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11428557 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg\" alt=\"Adam Turchin_1\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Adam Turchin\u003c/figcaption>\u003c/figure>\n\u003cp>As the title suggests, “Manifest Destiny” is the story of a westward journey, in this case the one taken seven years ago by sax player and composer \u003ca href=\"https://adamturchin.bandcamp.com/\" target=\"_blank\">Adam Turchin\u003c/a> when he left his Philadelphia home in a beat-up car for the wild frontier of Los Angeles, having sold all but one of his instruments to pay his way.\u003c/p>\n\u003cp>It was a fortuitous trek, as soon on arrival he met musician and producer Terrace Martin, who in turn introduced him to Kendrick Lamar, who brought Turchin in to play baritone on what turned out to be one of the defining albums of recent years, “To Pimp a Butterfly.” The jazz elements, with Turchin, Martin and Kamasi Washington among the contributors, were key to that triumph.\u003c/p>\n\u003cp>With \"Manifest Destiny,\" Turchin triumphs in a different way. This is not jazz per se, nor is it really hip-hop, though it involves elements of both. It’s something of an impressionist amalgam, Turchin as composer, arranger, orchestrator, producer, playing keyboards, guitar, electronics and, of course, sax, supplemented by a small cast of other musicians. Martin makes a couple of appearances and vocalists Rose Gold, Kate Faust, Javier Starks and Brandon Ashe each get billing as “primary artist” on various songs.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg\" alt=\"Adam Turchin_Manifest Destiny_Cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The titles give some hints to the story: “Gold Rush,” “My Mind is Moving So Crazy,” “Tell Me No Dreams; Sell Me No Schemes” and “Fruition” make up one sequence. “Destiny Is Just a Dream” wraps up the combination of gratitude and determination. And it’s no accident that there is repeated use of the terms \u003ci>dream\u003c/i> and \u003ci>destiny\u003c/i>.\u003c/p>\n\u003cp>Turchin, by the way, is not on Lamar’s new “Damn.” Lamar went with a more stripped-down hip-hop approach this time, and listening to “Manifest Destiny” you might get a little sense of what’s missing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tg3iGQhAj4Q\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Nite Jewel\u003c/h3>\n\u003cp>When a young woman with a philosophy degree has a song called “The Answer,” you might expect something a little heavier than what \u003ca href=\"http://www.nitejewel.com/\" target=\"_blank\">Nite Jewel\u003c/a>, aka Ramona Gonzalez, has done. But you also might not expect something so pleasurable.\u003c/p>\n\u003cp>Having taken the Nite Jewel nom-de-music while still an undergrad at Occidental College more than a decade ago, she’s long sought a balance between heavy and light, between art and pop in her songs and videos. Heck, she had a 2011 song asking the ultimate philosophy question, “Am I Real?” posed in bubbly electro-pop and accompanied by a dreamscape video befitting someone who has done multimedia installations. And she has collaborated with always-arty Angeleno musician Julia Holter in the combined guise of Jewelia.\u003c/p>\n\u003cp>But with her new album, “Real High,” she’s given herself over to the pure joys -- and sorrows -- of love in the sensual realm, not the philosophical one, and is inviting us to join her in that pursuit. That invitation comes in the delightful form of understated, silky-smooth soul-pop, her lovely voice set in spare, deftly crafted electronics made by her and her producer/husband Cole M.G.N., who has worked with Beck, Snoop Dogg and many others. And yet, throughout the album there’s a smartness, and artfulness, at every turn. It almost seems, in the title of another highlight from the album, “2 Good 2 Be True.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rDeiQvoCT_A'\n title='//www.youtube.com/embed/rDeiQvoCT_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As that title’s spelling might tip off, there’s a strong grounding here in the music of the early ‘80s. You could easily imagine the silky-smooth, understated sounds of almost anything here slotted alongside, oh, a Madonna song on MTV late night circa 1983, or used as a cool-down track in the hands of a savvy club deejay around that same time. It’s not a big shift -- she’s cited Janet Jackson and Mariah Carey among her influences. But there’s both a dreaminess and maturity in these tracks that break away from any nostalgia.\u003c/p>\n\u003ch3>Derrick Anderson\u003c/h3>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg\" alt=\"Derrick Anderson Press Photo by W. Scott Prestwood\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1920x1537.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1180x945.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-960x768.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’ve seen the Bangles in the last decade or so, you may have been wondering, “Who’s that guy off to the side?” Well, that’s \u003ca href=\"https://www.derrickandersonmusic.com/\" target=\"_blank\">Derrick Anderson\u003c/a>. If you’ve had the great pleasure of being at any of the shows done in the L.A. area by the Wild Honey organizations — all-star full-album benefit tributes to the Beatles, Big Star, the Band and so on — you’ve seen Anderson anchoring the house band as well.\u003c/p>\n\u003cp>So then you won’t be too surprised to hear that his solo album, the first after a long career primarily as a sideman, is a full-on blast of power-pop glory. Or maybe you didn’t notice him. He tends to be a quiet guy, stays out of the spotlight, just gets the job done. But that has won him a fan base among his fellow musicians, and many of them eagerly joined in to help on this.\u003c/p>\n\u003cp>“A World of My Own” is populated with the three principal Bangles, the Smithereens, three Cowsills, Kim Shattuck of the Muffs and Pandoras, Steve Barton of Translator -- most of them Big Honey regulars, too. And, on the somber waltz “Spring,” Anderson reunites with Robby Rist, Wil O’Brien and Marc Joseph, his partners in the ’90s-‘00s L.A. band the Andersons! (exclamation point included).\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-11428555 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Revolver”-esque guitars (naturally) chime throughout, from the very first notes of opener “Send Me Down a Sign.” There’s a swampy Creedence-via-Memphis kick to “You Don’t Have to Hurt No More.” “Waiting for You,” featuring the Smithereens, has a bit of that band’s darkness -- the Smithereens are a clear influence in several of the songs. And the Beatles (naturally) are never really out of earshot, implicitly present throughout and implicitly in “Happiness,” with its “Dr. Robert”-like riff, and “Stop Messin’ About,” with an audience cheering along to evoke the Fabs’ Shea Stadium romp through “I’m Down.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LMJtpyzc8TY'\n title='//www.youtube.com/embed/LMJtpyzc8TY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As if there’s any doubt, the set closes with “Norwegian Wood,” transformed into a garage-rock rave (though with the odd choice to replace John Lennon’s original, dreamy melody with an enthusiastic, but less-interesting line).\u003c/p>\n\u003cp>OK, so it’s not exactly, as one song title puts it, “Something New.” Anderson and friends still put some sparkle on the old sounds.\u003c/p>\n\u003ch3>Adam Turchin\u003c/h3>\n\u003cfigure id=\"attachment_11428557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11428557 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg\" alt=\"Adam Turchin_1\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Adam Turchin\u003c/figcaption>\u003c/figure>\n\u003cp>As the title suggests, “Manifest Destiny” is the story of a westward journey, in this case the one taken seven years ago by sax player and composer \u003ca href=\"https://adamturchin.bandcamp.com/\" target=\"_blank\">Adam Turchin\u003c/a> when he left his Philadelphia home in a beat-up car for the wild frontier of Los Angeles, having sold all but one of his instruments to pay his way.\u003c/p>\n\u003cp>It was a fortuitous trek, as soon on arrival he met musician and producer Terrace Martin, who in turn introduced him to Kendrick Lamar, who brought Turchin in to play baritone on what turned out to be one of the defining albums of recent years, “To Pimp a Butterfly.” The jazz elements, with Turchin, Martin and Kamasi Washington among the contributors, were key to that triumph.\u003c/p>\n\u003cp>With \"Manifest Destiny,\" Turchin triumphs in a different way. This is not jazz per se, nor is it really hip-hop, though it involves elements of both. It’s something of an impressionist amalgam, Turchin as composer, arranger, orchestrator, producer, playing keyboards, guitar, electronics and, of course, sax, supplemented by a small cast of other musicians. Martin makes a couple of appearances and vocalists Rose Gold, Kate Faust, Javier Starks and Brandon Ashe each get billing as “primary artist” on various songs.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg\" alt=\"Adam Turchin_Manifest Destiny_Cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The titles give some hints to the story: “Gold Rush,” “My Mind is Moving So Crazy,” “Tell Me No Dreams; Sell Me No Schemes” and “Fruition” make up one sequence. “Destiny Is Just a Dream” wraps up the combination of gratitude and determination. And it’s no accident that there is repeated use of the terms \u003ci>dream\u003c/i> and \u003ci>destiny\u003c/i>.\u003c/p>\n\u003cp>Turchin, by the way, is not on Lamar’s new “Damn.” Lamar went with a more stripped-down hip-hop approach this time, and listening to “Manifest Destiny” you might get a little sense of what’s missing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Security Guards for S.F. Museums Say They're Being Denied Full-Time Work",
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"content": "\u003cp>Three San Francisco art museums -- the de Young, Legion of Honor and Asian Art Museum -- are facing criticism from their security guards, who say the museums’ executives are manipulating their schedules to avoid giving the guards full-time pay and benefits.\u003c/p>\n\u003cp>The guards and their representatives from the \u003ca href=\"http://www.seiu1021.org/\">Service Employees International Union Local 1021\u003c/a> (SEIU 1021) told the Government Audit and Oversight Committee of the San Francisco Board of Supervisors on Friday that the museums are intentionally giving security guards 35-hour workweeks rather than the typical 40-hour workweek that other city employees receive.\u003c/p>\n\u003cp>A spokeswoman for the \u003ca href=\"https://www.famsf.org/\">Fine Arts Museums of San Francisco, \u003c/a>which represents the de Young and Legion of Honor, said the matter is between the union and the city since the security guards are city employees. She also said the museum “absolutely refuses any allegations of misconduct.”\u003c/p>\n\u003cp>Although the city allocates money for the security guards, about half of the guards are paid by a private party, according to the SEIU 1021.\u003c/p>\n\u003cp>Theresa Rutherford, who represents the guards through SEIU’s Northern California chapter, says the problem stems from institutionalized racism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“San Francisco prides itself on being at the forefront of the fight for justice and therefore must stop this injustice, which allows the museum guards to be treated differently,” Rutherford said. “They must be restored to 40 hours like everybody else who works for the city. They are not deserving of less, and they are equal.”\u003c/p>\n\u003cp>Alysabeth Alexander, vice president of politics for SEIU’s Local 1021, alluded to the 150th anniversary of the eight-hour workday on May 1, or May Day.\u003c/p>\n\u003cp>“Over 50 percent of our workers, because of their part-time situation, are forced to find second jobs or compete for overtime [pay] because they are not able to get the 40-hour workweek,” Alexander said. “So, they do not have the eight-hour day.”\u003c/p>\n\u003cp>The 35-hour workweek was agreed upon by the union and the city in 2012 so shifts would correspond with the number of hours the museum was open.\u003c/p>\n\u003cp>“It just seems kind of insane to ask that, just because the museum is only open for seven hours, why pay us for eight? I work in an industry that is 24/7,” said Timothy Sullivan, who has been a security guard for the Asian Art Museum for nearly 15 years.\u003c/p>\n\u003cp>The committee concluded by stating it would introduce a new hearing on Tuesday to begin resolving the matter and to discuss bargaining.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I certainly agree with many of the points that SEIU 1021 brought up, and I would like to see the security guards move up to 40 hours a week,” Supervisor Jane Kim said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three San Francisco art museums -- the de Young, Legion of Honor and Asian Art Museum -- are facing criticism from their security guards, who say the museums’ executives are manipulating their schedules to avoid giving the guards full-time pay and benefits.\u003c/p>\n\u003cp>The guards and their representatives from the \u003ca href=\"http://www.seiu1021.org/\">Service Employees International Union Local 1021\u003c/a> (SEIU 1021) told the Government Audit and Oversight Committee of the San Francisco Board of Supervisors on Friday that the museums are intentionally giving security guards 35-hour workweeks rather than the typical 40-hour workweek that other city employees receive.\u003c/p>\n\u003cp>A spokeswoman for the \u003ca href=\"https://www.famsf.org/\">Fine Arts Museums of San Francisco, \u003c/a>which represents the de Young and Legion of Honor, said the matter is between the union and the city since the security guards are city employees. She also said the museum “absolutely refuses any allegations of misconduct.”\u003c/p>\n\u003cp>Although the city allocates money for the security guards, about half of the guards are paid by a private party, according to the SEIU 1021.\u003c/p>\n\u003cp>Theresa Rutherford, who represents the guards through SEIU’s Northern California chapter, says the problem stems from institutionalized racism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“San Francisco prides itself on being at the forefront of the fight for justice and therefore must stop this injustice, which allows the museum guards to be treated differently,” Rutherford said. “They must be restored to 40 hours like everybody else who works for the city. They are not deserving of less, and they are equal.”\u003c/p>\n\u003cp>Alysabeth Alexander, vice president of politics for SEIU’s Local 1021, alluded to the 150th anniversary of the eight-hour workday on May 1, or May Day.\u003c/p>\n\u003cp>“Over 50 percent of our workers, because of their part-time situation, are forced to find second jobs or compete for overtime [pay] because they are not able to get the 40-hour workweek,” Alexander said. “So, they do not have the eight-hour day.”\u003c/p>\n\u003cp>The 35-hour workweek was agreed upon by the union and the city in 2012 so shifts would correspond with the number of hours the museum was open.\u003c/p>\n\u003cp>“It just seems kind of insane to ask that, just because the museum is only open for seven hours, why pay us for eight? I work in an industry that is 24/7,” said Timothy Sullivan, who has been a security guard for the Asian Art Museum for nearly 15 years.\u003c/p>\n\u003cp>The committee concluded by stating it would introduce a new hearing on Tuesday to begin resolving the matter and to discuss bargaining.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I certainly agree with many of the points that SEIU 1021 brought up, and I would like to see the security guards move up to 40 hours a week,” Supervisor Jane Kim said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Underdog to State Champs, Tiny High School Team Heads to Cooking Nationals",
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"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>You might expect the winners of a California high school culinary competition to come from one of the state's restaurant destinations like Los Angeles, San Francisco or Sonoma County. But a month ago, the top prize went to tiny Greenville High School in Plumas County.\u003c/p>\n\u003cp>When the announcer called out, “Let’s hear it for Greenville!” the team of five walked onto the convention floor in Pomona looking like pros. Wearing chef coats, the students calmly navigated their 10-by-10 space -- and each other -- cooking their Italian-influenced meal on just two burners, and using only manual tools. No blenders allowed. They improvised when their pasta maker wouldn’t attach to the table and the burners ran hotter than the ones they'd practiced with.\u003c/p>\n\u003cp>At the awards ceremony, it was clear the judges liked what they saw and tasted. When Greenville’s name was called for the championship, the winners stumbled up to the stage, laughing and crying in disbelief.\u003c/p>\n\u003cfigure id=\"attachment_11431701\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431701\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25086_alt_579.jpg\" alt=\"Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks later, after spring break, the students are back at school practicing in a makeshift space in the teachers' lounge. Two burners sit on top of stacked folding tables, approximating the competition layout.\u003c/p>\n\u003cp>They tell me about the dishes that led the California Restaurant Association Foundation to hand them the win, the ones they’re now finessing for the national championship this weekend in Charleston, South Carolina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tanner Meigs describes the appetizer he’s making.\u003c/p>\n\u003cp>“Authentic ravioli that has ricotta cheese on the inside with an arugula, sun-dried tomato and garlic filling. Then it’s coated with a brown butter sauce with shallot, sage, shitake mushroom and bacon,” he says.\u003c/p>\n\u003cp>He’s cooked most of his life -- frying up his first pork chop with his grandfather at age 7. Before joining the culinary team, though, Tanner says he had eaten ravioli only out of a can. Now he makes fresh pasta in seven minutes.\u003c/p>\n\u003cp>Chainy Carson is in charge of the entree, a fish dish. “It’s called all’acqua pazza, which translates roughly to ‘crazy water,’ fish in a broth,” with shrimp, calamari, crushed tomatoes and chili, he explains.\u003c/p>\n\u003cfigure id=\"attachment_11431640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg\" alt=\"The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon, and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our dessert, the judge told us that we knocked it out of the park,” says Kelsey Heard who, along with Destiny Potts, is responsible for the parfait with lemon curd, pickled berries, fennel and a cookie. Sidney-Lyn McIntosh is the team manager, keeping the cooks on track.\u003c/p>\n\u003cp>Before the competition, the team met every day after school and on weekends, sometimes cooking their meal twice in a row to make sure they could complete all three dishes within the allotted hour, and throw their hands up before time ran out. Their expectations were modest.\u003c/p>\n\u003cp>“We kept telling ourselves: ‘Let’s be top 10,’ ” says Tanner.\u003c/p>\n\u003cp>They were prepared, not just for the hour of cooking but for less subjective categories like paperwork. Chainy, who will study biology at UC Santa Cruz in the fall, did most of the calculations.\u003c/p>\n\u003cp>\"For the menu pricing and ingredient cost. It took forever,\" he says. But they did really well on those criteria. “The power of math,” he says with a laugh.\u003c/p>\n\u003cp>The students say: it was obvious which teams at the state competition came from bigger -- or better-funded -- schools.\u003c/p>\n\u003cp>[contextly_sidebar id=\"kkJf69E4fwJgA70CgDyDQCGBt1zNrbPS\"]\u003c/p>\n\u003cp>“Other schools brought people to cheer them on,” Destiny tells me. “They had signs and they were all wearing the same shirts. We had three people watching us\" -- their teacher, their mentor chef and one mom, chaperoning the trip.\u003c/p>\n\u003cp>“There was this one team,” says Chainy, “their entree was lobster, and we used cheap fish!”\u003c/p>\n\u003cp>When I ask him the significance of that, he responds, “I think it says that in the culinary world, as a metaphor, it’s not the paint you use, it’s the way you use it.\" The team is using a more expensive product, Chilean sea bass, for nationals.\u003c/p>\n\u003cp>On the surface, this is an unlikely win. Only 1,200 people live in Greenville.\u003c/p>\n\u003cp>“It’s such a small town,” says Sidney. Destiny adds, “Everybody knows everything,” and Kelsey finishes her thought, “Like, about each other.”\u003c/p>\n\u003cp>Tanner explains, “You can’t get away with anything, but it’s good.” He says there aren’t a lot of places for teenagers to hang out, “but it’s full of mountains and green trees and it’s almost great.”\u003c/p>\n\u003cp>Greenville is an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. Now, Tanner says, “It’s more older people, retirement people, because there’s not many jobs around here.\"\u003c/p>\n\u003cp>Sidney says, “My family, they still go over to the mill in Quincy or even Collins Pine in Chester.”\u003c/p>\n\u003cp>“Or work for the road department, or forest service,” adds Kelsey. “That’s where my family works.”\u003c/p>\n\u003cp>“And nursing,” says Destiny. “They just have to travel to do anything because our hospital’s closed.”\u003c/p>\n\u003cfigure id=\"attachment_11431642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431642\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg\" alt=\"Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenville High’s population has shrunk, too: there are only 11 students in the graduating class. So in a town this small, what’s the food scene like?\u003c/p>\n\u003cp>Kelsey tells me, “You eat a lot of your own livestock, cows and pigs and stuff.”\u003c/p>\n\u003cp>There are three restaurants: a pizza parlor and two cafes. “The waitress,” Tanner says, “you’ve probably known for years.”\u003c/p>\n\u003cp>The school -- with 75 students in grades 7-12 -- doesn't have a lot of resources. There’s been a culinary program here for decades, but teacher Judy Dolphin doesn’t have a big budget. To buy ingredients, she and her students hold breakfast fundraisers each Tuesday and cater events for local weddings, the fire department, Trout Unlimited, Friends of the NRA. She also buys flour and other bulk items at big stores two hours away. Like a lot of the adults in the school system, Dolphin multi-tasks: She also coaches cheerleading, and teaches the leadership, yearbook and computer classes.\u003c/p>\n\u003cp>Students wear many hats, too. Chainy started a Dungeons and Dragons club.\u003c/p>\n\u003cp>“It’s been running strong for a couple months now, and I’m pretty proud of it,” he says.\u003c/p>\n\u003cp>Tanner breeds goats and has one big love everyone knows about. “He’s a rodeo geek, a rodeo junkie,” they all say in unison.\u003c/p>\n\u003cp>The whole culinary team is in band, and four of the five play sports.\u003c/p>\n\u003cp>“In other schools you’re kind of separated,” says Destiny. “Like there’s the jocks and the band geeks. Everybody does everything here.”\u003c/p>\n\u003cp>With a school this small, they kind of have to. But the small population, the scant resources, the activities competing for their time -- maybe all of these factors actually led to Greenville’s win.\u003c/p>\n\u003cp>“We’re all set with the mind game of how to win. All five of us,\" Tanner explains.\u003c/p>\n\u003cp>Band solos, sports, student body, rodeo: Performance pressure is nothing new. Destiny adds that they’re practically family. “All of us have grown up with each other. I’ve known these people my entire life.”\u003c/p>\n\u003cp>And it shows when they cook. At practice, Chainy lets Tanner know his water’s boiling and ready for the pasta, then Tanner calls out “behind with hot pot” so no one gets scalded.\u003c/p>\n\u003cfigure id=\"attachment_11431641\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431641\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg\" alt=\"Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook, and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their teacher Judy Dolphin and a mentor chef from a local college advise them, but the students must make final menu decisions. Dolphin says that over the seven years Greenville has competed statewide, the teams have cooked Asian dishes, Italian, even a hyperlocal menu a few years back.\u003c/p>\n\u003cp>“We smoked trout because we catch trout here, did watercress because we gather watercress, gather acorns.\" She explains, that year, the team had two Native American students, “so we based it off what we do with the land.”\u003c/p>\n\u003cp>Dolphin has had teams come in second place in the state championship twice before. She’s got high standards, and goes back and forth between gentle and more aggressive instruction while the students practice.\u003c/p>\n\u003cp>“I’m being a drill sergeant today,” she says.\u003c/p>\n\u003cp>The kids may roll their eyes a bit, but it’s clear: They’ve got a lot of love for their teacher.\u003c/p>\n\u003cp>“She’s a firecracker,” says Tanner. “She loves her job, she’s driven, and she knows how to teach us. She can be overwhelming, but it’s worth it in the long run. She’s the heart of this school.”\u003c/p>\n\u003cp>Sidney adds, “She does so much for the community and this school, you just want to give back. When we got called first [at the state championships], it made her the happiest person alive.”\u003c/p>\n\u003cp>“I’m just so proud,” Dolphin tells me, tearing up. “This is my hometown. This is where I grew up, and I love my community and the kids. It’s been a bumpy road, and it’s a journey, and this was the reward. It means a lot.”\u003c/p>\n\u003cp>After that statewide win, the whole town went nuts. The school even changed the date of its prom, originally scheduled for the same time as nationals in South Carolina. The students -- two of whom have never been on an airplane -- say they’re just excited to be somewhere new, to taste Southern cooking. Dolphin says she just wants it to be fun for them.\u003c/p>\n\u003cp>\"The experience of being clear across the United States, putting your feet in the Atlantic Ocean,\" she says.\u003c/p>\n\u003cp>She says that if they don’t place, it doesn’t matter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want them to learn from it, build their confidence, and put their hands up and say, ‘Done.’ On time,' ” she says, with a laugh.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might expect the winners of a California high school culinary competition to come from one of the state's restaurant destinations like Los Angeles, San Francisco or Sonoma County. But a month ago, the top prize went to tiny Greenville High School in Plumas County.\u003c/p>\n\u003cp>When the announcer called out, “Let’s hear it for Greenville!” the team of five walked onto the convention floor in Pomona looking like pros. Wearing chef coats, the students calmly navigated their 10-by-10 space -- and each other -- cooking their Italian-influenced meal on just two burners, and using only manual tools. No blenders allowed. They improvised when their pasta maker wouldn’t attach to the table and the burners ran hotter than the ones they'd practiced with.\u003c/p>\n\u003cp>At the awards ceremony, it was clear the judges liked what they saw and tasted. When Greenville’s name was called for the championship, the winners stumbled up to the stage, laughing and crying in disbelief.\u003c/p>\n\u003cfigure id=\"attachment_11431701\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431701\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25086_alt_579.jpg\" alt=\"Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks later, after spring break, the students are back at school practicing in a makeshift space in the teachers' lounge. Two burners sit on top of stacked folding tables, approximating the competition layout.\u003c/p>\n\u003cp>They tell me about the dishes that led the California Restaurant Association Foundation to hand them the win, the ones they’re now finessing for the national championship this weekend in Charleston, South Carolina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tanner Meigs describes the appetizer he’s making.\u003c/p>\n\u003cp>“Authentic ravioli that has ricotta cheese on the inside with an arugula, sun-dried tomato and garlic filling. Then it’s coated with a brown butter sauce with shallot, sage, shitake mushroom and bacon,” he says.\u003c/p>\n\u003cp>He’s cooked most of his life -- frying up his first pork chop with his grandfather at age 7. Before joining the culinary team, though, Tanner says he had eaten ravioli only out of a can. Now he makes fresh pasta in seven minutes.\u003c/p>\n\u003cp>Chainy Carson is in charge of the entree, a fish dish. “It’s called all’acqua pazza, which translates roughly to ‘crazy water,’ fish in a broth,” with shrimp, calamari, crushed tomatoes and chili, he explains.\u003c/p>\n\u003cfigure id=\"attachment_11431640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg\" alt=\"The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon, and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our dessert, the judge told us that we knocked it out of the park,” says Kelsey Heard who, along with Destiny Potts, is responsible for the parfait with lemon curd, pickled berries, fennel and a cookie. Sidney-Lyn McIntosh is the team manager, keeping the cooks on track.\u003c/p>\n\u003cp>Before the competition, the team met every day after school and on weekends, sometimes cooking their meal twice in a row to make sure they could complete all three dishes within the allotted hour, and throw their hands up before time ran out. Their expectations were modest.\u003c/p>\n\u003cp>“We kept telling ourselves: ‘Let’s be top 10,’ ” says Tanner.\u003c/p>\n\u003cp>They were prepared, not just for the hour of cooking but for less subjective categories like paperwork. Chainy, who will study biology at UC Santa Cruz in the fall, did most of the calculations.\u003c/p>\n\u003cp>\"For the menu pricing and ingredient cost. It took forever,\" he says. But they did really well on those criteria. “The power of math,” he says with a laugh.\u003c/p>\n\u003cp>The students say: it was obvious which teams at the state competition came from bigger -- or better-funded -- schools.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Other schools brought people to cheer them on,” Destiny tells me. “They had signs and they were all wearing the same shirts. We had three people watching us\" -- their teacher, their mentor chef and one mom, chaperoning the trip.\u003c/p>\n\u003cp>“There was this one team,” says Chainy, “their entree was lobster, and we used cheap fish!”\u003c/p>\n\u003cp>When I ask him the significance of that, he responds, “I think it says that in the culinary world, as a metaphor, it’s not the paint you use, it’s the way you use it.\" The team is using a more expensive product, Chilean sea bass, for nationals.\u003c/p>\n\u003cp>On the surface, this is an unlikely win. Only 1,200 people live in Greenville.\u003c/p>\n\u003cp>“It’s such a small town,” says Sidney. Destiny adds, “Everybody knows everything,” and Kelsey finishes her thought, “Like, about each other.”\u003c/p>\n\u003cp>Tanner explains, “You can’t get away with anything, but it’s good.” He says there aren’t a lot of places for teenagers to hang out, “but it’s full of mountains and green trees and it’s almost great.”\u003c/p>\n\u003cp>Greenville is an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. Now, Tanner says, “It’s more older people, retirement people, because there’s not many jobs around here.\"\u003c/p>\n\u003cp>Sidney says, “My family, they still go over to the mill in Quincy or even Collins Pine in Chester.”\u003c/p>\n\u003cp>“Or work for the road department, or forest service,” adds Kelsey. “That’s where my family works.”\u003c/p>\n\u003cp>“And nursing,” says Destiny. “They just have to travel to do anything because our hospital’s closed.”\u003c/p>\n\u003cfigure id=\"attachment_11431642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431642\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg\" alt=\"Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenville High’s population has shrunk, too: there are only 11 students in the graduating class. So in a town this small, what’s the food scene like?\u003c/p>\n\u003cp>Kelsey tells me, “You eat a lot of your own livestock, cows and pigs and stuff.”\u003c/p>\n\u003cp>There are three restaurants: a pizza parlor and two cafes. “The waitress,” Tanner says, “you’ve probably known for years.”\u003c/p>\n\u003cp>The school -- with 75 students in grades 7-12 -- doesn't have a lot of resources. There’s been a culinary program here for decades, but teacher Judy Dolphin doesn’t have a big budget. To buy ingredients, she and her students hold breakfast fundraisers each Tuesday and cater events for local weddings, the fire department, Trout Unlimited, Friends of the NRA. She also buys flour and other bulk items at big stores two hours away. Like a lot of the adults in the school system, Dolphin multi-tasks: She also coaches cheerleading, and teaches the leadership, yearbook and computer classes.\u003c/p>\n\u003cp>Students wear many hats, too. Chainy started a Dungeons and Dragons club.\u003c/p>\n\u003cp>“It’s been running strong for a couple months now, and I’m pretty proud of it,” he says.\u003c/p>\n\u003cp>Tanner breeds goats and has one big love everyone knows about. “He’s a rodeo geek, a rodeo junkie,” they all say in unison.\u003c/p>\n\u003cp>The whole culinary team is in band, and four of the five play sports.\u003c/p>\n\u003cp>“In other schools you’re kind of separated,” says Destiny. “Like there’s the jocks and the band geeks. Everybody does everything here.”\u003c/p>\n\u003cp>With a school this small, they kind of have to. But the small population, the scant resources, the activities competing for their time -- maybe all of these factors actually led to Greenville’s win.\u003c/p>\n\u003cp>“We’re all set with the mind game of how to win. All five of us,\" Tanner explains.\u003c/p>\n\u003cp>Band solos, sports, student body, rodeo: Performance pressure is nothing new. Destiny adds that they’re practically family. “All of us have grown up with each other. I’ve known these people my entire life.”\u003c/p>\n\u003cp>And it shows when they cook. At practice, Chainy lets Tanner know his water’s boiling and ready for the pasta, then Tanner calls out “behind with hot pot” so no one gets scalded.\u003c/p>\n\u003cfigure id=\"attachment_11431641\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431641\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg\" alt=\"Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook, and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their teacher Judy Dolphin and a mentor chef from a local college advise them, but the students must make final menu decisions. Dolphin says that over the seven years Greenville has competed statewide, the teams have cooked Asian dishes, Italian, even a hyperlocal menu a few years back.\u003c/p>\n\u003cp>“We smoked trout because we catch trout here, did watercress because we gather watercress, gather acorns.\" She explains, that year, the team had two Native American students, “so we based it off what we do with the land.”\u003c/p>\n\u003cp>Dolphin has had teams come in second place in the state championship twice before. She’s got high standards, and goes back and forth between gentle and more aggressive instruction while the students practice.\u003c/p>\n\u003cp>“I’m being a drill sergeant today,” she says.\u003c/p>\n\u003cp>The kids may roll their eyes a bit, but it’s clear: They’ve got a lot of love for their teacher.\u003c/p>\n\u003cp>“She’s a firecracker,” says Tanner. “She loves her job, she’s driven, and she knows how to teach us. She can be overwhelming, but it’s worth it in the long run. She’s the heart of this school.”\u003c/p>\n\u003cp>Sidney adds, “She does so much for the community and this school, you just want to give back. When we got called first [at the state championships], it made her the happiest person alive.”\u003c/p>\n\u003cp>“I’m just so proud,” Dolphin tells me, tearing up. “This is my hometown. This is where I grew up, and I love my community and the kids. It’s been a bumpy road, and it’s a journey, and this was the reward. It means a lot.”\u003c/p>\n\u003cp>After that statewide win, the whole town went nuts. The school even changed the date of its prom, originally scheduled for the same time as nationals in South Carolina. The students -- two of whom have never been on an airplane -- say they’re just excited to be somewhere new, to taste Southern cooking. Dolphin says she just wants it to be fun for them.\u003c/p>\n\u003cp>\"The experience of being clear across the United States, putting your feet in the Atlantic Ocean,\" she says.\u003c/p>\n\u003cp>She says that if they don’t place, it doesn’t matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want them to learn from it, build their confidence, and put their hands up and say, ‘Done.’ On time,' ” she says, with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Film Explores Friendship Across Race During the L.A. Riots",
"title": "Film Explores Friendship Across Race During the L.A. Riots",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\u003c/p>\n\n",
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"excerpt": "L.A. filmmaker Justin Chon wrote, directed and stars in 'Gook,' a film about a an unlikely friendship during the Rodney King riots in 1992. It won an audience award at Sundance.",
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"title": "Film Explores Friendship Across Race During the L.A. Riots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "CARTOONS: Berkeley Protest After Canceled Ann Coulter Talk",
"title": "CARTOONS: Berkeley Protest After Canceled Ann Coulter Talk",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Sketches of the April 27 protest at UC Berkeley organized ahead of a planned Ann Coulter speech. Though the talk was called off, demonstrators still descended on the campus and city of Berkeley.\u003c/p>\n\u003cp>\u003cstrong>\"Evel Knievel Inspiration\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429941\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/EvilK-800x1067.jpg\" alt=\"EvilK\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\"Respect Berkeley\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430143\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg\" alt=\"Respect Berkeley-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\"Crowded Skies Overhead\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg\" alt=\"Crowdedskies-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Oath Keepers Parking'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430144\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg\" alt=\"Oath Keepers Parking-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Antifa Yelling'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430296\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg\" alt=\"Antifa-qut\" width=\"800\" height=\"895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-160x179.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-240x268.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-375x419.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-520x581.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut.jpg 838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Woman in Headscarf, Walking in Park'\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429929\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg\" alt=\"Headscarf-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"disqusIdentifier": "11429923 https://ww2.kqed.org/news/?p=11429923",
"disqusUrl": "https://ww2.kqed.org/news/2017/04/27/cartoons-sketches-of-berkeley-protest-after-canceled-ann-coulter-talk/",
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"excerpt": "Sketches by KQED cartoonist Mark Fiore of the April 27 protest at UC Berkeley, organized ahead of a planned, but now scrapped, Ann Coulter speech.",
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"headline": "CARTOONS: Berkeley Protest After Canceled Ann Coulter Talk",
"datePublished": "2017-04-27T13:43:42-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sketches of the April 27 protest at UC Berkeley organized ahead of a planned Ann Coulter speech. Though the talk was called off, demonstrators still descended on the campus and city of Berkeley.\u003c/p>\n\u003cp>\u003cstrong>\"Evel Knievel Inspiration\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429941\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/EvilK-800x1067.jpg\" alt=\"EvilK\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/EvilK.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\"Respect Berkeley\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430143\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg\" alt=\"Respect Berkeley-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Respect-Berkeley-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\"Crowded Skies Overhead\"\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429927\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg\" alt=\"Crowdedskies-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Crowdedskies-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Oath Keepers Parking'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430144\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg\" alt=\"Oath Keepers Parking-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Oath-Keepers-Parking-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Antifa Yelling'\u003c/strong>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11430296\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg\" alt=\"Antifa-qut\" width=\"800\" height=\"895\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-800x895.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-160x179.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-240x268.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-375x419.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut-520x581.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Antifa-qut.jpg 838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>'Woman in Headscarf, Walking in Park'\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11429929\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg\" alt=\"Headscarf-qut\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut-520x693.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Headscarf-qut.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Who’s Behind the Colorful Lights at San Francisco City Hall?",
"headTitle": "Who’s Behind the Colorful Lights at San Francisco City Hall? | KQED",
"content": "\u003cp>[dropcap]B[/dropcap]ay Curious listener \u003ca href=\"https://www.fireclaytile.com/our-team/\">Katie Emigh \u003c/a>loves walking by San Francisco’s City Hall after sunset. The building’s ominous granite exterior is lit up dramatically every night. Most nights the lights are white. But there are special days when City Hall takes on a whole new look.\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfpride.org/\">Pride Week\u003c/a>, it glowed in all the colors of the rainbow. After \u003ca href=\"http://www.rollingstone.com/music/artists/prince\">Prince\u003c/a> died, it was bathed in purple. On St. Paddy’s Day, City Hall turned a radiant shamrock green.\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003cp>“It’s such a symbol of San Francisco, and has become more of a symbol as time’s gone on,” Katie says as she stands before City Hall.\u003c/p>\n\u003cp>With her favorite San Francisco building in mind, Katie had a question for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was always just curious who decides what the lights are going to be at City Hall — and who does them?”\u003c/p>\n\u003cfigure id=\"attachment_11428739\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428739\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg\" alt=\"Katie Emigh met up with her best friend Kim Ish for St. Patricks Day -- but first a stop at her favorite landmark.\" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1920x1277.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh met up with her best friend, Kim Ish, for St. Patrick’s Day — but first a stop at her favorite landmark. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>City Hall History\u003c/h3>\n\u003cp>Like every great structure in every great city, \u003ca href=\"http://sfgov.org/cityhall/\">San Francisco City Hall\u003c/a> has a story to tell.\u003c/p>\n\u003cp>Most city halls are landmarks, it’s true. But our City Hall is even more iconic than your average civic building — one with a history that makes its special luminous hues even more meaningful.\u003c/p>\n\u003cp>Built in 1915, in the \u003ca href=\"https://www.britannica.com/art/Neoclassical-architecture\">neoclassical style\u003c/a>, it rises more than the length of a football field into the San Francisco sky. At 307 feet, it’s taller than the \u003ca href=\"https://www.nps.gov/nr/travel/wash/dc76.htm\">U.S. Capitol Building\u003c/a> in Washington, D.C., and features 240 windows.\u003c/p>\n\u003cp>Every year, tens of thousands of visitors walk through its ornate bronze doors — like \u003ca href=\"http://www.history.com/this-day-in-history/marilyn-monroe-marries-joe-dimaggio\">Marilyn Monroe & Joe DiMaggio\u003c/a> did in 1954. The American icons were \u003ca href=\"http://www.sfmuseum.org/hist8/jodimag.html\">married here\u003c/a>.\u003c/p>\n\u003cp>For generations of San Franciscans, City Hall has long been a symbol of political and social change.\u003c/p>\n\u003cp>It was here that former San Francisco Mayor \u003ca href=\"http://www.ltg.ca.gov/\">Gavin Newsom\u003c/a> unleashed a watershed legal and political tempest when he issued \u003ca href=\"http://www.nytimes.com/2004/02/12/national/san-francisco-city-officials-perform-gay-marriages.html?_r=0\">marriage licenses to gay couples\u003c/a> in 2004, putting the nation on notice when he said, “As California goes, so goes the nation.”\u003c/p>\n\u003cp>City Hall has also seen its \u003ca href=\"http://www.history.com/this-day-in-history/san-francisco-leaders-george-moscone-and-harvey-milk-are-murdered\">tragic moments\u003c/a>. In 1978, then-Board of Supervisors President \u003ca href=\"https://www.feinstein.senate.gov/public/\">Dianne Feinstein\u003c/a> made a chilling announcement on the front steps that both \u003ca href=\"http://www.latimes.com/opinion/la-oe-getlin23-2008nov23-story.html\">Mayor George Moscone\u003c/a> and \u003ca href=\"http://milkfoundation.org/about/harvey-milk-biography/\">Supervisor Harvey Milk\u003c/a>, the first openly gay person elected to public office, had been shot and killed by former Supervisor \u003ca href=\"http://www.biography.com/people/dan-white-17169664\">Dan White\u003c/a>.\u003c/p>\n\u003cp>And City Hall has had its turn in the Hollywood spotlight, too, including roles in classics like 1971’s \u003ca href=\"http://www.imdb.com/title/tt0066999/\">“Dirty Harry,”\u003c/a> the blockbuster \u003ca href=\"http://www.imdb.com/title/tt0082971/?ref_=fn_al_tt_1\">“Raiders of the Lost Ark”\u003c/a> and the remake of the sci-fi cult standard, \u003ca href=\"http://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">“Invasion of the Body Snatchers.”\u003c/a>\u003c/p>\n\u003cp>By day, City Hall is a monument to this place we call home. And at night, the lights continue to reflect the city’s unique identity.\u003c/p>\n\u003ch3>So, who makes the lighting decisions?\u003c/h3>\n\u003cp>It’s actually a trio of City Hall officials: \u003ca href=\"http://sfgsa.org/about-naomi-kelly\">City Administrator Naomi Kelly\u003c/a>; the mayor’s director of special events, \u003ca href=\"http://variety.com/2000/film/news/s-f-mayor-ups-cohen-to-head-city-film-office-1117787009/\">Martha Cohen\u003c/a>; and the city’s chief of protocol, \u003ca href=\"http://sfmayor.org/mayor-lee-appoints-charlotte-mailliard-shultz-chief-protocol\">Charlotte Shultz\u003c/a>. Together, they decide which civic events get lit up — always keying into what Kelly calls “a local nexus.”\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>They go with red, white and blue for Election Day and rainbow colors for Pride Week. But sometimes the colors that shine are a little less obvious. Blue on an ordinary February evening? Red tones amid a windy September night?\u003c/p>\n\u003cp>Turns out City Hall can be rented for private events, and paying clients get to decide City Hall’s lighting scheme.\u003c/p>\n\u003cp>Our \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a> question-asker, Katie, also noticed something else.\u003c/p>\n\u003cp>“It used to happen less, and now it seems to happen more frequently,” she says.\u003c/p>\n\u003cp>Katie’s right. City Hall goes all-aglow more often now. The older lighting system made changing colors a big challenge.\u003c/p>\n\u003caside class=\"pullquote alignright\">Funding for the $2.5 million project came from a combination of private donations and city funds.\u003c/aside>\n\u003cp>“We would have to send a team of electricians and our station engineers out on the second floor of this building and manually change each of the 220 exterior lights with these gel caps,” says Kelly. “That process could take days. And they were incandescent lights, so they burned a lot of energy.”\u003c/p>\n\u003cp>Each time there was a lighting change it cost about $5,000 to create a new color scheme, so it didn’t happen very often.\u003c/p>\n\u003cp>But two years ago, City Hall celebrated a milestone — its 100\u003csup>th\u003c/sup> birthday.\u003c/p>\n\u003cp>“All the \u003ca href=\"http://sfcityhall100.com/projects.html\">exterior lights were replaced with LED bulbs\u003c/a>,” says Kelly.\u003c/p>\n\u003cp>Changing the colors of the lights got a lot easier. Instead of hiring a full work crew to make the alterations by hand, now one man makes it shine — \u003ca href=\"https://www.linkedin.com/in/norman-goldwyn-0b922011\">Norm Goldwyn\u003c/a>, IT Director of the City and County of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11428747\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428747\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg\" alt=\"Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwyn works his magic in a dark, cramped room far below the rattle and hubbub of the San Francisco streets above. Some might call him an artist. Instead of a brush he uses a mouse. His canvas is a piece of granite. And his paint palette – it’s a computer screen.\u003c/p>\n\u003cp>In his windowless lab downstairs, Goldwyn gets to do what he calls “probably one of the funnest parts of my job.”\u003c/p>\n\u003cp>The room is cluttered. Old boxes, a table, some steel machinery, a piece of granite and one of the new LED light fixtures sit amid the mess. He quickly goes to work and explains his process.\u003c/p>\n\u003cfigure id=\"attachment_11428743\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg\" alt=\"For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grab a computer and hook it up to a light fixture, and then I can adjust the sliders until I can find the exact color combination that makes sense for that particular special occasion,” he says.\u003c/p>\n\u003cp>But getting the colors right can be tricky, since they look different on a laptop than they do shining on the City Hall facade. For this, he has a real-world solution — that slab of granite on the basement floor.\u003c/p>\n\u003cp>“This is an example of the granite we use on the outside of City Hall,” he says, positioning the stone just right. “So when we finally take a color idea, we can shine it on the sample material here and see what color, with our own eyes, it’s really going to look like.”\u003c/p>\n\u003cp>And with a quick touch on a laptop keyboard, the whole space is suddenly lit up green. A shamrock green to be precise. Other nights, the dark basement radiates in \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> pink or \u003ca href=\"http://www.nba.com/warriors/\">Warriors\u003c/a> blue and gold.\u003c/p>\n\u003cfigure id=\"attachment_11428744\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428744\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg\" alt=\"A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But getting the colors just right isn’t as easy as you might think.\u003c/p>\n\u003cp>“It took us a lot of tries to get Giants orange looking orange, as opposed to red or yellow,” admits Goldwyn. “And most people don’t actually know what they want. They just want blue. But they don’t think about Sky Blue, Carolina Blue, Deep Indigo. They just say, ‘I want blue.’ ”\u003c/p>\n\u003cp>Goldwyn can adjust for 16 million hues. The colors can also be set to change and move. And with the new technology also comes ease of use. The lights are programmed to go off and on with a touch of the hand and simple flip of a switch.\u003c/p>\n\u003cfigure id=\"attachment_11428745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428745\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg\" alt=\"Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside, Katie admires the work of the man in the basement down below.\u003c/p>\n\u003cp>“Norm really did it tonight. He really killed it with the green,” she says. “It’s inspiring, because it’s less bureaucratic than I thought it would be, less people involved than I thought it would be. That this small group of people are able to represent these moments for the city, that really show this beautiful civic monument, is absolutely wonderful.”\u003c/p>\n\u003cp>As she heads off into the San Francisco night, she turns to say one last thing.\u003c/p>\n\u003cp>“Do you want to know the next great moment I’m looking forward to City Hall shining bright for? \u003ca href=\"https://www.mlb.com/giants\">Giants\u003c/a> orange, baby!”\u003c/p>\n\u003cp>It’s a good thing Norm Goldwyn already has the right shade of orange all figured out. Not too red. Not too yellow.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>ay Curious listener \u003ca href=\"https://www.fireclaytile.com/our-team/\">Katie Emigh \u003c/a>loves walking by San Francisco’s City Hall after sunset. The building’s ominous granite exterior is lit up dramatically every night. Most nights the lights are white. But there are special days when City Hall takes on a whole new look.\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfpride.org/\">Pride Week\u003c/a>, it glowed in all the colors of the rainbow. After \u003ca href=\"http://www.rollingstone.com/music/artists/prince\">Prince\u003c/a> died, it was bathed in purple. On St. Paddy’s Day, City Hall turned a radiant shamrock green.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It’s such a symbol of San Francisco, and has become more of a symbol as time’s gone on,” Katie says as she stands before City Hall.\u003c/p>\n\u003cp>With her favorite San Francisco building in mind, Katie had a question for \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was always just curious who decides what the lights are going to be at City Hall — and who does them?”\u003c/p>\n\u003cfigure id=\"attachment_11428739\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428739\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg\" alt=\"Katie Emigh met up with her best friend Kim Ish for St. Patricks Day -- but first a stop at her favorite landmark.\" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1920x1277.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-375x249.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-11-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh met up with her best friend, Kim Ish, for St. Patrick’s Day — but first a stop at her favorite landmark. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>City Hall History\u003c/h3>\n\u003cp>Like every great structure in every great city, \u003ca href=\"http://sfgov.org/cityhall/\">San Francisco City Hall\u003c/a> has a story to tell.\u003c/p>\n\u003cp>Most city halls are landmarks, it’s true. But our City Hall is even more iconic than your average civic building — one with a history that makes its special luminous hues even more meaningful.\u003c/p>\n\u003cp>Built in 1915, in the \u003ca href=\"https://www.britannica.com/art/Neoclassical-architecture\">neoclassical style\u003c/a>, it rises more than the length of a football field into the San Francisco sky. At 307 feet, it’s taller than the \u003ca href=\"https://www.nps.gov/nr/travel/wash/dc76.htm\">U.S. Capitol Building\u003c/a> in Washington, D.C., and features 240 windows.\u003c/p>\n\u003cp>Every year, tens of thousands of visitors walk through its ornate bronze doors — like \u003ca href=\"http://www.history.com/this-day-in-history/marilyn-monroe-marries-joe-dimaggio\">Marilyn Monroe & Joe DiMaggio\u003c/a> did in 1954. The American icons were \u003ca href=\"http://www.sfmuseum.org/hist8/jodimag.html\">married here\u003c/a>.\u003c/p>\n\u003cp>For generations of San Franciscans, City Hall has long been a symbol of political and social change.\u003c/p>\n\u003cp>It was here that former San Francisco Mayor \u003ca href=\"http://www.ltg.ca.gov/\">Gavin Newsom\u003c/a> unleashed a watershed legal and political tempest when he issued \u003ca href=\"http://www.nytimes.com/2004/02/12/national/san-francisco-city-officials-perform-gay-marriages.html?_r=0\">marriage licenses to gay couples\u003c/a> in 2004, putting the nation on notice when he said, “As California goes, so goes the nation.”\u003c/p>\n\u003cp>City Hall has also seen its \u003ca href=\"http://www.history.com/this-day-in-history/san-francisco-leaders-george-moscone-and-harvey-milk-are-murdered\">tragic moments\u003c/a>. In 1978, then-Board of Supervisors President \u003ca href=\"https://www.feinstein.senate.gov/public/\">Dianne Feinstein\u003c/a> made a chilling announcement on the front steps that both \u003ca href=\"http://www.latimes.com/opinion/la-oe-getlin23-2008nov23-story.html\">Mayor George Moscone\u003c/a> and \u003ca href=\"http://milkfoundation.org/about/harvey-milk-biography/\">Supervisor Harvey Milk\u003c/a>, the first openly gay person elected to public office, had been shot and killed by former Supervisor \u003ca href=\"http://www.biography.com/people/dan-white-17169664\">Dan White\u003c/a>.\u003c/p>\n\u003cp>And City Hall has had its turn in the Hollywood spotlight, too, including roles in classics like 1971’s \u003ca href=\"http://www.imdb.com/title/tt0066999/\">“Dirty Harry,”\u003c/a> the blockbuster \u003ca href=\"http://www.imdb.com/title/tt0082971/?ref_=fn_al_tt_1\">“Raiders of the Lost Ark”\u003c/a> and the remake of the sci-fi cult standard, \u003ca href=\"http://www.imdb.com/title/tt0077745/?ref_=fn_al_tt_1\">“Invasion of the Body Snatchers.”\u003c/a>\u003c/p>\n\u003cp>By day, City Hall is a monument to this place we call home. And at night, the lights continue to reflect the city’s unique identity.\u003c/p>\n\u003ch3>So, who makes the lighting decisions?\u003c/h3>\n\u003cp>It’s actually a trio of City Hall officials: \u003ca href=\"http://sfgsa.org/about-naomi-kelly\">City Administrator Naomi Kelly\u003c/a>; the mayor’s director of special events, \u003ca href=\"http://variety.com/2000/film/news/s-f-mayor-ups-cohen-to-head-city-film-office-1117787009/\">Martha Cohen\u003c/a>; and the city’s chief of protocol, \u003ca href=\"http://sfmayor.org/mayor-lee-appoints-charlotte-mailliard-shultz-chief-protocol\">Charlotte Shultz\u003c/a>. Together, they decide which civic events get lit up — always keying into what Kelly calls “a local nexus.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>They go with red, white and blue for Election Day and rainbow colors for Pride Week. But sometimes the colors that shine are a little less obvious. Blue on an ordinary February evening? Red tones amid a windy September night?\u003c/p>\n\u003cp>Turns out City Hall can be rented for private events, and paying clients get to decide City Hall’s lighting scheme.\u003c/p>\n\u003cp>Our \u003ca href=\"https://ww2.kqed.org/news/series/baycurious/\">\u003cem>Bay Curious\u003c/em>\u003c/a> question-asker, Katie, also noticed something else.\u003c/p>\n\u003cp>“It used to happen less, and now it seems to happen more frequently,” she says.\u003c/p>\n\u003cp>Katie’s right. City Hall goes all-aglow more often now. The older lighting system made changing colors a big challenge.\u003c/p>\n\u003caside class=\"pullquote alignright\">Funding for the $2.5 million project came from a combination of private donations and city funds.\u003c/aside>\n\u003cp>“We would have to send a team of electricians and our station engineers out on the second floor of this building and manually change each of the 220 exterior lights with these gel caps,” says Kelly. “That process could take days. And they were incandescent lights, so they burned a lot of energy.”\u003c/p>\n\u003cp>Each time there was a lighting change it cost about $5,000 to create a new color scheme, so it didn’t happen very often.\u003c/p>\n\u003cp>But two years ago, City Hall celebrated a milestone — its 100\u003csup>th\u003c/sup> birthday.\u003c/p>\n\u003cp>“All the \u003ca href=\"http://sfcityhall100.com/projects.html\">exterior lights were replaced with LED bulbs\u003c/a>,” says Kelly.\u003c/p>\n\u003cp>Changing the colors of the lights got a lot easier. Instead of hiring a full work crew to make the alterations by hand, now one man makes it shine — \u003ca href=\"https://www.linkedin.com/in/norman-goldwyn-0b922011\">Norm Goldwyn\u003c/a>, IT Director of the City and County of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_11428747\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428747\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg\" alt=\"Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_b4850-1-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Before the new LED lights were installed, it took a crew hours or days to swap out colored gels on the old lights. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goldwyn works his magic in a dark, cramped room far below the rattle and hubbub of the San Francisco streets above. Some might call him an artist. Instead of a brush he uses a mouse. His canvas is a piece of granite. And his paint palette – it’s a computer screen.\u003c/p>\n\u003cp>In his windowless lab downstairs, Goldwyn gets to do what he calls “probably one of the funnest parts of my job.”\u003c/p>\n\u003cp>The room is cluttered. Old boxes, a table, some steel machinery, a piece of granite and one of the new LED light fixtures sit amid the mess. He quickly goes to work and explains his process.\u003c/p>\n\u003cfigure id=\"attachment_11428743\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428743\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg\" alt=\"For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-6-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">For Norm Goldwyn, getting the hue to shine on the granite just right is an art. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I grab a computer and hook it up to a light fixture, and then I can adjust the sliders until I can find the exact color combination that makes sense for that particular special occasion,” he says.\u003c/p>\n\u003cp>But getting the colors right can be tricky, since they look different on a laptop than they do shining on the City Hall facade. For this, he has a real-world solution — that slab of granite on the basement floor.\u003c/p>\n\u003cp>“This is an example of the granite we use on the outside of City Hall,” he says, positioning the stone just right. “So when we finally take a color idea, we can shine it on the sample material here and see what color, with our own eyes, it’s really going to look like.”\u003c/p>\n\u003cp>And with a quick touch on a laptop keyboard, the whole space is suddenly lit up green. A shamrock green to be precise. Other nights, the dark basement radiates in \u003ca href=\"https://www.womensmarch.com/\">Women’s March\u003c/a> pink or \u003ca href=\"http://www.nba.com/warriors/\">Warriors\u003c/a> blue and gold.\u003c/p>\n\u003cfigure id=\"attachment_11428744\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428744\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg\" alt=\"A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_bb4887-3-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A dark room with a sample piece of granite helps Goldwyn find the right hue from his palette of 16 million. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But getting the colors just right isn’t as easy as you might think.\u003c/p>\n\u003cp>“It took us a lot of tries to get Giants orange looking orange, as opposed to red or yellow,” admits Goldwyn. “And most people don’t actually know what they want. They just want blue. But they don’t think about Sky Blue, Carolina Blue, Deep Indigo. They just say, ‘I want blue.’ ”\u003c/p>\n\u003cp>Goldwyn can adjust for 16 million hues. The colors can also be set to change and move. And with the new technology also comes ease of use. The lights are programmed to go off and on with a touch of the hand and simple flip of a switch.\u003c/p>\n\u003cfigure id=\"attachment_11428745\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11428745\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg\" alt=\"Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \" width=\"640\" height=\"426\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-160x106.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1920x1278.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/DSC_k4956-7-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Katie Emigh is eager for one particular San Francisco sports team to be honored by the City Hall light scheme. \u003ccite>(Blair Wells/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside, Katie admires the work of the man in the basement down below.\u003c/p>\n\u003cp>“Norm really did it tonight. He really killed it with the green,” she says. “It’s inspiring, because it’s less bureaucratic than I thought it would be, less people involved than I thought it would be. That this small group of people are able to represent these moments for the city, that really show this beautiful civic monument, is absolutely wonderful.”\u003c/p>\n\u003cp>As she heads off into the San Francisco night, she turns to say one last thing.\u003c/p>\n\u003cp>“Do you want to know the next great moment I’m looking forward to City Hall shining bright for? \u003ca href=\"https://www.mlb.com/giants\">Giants\u003c/a> orange, baby!”\u003c/p>\n\u003cp>It’s a good thing Norm Goldwyn already has the right shade of orange all figured out. Not too red. Not too yellow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Facebook’s CEO gave a public address on Tuesday in Silicon Valley, laying out the company’s grand plan for the next year. Mark Zuckerberg provided dazzling details about how Facebook will use cameras, like the ones on our phones, to draw us deeper into digital life — and zero details about how Facebook will address growing safety concerns online.\u003c/p>\n\u003cp>He was speaking at \u003ca href=\"https://www.fbf8.com/\">F8\u003c/a>. In tech land, that stands for the Facebook Developer Conference, which brings together thousands of people who make apps for Facebook and build other tools for the platform.\u003c/p>\n\u003cp>Though, for the rest of the world, F8 might be a reference to \u003cem>The Fast and The Furious\u003c/em>. Zuckerberg spent the first few minutes of his address making geeky jokes about it and laughing at his own jokes.\u003c/p>\n\u003cp>“While \u003cem>Fast and Furious\u003c/em>‘ tagline is ‘never give up on family,’ ours is similar: Never give up on the family of apps,” he said, chuckling.\u003c/p>\n\u003cp>And then, once that was out of his system, the 32-year-old CEO pivoted to what seemed like a more serious, timely place. “Last month I wrote a letter on building community. I have it here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The large screen projected his \u003ca href=\"https://www.facebook.com/notes/mark-zuckerberg/building-global-community/10154544292806634/\">manifesto\u003c/a>, which he published in February, about how broken the human social fabric is and how Facebook could solve that by connecting us. But Zuckerberg acknowledged that human beings are complicated, and being connected is not an unconditional good.\u003c/p>\n\u003cp>“We have a lot more to do here. And we’re reminded of this, this week, by the tragedy in Cleveland,” Zuckerberg said. He expressed condolences to the loved ones of Robert Godwin Sr., whose murder was broadcast on Facebook. “And we have a lot of work. And we will keep doing all we can to prevent tragedies like this from happening,” Zuckerberg said.\u003c/p>\n\u003cp>It sounded as if Zuckerberg were about to lay out for his audience — the people helping to build his platform — what they all need to take seriously: That people sometimes hijack the app to broadcast gratuitous violence, to wage propaganda wars with “fake news,” to bully and to hate.\u003c/p>\n\u003cp>But that’s not what he did. Instead he pivoted again, abruptly, to a radical vision for how Facebook will move us from the two-dimensional news feed to vibrant 3-D imaginary worlds. “Think about, if your daughter is a big Harry Potter fan, for her birthday you can change your home into Hogwarts.”\u003c/p>\n\u003cp>The world learned about “augmented reality” through the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2016/07/11/485551781/pokemon-go-is-catching-us-all-in-unexpected-ways\">Pokémon Go\u003c/a> craze. Now Facebook wants to take that craze and turn it into a sustained global movement.\u003c/p>\n\u003cp>The company plans to use smartphone cameras and virtual reality headsets to create 3-D digital spaces all around us. Instead of seeing a real painting, for example, you could don a headset and stare at a blank wall to gaze upon imaginary art. Your kids could wear goggles at breakfast, and see fun little sharks swimming around the bowl of Cheerios. Or say you wake up for your morning coffee. “You can add a second coffee mug so it looks like you’re not having breakfast alone,” Zuckerberg said.\u003c/p>\n\u003cp>He told the audience to imagine tapping on a virtual wine bottle, “and you can add an information card that shows what the vintage of the wine is and what the rating is and maybe where to get it and maybe in the future even a link to buy it.”\u003c/p>\n\u003cp>In the imaginary world, the possibilities — creative and commercial — are endless.\u003c/p>\n\u003cp>The company is releasing an initial version of “\u003ca href=\"https://www.facebook.com/spaces\">Facebook Spaces\u003c/a>,” a new virtual reality app that lets you hang out with your Facebook friends in VR as 3-D cartoon characters, or avatars. Facebook VR guru Rachel Rubin Franklin explained onstage: The company is using artificial intelligence to suggest how you should look. Though you have the final word, of course. “You can add glasses or facial hair. You can change your eye and hair color,” she explained.\u003c/p>\n\u003cp>When you step back and take in this Facebook keynote, it appears Zuckerberg (and his leadership) are, like the best engineers, deeply excited about the new worlds they can build, but also deeply unsure about how to govern these worlds.\u003c/p>\n\u003cp>Virtual and augmented reality apps are not new. But Ryan Pamplin, vice president of sales at augmented reality company Meta, says in an email that Facebook is “uniquely positioned” to take them from the gamer community to the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He writes: “If you believe Facebook has good intentions and will properly protect user privacy, it’s exciting. If you don’t, then it’s a scary step towards a dystopian future.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Facebook’s CEO gave a public address on Tuesday in Silicon Valley, laying out the company’s grand plan for the next year. Mark Zuckerberg provided dazzling details about how Facebook will use cameras, like the ones on our phones, to draw us deeper into digital life — and zero details about how Facebook will address growing safety concerns online.\u003c/p>\n\u003cp>He was speaking at \u003ca href=\"https://www.fbf8.com/\">F8\u003c/a>. In tech land, that stands for the Facebook Developer Conference, which brings together thousands of people who make apps for Facebook and build other tools for the platform.\u003c/p>\n\u003cp>Though, for the rest of the world, F8 might be a reference to \u003cem>The Fast and The Furious\u003c/em>. Zuckerberg spent the first few minutes of his address making geeky jokes about it and laughing at his own jokes.\u003c/p>\n\u003cp>“While \u003cem>Fast and Furious\u003c/em>‘ tagline is ‘never give up on family,’ ours is similar: Never give up on the family of apps,” he said, chuckling.\u003c/p>\n\u003cp>And then, once that was out of his system, the 32-year-old CEO pivoted to what seemed like a more serious, timely place. “Last month I wrote a letter on building community. I have it here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The large screen projected his \u003ca href=\"https://www.facebook.com/notes/mark-zuckerberg/building-global-community/10154544292806634/\">manifesto\u003c/a>, which he published in February, about how broken the human social fabric is and how Facebook could solve that by connecting us. But Zuckerberg acknowledged that human beings are complicated, and being connected is not an unconditional good.\u003c/p>\n\u003cp>“We have a lot more to do here. And we’re reminded of this, this week, by the tragedy in Cleveland,” Zuckerberg said. He expressed condolences to the loved ones of Robert Godwin Sr., whose murder was broadcast on Facebook. “And we have a lot of work. And we will keep doing all we can to prevent tragedies like this from happening,” Zuckerberg said.\u003c/p>\n\u003cp>It sounded as if Zuckerberg were about to lay out for his audience — the people helping to build his platform — what they all need to take seriously: That people sometimes hijack the app to broadcast gratuitous violence, to wage propaganda wars with “fake news,” to bully and to hate.\u003c/p>\n\u003cp>But that’s not what he did. Instead he pivoted again, abruptly, to a radical vision for how Facebook will move us from the two-dimensional news feed to vibrant 3-D imaginary worlds. “Think about, if your daughter is a big Harry Potter fan, for her birthday you can change your home into Hogwarts.”\u003c/p>\n\u003cp>The world learned about “augmented reality” through the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2016/07/11/485551781/pokemon-go-is-catching-us-all-in-unexpected-ways\">Pokémon Go\u003c/a> craze. Now Facebook wants to take that craze and turn it into a sustained global movement.\u003c/p>\n\u003cp>The company plans to use smartphone cameras and virtual reality headsets to create 3-D digital spaces all around us. Instead of seeing a real painting, for example, you could don a headset and stare at a blank wall to gaze upon imaginary art. Your kids could wear goggles at breakfast, and see fun little sharks swimming around the bowl of Cheerios. Or say you wake up for your morning coffee. “You can add a second coffee mug so it looks like you’re not having breakfast alone,” Zuckerberg said.\u003c/p>\n\u003cp>He told the audience to imagine tapping on a virtual wine bottle, “and you can add an information card that shows what the vintage of the wine is and what the rating is and maybe where to get it and maybe in the future even a link to buy it.”\u003c/p>\n\u003cp>In the imaginary world, the possibilities — creative and commercial — are endless.\u003c/p>\n\u003cp>The company is releasing an initial version of “\u003ca href=\"https://www.facebook.com/spaces\">Facebook Spaces\u003c/a>,” a new virtual reality app that lets you hang out with your Facebook friends in VR as 3-D cartoon characters, or avatars. Facebook VR guru Rachel Rubin Franklin explained onstage: The company is using artificial intelligence to suggest how you should look. Though you have the final word, of course. “You can add glasses or facial hair. You can change your eye and hair color,” she explained.\u003c/p>\n\u003cp>When you step back and take in this Facebook keynote, it appears Zuckerberg (and his leadership) are, like the best engineers, deeply excited about the new worlds they can build, but also deeply unsure about how to govern these worlds.\u003c/p>\n\u003cp>Virtual and augmented reality apps are not new. But Ryan Pamplin, vice president of sales at augmented reality company Meta, says in an email that Facebook is “uniquely positioned” to take them from the gamer community to the mainstream.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He writes: “If you believe Facebook has good intentions and will properly protect user privacy, it’s exciting. If you don’t, then it’s a scary step towards a dystopian future.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>No matter how you slice it, jazz is a tough business.\u003c/p>\n\u003cp>For the vast majority of musicians, presenting new music -- whether in concert or via recordings -- requires self-exploitation, particularly if the ensemble features more than a handful of players. Two extraordinary California bands recently released albums that make a compelling case for different nonprofit models.\u003c/p>\n\u003ch2>Mark Masters Ensemble\u003c/h2>\n\u003cp>Pasadena-based \u003ca href=\"http://caprirecords.com/artists/mark-masters\">arranger Mark Masters\u003c/a> has kept his variably sized Mark Masters Ensemble together for some two decades under the auspices of the nonprofit \u003ca href=\"http://www.amjazzin.com\">American Jazz Institute\u003c/a>. Over the years he’s released a series of stellar albums for Capri Records, each one featuring his arrangements focusing on a particular body of music.\u003c/p>\n\u003cp>He tackled “Porgy and Bess” on a \u003ca href=\"https://www.allaboutjazz.com/porgy-and-bess-redefined-review-by-john-kelman.php\" target=\"_blank\">2005 album\u003c/a> and the music of Walter Becker and Donald Fagan on 2013’s \u003cem>Everything You Did, \u003c/em>which both featured tenor sax great \u003ca href=\"http://www.billyharper.com/\" target=\"_blank\">Billy Harper\u003c/a> and trumpeter \u003ca href=\"https://www.timhagans.com/\" target=\"_blank\">Tim Hagans\u003c/a>. On 2008’s \u003cem>Farewell Walter Dewey Redman, \u003c/em> Masters expanded seven tunes by the tenor saxophone titan \u003ca href=\"http://www.nytimes.com/2006/09/04/arts/music/04redman.html\" target=\"_blank\">Dewey Redman\u003c/a> for a 16-piece ensemble featuring a cast of world-class Southern California players and special guests Tim Hagans and alto saxophonist \u003ca href=\"http://oliverlake.net/\" target=\"_blank\">Oliver Lake\u003c/a>.\u003c/p>\n\u003cp>Masters’ new album \u003cem>Blue Skylight,\u003c/em> which focuses on the music of Gerry Mulligan and Charles Mingus, is something of a departure. He’s slimmed the ensemble down to seven pieces, and instead of bringing in several guest stars he showcases his core of estimable L.A. players, like the great alto saxophonist Gary Foster and veteran bassist Putter Smith.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As subjects go, it’s an intriguing pairing, with Mulligan, the baritone saxophonist, known for his cool contrapuntal lines and Mingus, the ferocious bassist, associated with volcanic energy. He finds plenty of common ground between them, for instance pairing Mingus’ paean “Duke Ellington’s Sounds of Love” with Mulligan’s love letter to Ellington’s essential collaborator Billy Strayhorn, “Strayhorn 2” (a luscious ballad feature for baritone saxophonist Adam Schroeder).\u003c/p>\n\u003cp>In jazz, arranging is as much a creative act as composing. These tunes aren’t covers the way we think of a pop or rock band playing another act’s song. Each one bears the imprint of Masters’ mind. Part of what makes him such an invaluable interpreter is his keen ear for overlooked treasures, like his compressed version of Mingus’ ecstatic salute “So Long Eric,” and Mulligan’s elegant tribute to Charlie Parker “Birds of a Feather,” (a piece from a 1958 Gene Krupa album).\u003c/p>\n\u003ch2>SFJAZZ Collective\u003c/h2>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11407673\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-800x800.jpeg\" alt=\"SFJAZZ_Miles_3000x3000_RGB\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1020x1020.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1920x1920.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where the Mark Masters Ensemble reflects the vision of one man, the \u003ca href=\"https://sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> is a group that’s thrived by sharing responsibilities. An all-star eight-piece band that’s run by the Bay Area jazz organization SFJAZZ, the collective chooses a composer every year, and each member arranges a tune by that artist (past seasons have explored the music of composers such as McCoy Tyner, Horace Silver, Stevie Wonder, and John Coltrane). Every player is also commissioned to write an original piece for the ensemble, and each year the organization releases a live album documenting some of those pieces.\u003c/p>\n\u003cp>For the 2016 season the collective focused on the music of Miles Davis, and the new double album, \u003cem>The Music of Miles Davis and Original Compositions, \u003c/em> features one disc of the trumpeter's music and one disc of original compositions. Following up on 2015’s consistently winning \u003cem>The Music of Michael Jackson and Original Compositions \u003c/em>(which features the same personnel), the new album goes from strength to strength. Some of Davis’ best known pieces get cleverly refurbished, like trumpeter Sean Jones’ atmospheric arrangement of “So What.”\u003c/p>\n\u003cp>Davis’ electric work is too often overlooked as a source for interesting material, and it’s thrilling to hear how drummer Obed Calvaire fills out the harmonies on the sinewy “Bitches Brew,” a seminal piece of jazz-rock fusion, and trombonist Robin Eubanks' celestial take on “Tutu” (by bassist Marcus Miller). My favorite track is by alto saxophonist Miguel Zenón, the only founding member of the collective still in the fold. In his hands, the mysterious tune “Nardis” sounds like a rave from a Bulgarian wedding.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The disc of originals is nearly as engaging. High points include tenor saxophonist David Sanchez’s achingly beautiful “Canto,” vibraphonist Warren Wolf’s sassy blues waltz “In the Heat of the Night,” and trumpeter Sean Jones’ tribute to a founding SFJAZZ Collective member, “Hutcherson’s Hug,” a warmly lyrical evocation of vibraphone legend Bobby Hutcherson, who \u003ca href=\"http://www.npr.org/2016/08/16/490226783/bobby-hutcherson-jazz-vibraphone-modernist-has-died\" target=\"_blank\">died last year\u003c/a>. Beautifully recorded at the SFJazz Center’s Minor Auditorium by Jeff Cressman, who also produced the album, the collective’s 12th release makes an indisputable case for the ongoing vitality of this group and the repertory-and-originals concept on which it was founded.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how you slice it, jazz is a tough business.\u003c/p>\n\u003cp>For the vast majority of musicians, presenting new music -- whether in concert or via recordings -- requires self-exploitation, particularly if the ensemble features more than a handful of players. Two extraordinary California bands recently released albums that make a compelling case for different nonprofit models.\u003c/p>\n\u003ch2>Mark Masters Ensemble\u003c/h2>\n\u003cp>Pasadena-based \u003ca href=\"http://caprirecords.com/artists/mark-masters\">arranger Mark Masters\u003c/a> has kept his variably sized Mark Masters Ensemble together for some two decades under the auspices of the nonprofit \u003ca href=\"http://www.amjazzin.com\">American Jazz Institute\u003c/a>. Over the years he’s released a series of stellar albums for Capri Records, each one featuring his arrangements focusing on a particular body of music.\u003c/p>\n\u003cp>He tackled “Porgy and Bess” on a \u003ca href=\"https://www.allaboutjazz.com/porgy-and-bess-redefined-review-by-john-kelman.php\" target=\"_blank\">2005 album\u003c/a> and the music of Walter Becker and Donald Fagan on 2013’s \u003cem>Everything You Did, \u003c/em>which both featured tenor sax great \u003ca href=\"http://www.billyharper.com/\" target=\"_blank\">Billy Harper\u003c/a> and trumpeter \u003ca href=\"https://www.timhagans.com/\" target=\"_blank\">Tim Hagans\u003c/a>. On 2008’s \u003cem>Farewell Walter Dewey Redman, \u003c/em> Masters expanded seven tunes by the tenor saxophone titan \u003ca href=\"http://www.nytimes.com/2006/09/04/arts/music/04redman.html\" target=\"_blank\">Dewey Redman\u003c/a> for a 16-piece ensemble featuring a cast of world-class Southern California players and special guests Tim Hagans and alto saxophonist \u003ca href=\"http://oliverlake.net/\" target=\"_blank\">Oliver Lake\u003c/a>.\u003c/p>\n\u003cp>Masters’ new album \u003cem>Blue Skylight,\u003c/em> which focuses on the music of Gerry Mulligan and Charles Mingus, is something of a departure. He’s slimmed the ensemble down to seven pieces, and instead of bringing in several guest stars he showcases his core of estimable L.A. players, like the great alto saxophonist Gary Foster and veteran bassist Putter Smith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As subjects go, it’s an intriguing pairing, with Mulligan, the baritone saxophonist, known for his cool contrapuntal lines and Mingus, the ferocious bassist, associated with volcanic energy. He finds plenty of common ground between them, for instance pairing Mingus’ paean “Duke Ellington’s Sounds of Love” with Mulligan’s love letter to Ellington’s essential collaborator Billy Strayhorn, “Strayhorn 2” (a luscious ballad feature for baritone saxophonist Adam Schroeder).\u003c/p>\n\u003cp>In jazz, arranging is as much a creative act as composing. These tunes aren’t covers the way we think of a pop or rock band playing another act’s song. Each one bears the imprint of Masters’ mind. Part of what makes him such an invaluable interpreter is his keen ear for overlooked treasures, like his compressed version of Mingus’ ecstatic salute “So Long Eric,” and Mulligan’s elegant tribute to Charlie Parker “Birds of a Feather,” (a piece from a 1958 Gene Krupa album).\u003c/p>\n\u003ch2>SFJAZZ Collective\u003c/h2>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11407673\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-800x800.jpeg\" alt=\"SFJAZZ_Miles_3000x3000_RGB\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1020x1020.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1920x1920.jpeg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-1180x1180.jpeg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-960x960.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/SFJAZZ_Miles_3000x3000_RGB-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where the Mark Masters Ensemble reflects the vision of one man, the \u003ca href=\"https://sfjazz.org/sfjazzcollective\">SFJAZZ Collective\u003c/a> is a group that’s thrived by sharing responsibilities. An all-star eight-piece band that’s run by the Bay Area jazz organization SFJAZZ, the collective chooses a composer every year, and each member arranges a tune by that artist (past seasons have explored the music of composers such as McCoy Tyner, Horace Silver, Stevie Wonder, and John Coltrane). Every player is also commissioned to write an original piece for the ensemble, and each year the organization releases a live album documenting some of those pieces.\u003c/p>\n\u003cp>For the 2016 season the collective focused on the music of Miles Davis, and the new double album, \u003cem>The Music of Miles Davis and Original Compositions, \u003c/em> features one disc of the trumpeter's music and one disc of original compositions. Following up on 2015’s consistently winning \u003cem>The Music of Michael Jackson and Original Compositions \u003c/em>(which features the same personnel), the new album goes from strength to strength. Some of Davis’ best known pieces get cleverly refurbished, like trumpeter Sean Jones’ atmospheric arrangement of “So What.”\u003c/p>\n\u003cp>Davis’ electric work is too often overlooked as a source for interesting material, and it’s thrilling to hear how drummer Obed Calvaire fills out the harmonies on the sinewy “Bitches Brew,” a seminal piece of jazz-rock fusion, and trombonist Robin Eubanks' celestial take on “Tutu” (by bassist Marcus Miller). My favorite track is by alto saxophonist Miguel Zenón, the only founding member of the collective still in the fold. In his hands, the mysterious tune “Nardis” sounds like a rave from a Bulgarian wedding.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The disc of originals is nearly as engaging. High points include tenor saxophonist David Sanchez’s achingly beautiful “Canto,” vibraphonist Warren Wolf’s sassy blues waltz “In the Heat of the Night,” and trumpeter Sean Jones’ tribute to a founding SFJAZZ Collective member, “Hutcherson’s Hug,” a warmly lyrical evocation of vibraphone legend Bobby Hutcherson, who \u003ca href=\"http://www.npr.org/2016/08/16/490226783/bobby-hutcherson-jazz-vibraphone-modernist-has-died\" target=\"_blank\">died last year\u003c/a>. Beautifully recorded at the SFJazz Center’s Minor Auditorium by Jeff Cressman, who also produced the album, the collective’s 12th release makes an indisputable case for the ongoing vitality of this group and the repertory-and-originals concept on which it was founded.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America has always had a fascination with outlaws, and biker gangs have long been a part of that dark focus.\u003c/p>\n\u003cp>From Marlon Brando’s \u003cem>The Wild One\u003c/em> to 1960s exploitation films like \u003cem>The Wild Angels, Savages from Hell\u003c/em> and\u003cem> She-Devils on Wheels\u003c/em> up through FX’s \u003cem>Sons of Anarchy\u003c/em>, the list goes on and on. But the sexy Hollywood depiction of biker bad boys can be a far cry from the actual Hells Angels, a group known for serious crime, brutality and appropriation of Nazi iconography.\u003c/p>\n\u003cp>\u003ca href=\"http://www.georgechristie.com/\" target=\"_blank\">George Christie\u003c/a> has an insider’s view on the Angels experience. He was a member of the group for 35 years, and president of the Ventura chapter for most of that time. Now he’s written an autobiography, \u003cem>Exile On Front Street\u003c/em>, offering his unique take on the outlaw life.\u003c/p>\n\u003cp>These days, Christie is a clean-cut, affable guy with a wife (his second) and a 13-year-old son living in sleepy Ojai, a few miles north of Ventura, where he was born almost 70 years ago to a stable Greek family. He still recalls his first exposure to the biker world.\u003c/p>\n\u003cfigure id=\"attachment_11394957\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11394957 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24067_Christie-qut.jpg\" alt=\"Former Hells Angel George Christie on his Ojai front porch with dogs Mr. Scruffy (L) and Lulu.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-520x693.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former Hells Angel George Christie on his Ojai front porch with dogs Mr. Scruffy (L) and Lulu. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I'm going to guess this was around 1955,\" he says. \"I have this vivid memory of that day, I was standing out front of this Italian restaurant with my dad and the red-and-white checkered cloth, the candle, and after the meal we were talking to this Russian owner [of the restaurant], and you could hear this noise off in the distance.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The noise was a guy approaching on a motorcycle.\u003c/p>\n\u003cp>\"My dad didn't say too much and this [Russian] man was so upset, he actually spit on the ground and said, 'Look at him, he's an animal!' And he goes, 'That's your America!' I metaphorically jumped on the back of that bike with that guy and I thought to myself, 'Yeah, you're damn right. This is America.' And I always kept that vision, it never left me.\"\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcr/2017/04/HellsAngels.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24068_A-new-full-patch-Hells-Angel-qut-800x560.jpg\" Title=\"Former Hells Angel Reveals Biker Life From the Inside\" program=\"The California Report\"]\u003c/p>\n\u003cp>Stepping into Christie’s quaint bungalow, you’re greeted by Mr. Scruffy and Lulu, two lap dogs who are not exactly what you might expect, given their master’s background.\u003c/p>\n\u003cp>\"This poor guy had been stuck for six months behind bars,” says Christie as Mr. Scruffy wags and pants. “All the other dogs were going crazy and he kinda just lifted his leg, like, 'I know you know about being locked up. You got to get me out of here.' \"\u003c/p>\n\u003cp>Mr. Scruffy wasn’t wrong. Despite Christie’s regular-guy-next-door demeanor, he knows about being locked up.\u003c/p>\n\u003cp>In 1986 he was tried for an alleged prison murder and spent a year behind bars. He was ultimately found not guilty and cleared of all charges. In 2001 he was indicted on 59 counts related to prescription drugs, spent a year in solitary, took a plea bargain and was released. In 2011 he was indicted for conspiracy to firebomb two Ventura tattoo parlors. The government offered a plea deal, and Christie spent another year in prison. He got out in 2014.\u003c/p>\n\u003cp>But it all goes with the territory.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It's like wanting to be a western gunfighter, then all of a sudden hanging out with Billy the Kid. ... Here I was, man. I was living it.'\u003c/aside>\n\u003cp>\"He was certainly the figurehead, the leader of the local [Hells Angels] chapter, which was involved in ongoing criminal activity,\" says Ventura Police Chief Ken Corney. “They were certainly, in my opinion, a criminal street gang, but also branched a little bit more into organized crime.”\u003c/p>\n\u003cp>“I think it was a really esoteric lifestyle,” Christie says of his past. “It’s like something Zen. If you have to explain it, you kind of lose the essence of it. Either you fit in or you didn't.”\u003c/p>\n\u003cp>After riding and hanging with the Angels and other groups like the Goosers, the Coffin Cheaters and the Straight Satans since the mid-'60s, Christie became a full-fledged member of the Angels in 1976.\u003c/p>\n\u003cp>Despite his relationship with the biker world, he’d been leading a straight life. Christie was married to his first wife and had a daughter (Moriya, now his criminal defense attorney). He was a Marine reservist, and had a good job working for the Department of Defense, at least until his employers discovered his Angels affiliation.\u003c/p>\n\u003cp>“Once they found out I was a member of the Hells Angels they basically gave me a choice, them or us. I got up and said, ‘Well, I'll see you guys.’ It was a big step for me, and I basically immersed myself in the outlaw bike world.”\u003c/p>\n\u003cfigure id=\"attachment_11406986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11406986\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/ChristiePalm-800x1067.jpg\" alt=\"George Christie's palm bears a distinctive tattooed directive.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Christie's palm bears a distinctive tattooed directive. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But why would a man give up the inside track on the American Dream to live outside the law?\u003c/p>\n\u003cp>“It's like wanting to be a western gunfighter, then all of a sudden hanging out with the James Gang or Billy the Kid,” he explains. “So that's where I was at. Here I was, man. I was living it.”\u003c/p>\n\u003cp>Christie’s charisma served him well. He became the high-profile spokesman for the Angels’ brand, partying with celebrities and participating in events like the Olympic torch relay in 1984. He was deep in the brotherhood, hanging out with colleagues like Ramrod, Stairway Harry, Taco, Animal, Little John, Dirty Dick, Little Joe, Terry the Tramp, the Old Goose, Cave Dave and Chico Jones.\u003c/p>\n\u003cp>“He was a Mexican dude who cut his own finger off on a run,” recalls Christie of Jones. “On purpose. One of the Hells Angels, Butch from Cleveland, said, 'What would you do if I cut that finger off?' and he said, 'You don't have to cut it off, I will.' Showing class. That's what that was called, showing class.”\u003c/p>\n\u003cp>Some people might say that’s showing insanity.\u003c/p>\n\u003cp>“I know,” Christie says, “and it very well may be.”\u003c/p>\n\u003cp>As the years passed, Christie found his biggest enemies were perhaps not law enforcement, but those in his own camp.\u003c/p>\n\u003cp>“It got very, very vicious, and you didn't know who to trust or who not to trust,” he says. “Maybe that was the beginning of the end. ... I think that the mere fact that I took the position that my former associates had become people I would have rebelled against is the main reason I left.\"\u003c/p>\n\u003cp>After Christie quit the Angels, fair and square, he says false rumors began spreading within the group that he was a government informant. One day he got a phone call.\u003c/p>\n\u003cp>“My status had been changed. I'd been excommunicated. No one was allowed to talk to me and I wasn't allowed to talk to anybody.”\u003c/p>\n\u003cp>In the years since then, he’s worked his past into a commodity. There was a six-part series on the History Channel, \u003cem>The Outlaw Chronicles\u003c/em>. He gives college lectures, and there’s his new book,\u003cem> Exile on Front Street\u003c/em>, but that’s where his connection to the Angels ends. He doesn’t even own a motorcycle anymore. Bad hips.\u003c/p>\n\u003cp>“We don't have any information that George is living [anything] other than as a law-abiding citizen,” says Police Chief Corney. “He's making his living off of reminiscing on his days of old.”\u003c/p>\n\u003cp>“I'm happy where I’m at now,” Christie says. “I have a beautiful family, my wife believes in me, my children believe in me, and I’m also happy with the 40 years I put in the club.”\u003c/p>\n\u003cp>He’s unapologetic about his past, and still identifies as an outlaw. This from Christie’s book: “People confuse the outlaw and the criminal. Some outlaws commit crimes, but the real outlaw isn’t a criminal by trade.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Apparently he also can be an author.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America has always had a fascination with outlaws, and biker gangs have long been a part of that dark focus.\u003c/p>\n\u003cp>From Marlon Brando’s \u003cem>The Wild One\u003c/em> to 1960s exploitation films like \u003cem>The Wild Angels, Savages from Hell\u003c/em> and\u003cem> She-Devils on Wheels\u003c/em> up through FX’s \u003cem>Sons of Anarchy\u003c/em>, the list goes on and on. But the sexy Hollywood depiction of biker bad boys can be a far cry from the actual Hells Angels, a group known for serious crime, brutality and appropriation of Nazi iconography.\u003c/p>\n\u003cp>\u003ca href=\"http://www.georgechristie.com/\" target=\"_blank\">George Christie\u003c/a> has an insider’s view on the Angels experience. He was a member of the group for 35 years, and president of the Ventura chapter for most of that time. Now he’s written an autobiography, \u003cem>Exile On Front Street\u003c/em>, offering his unique take on the outlaw life.\u003c/p>\n\u003cp>These days, Christie is a clean-cut, affable guy with a wife (his second) and a 13-year-old son living in sleepy Ojai, a few miles north of Ventura, where he was born almost 70 years ago to a stable Greek family. He still recalls his first exposure to the biker world.\u003c/p>\n\u003cfigure id=\"attachment_11394957\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11394957 size-full\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/02/RS24067_Christie-qut.jpg\" alt=\"Former Hells Angel George Christie on his Ojai front porch with dogs Mr. Scruffy (L) and Lulu.\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/02/RS24067_Christie-qut-520x693.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Former Hells Angel George Christie on his Ojai front porch with dogs Mr. Scruffy (L) and Lulu. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"I'm going to guess this was around 1955,\" he says. \"I have this vivid memory of that day, I was standing out front of this Italian restaurant with my dad and the red-and-white checkered cloth, the candle, and after the meal we were talking to this Russian owner [of the restaurant], and you could hear this noise off in the distance.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The noise was a guy approaching on a motorcycle.\u003c/p>\n\u003cp>\"My dad didn't say too much and this [Russian] man was so upset, he actually spit on the ground and said, 'Look at him, he's an animal!' And he goes, 'That's your America!' I metaphorically jumped on the back of that bike with that guy and I thought to myself, 'Yeah, you're damn right. This is America.' And I always kept that vision, it never left me.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stepping into Christie’s quaint bungalow, you’re greeted by Mr. Scruffy and Lulu, two lap dogs who are not exactly what you might expect, given their master’s background.\u003c/p>\n\u003cp>\"This poor guy had been stuck for six months behind bars,” says Christie as Mr. Scruffy wags and pants. “All the other dogs were going crazy and he kinda just lifted his leg, like, 'I know you know about being locked up. You got to get me out of here.' \"\u003c/p>\n\u003cp>Mr. Scruffy wasn’t wrong. Despite Christie’s regular-guy-next-door demeanor, he knows about being locked up.\u003c/p>\n\u003cp>In 1986 he was tried for an alleged prison murder and spent a year behind bars. He was ultimately found not guilty and cleared of all charges. In 2001 he was indicted on 59 counts related to prescription drugs, spent a year in solitary, took a plea bargain and was released. In 2011 he was indicted for conspiracy to firebomb two Ventura tattoo parlors. The government offered a plea deal, and Christie spent another year in prison. He got out in 2014.\u003c/p>\n\u003cp>But it all goes with the territory.\u003c/p>\n\u003caside class=\"pullquote alignright\">'It's like wanting to be a western gunfighter, then all of a sudden hanging out with Billy the Kid. ... Here I was, man. I was living it.'\u003c/aside>\n\u003cp>\"He was certainly the figurehead, the leader of the local [Hells Angels] chapter, which was involved in ongoing criminal activity,\" says Ventura Police Chief Ken Corney. “They were certainly, in my opinion, a criminal street gang, but also branched a little bit more into organized crime.”\u003c/p>\n\u003cp>“I think it was a really esoteric lifestyle,” Christie says of his past. “It’s like something Zen. If you have to explain it, you kind of lose the essence of it. Either you fit in or you didn't.”\u003c/p>\n\u003cp>After riding and hanging with the Angels and other groups like the Goosers, the Coffin Cheaters and the Straight Satans since the mid-'60s, Christie became a full-fledged member of the Angels in 1976.\u003c/p>\n\u003cp>Despite his relationship with the biker world, he’d been leading a straight life. Christie was married to his first wife and had a daughter (Moriya, now his criminal defense attorney). He was a Marine reservist, and had a good job working for the Department of Defense, at least until his employers discovered his Angels affiliation.\u003c/p>\n\u003cp>“Once they found out I was a member of the Hells Angels they basically gave me a choice, them or us. I got up and said, ‘Well, I'll see you guys.’ It was a big step for me, and I basically immersed myself in the outlaw bike world.”\u003c/p>\n\u003cfigure id=\"attachment_11406986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11406986\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/ChristiePalm-800x1067.jpg\" alt=\"George Christie's palm bears a distinctive tattooed directive.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-1020x1360.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-960x1280.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/ChristiePalm-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Christie's palm bears a distinctive tattooed directive. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But why would a man give up the inside track on the American Dream to live outside the law?\u003c/p>\n\u003cp>“It's like wanting to be a western gunfighter, then all of a sudden hanging out with the James Gang or Billy the Kid,” he explains. “So that's where I was at. Here I was, man. I was living it.”\u003c/p>\n\u003cp>Christie’s charisma served him well. He became the high-profile spokesman for the Angels’ brand, partying with celebrities and participating in events like the Olympic torch relay in 1984. He was deep in the brotherhood, hanging out with colleagues like Ramrod, Stairway Harry, Taco, Animal, Little John, Dirty Dick, Little Joe, Terry the Tramp, the Old Goose, Cave Dave and Chico Jones.\u003c/p>\n\u003cp>“He was a Mexican dude who cut his own finger off on a run,” recalls Christie of Jones. “On purpose. One of the Hells Angels, Butch from Cleveland, said, 'What would you do if I cut that finger off?' and he said, 'You don't have to cut it off, I will.' Showing class. That's what that was called, showing class.”\u003c/p>\n\u003cp>Some people might say that’s showing insanity.\u003c/p>\n\u003cp>“I know,” Christie says, “and it very well may be.”\u003c/p>\n\u003cp>As the years passed, Christie found his biggest enemies were perhaps not law enforcement, but those in his own camp.\u003c/p>\n\u003cp>“It got very, very vicious, and you didn't know who to trust or who not to trust,” he says. “Maybe that was the beginning of the end. ... I think that the mere fact that I took the position that my former associates had become people I would have rebelled against is the main reason I left.\"\u003c/p>\n\u003cp>After Christie quit the Angels, fair and square, he says false rumors began spreading within the group that he was a government informant. One day he got a phone call.\u003c/p>\n\u003cp>“My status had been changed. I'd been excommunicated. No one was allowed to talk to me and I wasn't allowed to talk to anybody.”\u003c/p>\n\u003cp>In the years since then, he’s worked his past into a commodity. There was a six-part series on the History Channel, \u003cem>The Outlaw Chronicles\u003c/em>. He gives college lectures, and there’s his new book,\u003cem> Exile on Front Street\u003c/em>, but that’s where his connection to the Angels ends. He doesn’t even own a motorcycle anymore. Bad hips.\u003c/p>\n\u003cp>“We don't have any information that George is living [anything] other than as a law-abiding citizen,” says Police Chief Corney. “He's making his living off of reminiscing on his days of old.”\u003c/p>\n\u003cp>“I'm happy where I’m at now,” Christie says. “I have a beautiful family, my wife believes in me, my children believe in me, and I’m also happy with the 40 years I put in the club.”\u003c/p>\n\u003cp>He’s unapologetic about his past, and still identifies as an outlaw. This from Christie’s book: “People confuse the outlaw and the criminal. Some outlaws commit crimes, but the real outlaw isn’t a criminal by trade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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