BPD Capitain Andrew Greenwood emails

Officer Involved Shooting:Suspect Opens Fire on BPD Officers

On Friday evening, April 13,
2012 at about 10:40 p.m. an officer involved shooting occurred near 8th St.
and Delaware St. in west Berkeley.

Officers were in the area searching for a person who had fled from a vehicle
stop several blocks away. Officers observed the suspect in an apartment. In
an apparent attempt to escape, the suspect emerged, ignored officers'
commands, and opened fire on several officers. Several Officers returned fire.
The suspect was wounded before he was able to leave the property.

Paramedics transported the suspect to a local trauma center, where he was
treated for non-life-threatening injuries to his arm and leg.

There are no other suspects sought in this matter.

No officers were hit by gunfire. There were no injuries to any community

Berkeley Police Homicide Investigators are investigating this case, and will be
joined by the Alameda County District Attorney's Officer Involved Shooting
team, who will conduct their investigation as well. As mandated by Berkeley
Police Department policy, officers involved in this shooting are placed on paid
administrative leave.

This investigation is in its early stages, and will be underway throughout the
next few days. We do not anticipate having additional information to share
over the weekend.

"A shift to more aggressive tactics against heroin" is an AP story.

"With heroin becoming cheaper than a six-pack and as easy to obtain as pot, police and prosecutors are turning to more aggressive tactics against the drug, dusting off little-used laws to seek murder charges against suspected dealers and provide for longer prison sentences."






"Cuban Harley fanatics hold 1st nationwide rally" by Peter Orsi at lakewyliepilot.com.

"A throaty roar and an ear-splitting siren cut through the balmy sea air of this Cuban resort town as Luis Enrique Gonzalez gunned the engine of his vintage Harley-Davidson Knucklehead, which was a police motorcycle in another life before the 1959 revolution.
'I love everything about it. It's like my girlfriend,' Gonzalez said, showing off the fire-red bike, a sticker of iconic guerrilla Ernesto 'Che' Guevara peeling from the fender. 'I love the heat, I love the vibration, I love how it rides. I feel like a plane floating through the clouds.' "



Aw Jeez "Nazi Party gets a Washington lobbyist" at thehill.com.




"AC Transit Begins Fueling Buses with Hydrogen Made From Solar Electricity and Water" at marketwatch.com.

















A bit of Potter Creek history is for sale at ebay












the reconstruction continues

workers on Weatherford's roof, Tuesday morning




BPD Cesar Melero emails

Lieutenant David Frankel is inviting anyone who wishes to have coffee with him at West Side Café, 2570 Ninth St, Berkeley on April 23, 2012 from 2:30 ­ 3:30 PM .
I would like to take this opportunity to thank all of you who have made this program so successful and we look forward to seeing you.

Ofc Melero


"Mob of anarchists attack Starbucks" at myfoxny.com.

"Police say a mob of 25 anarchists fought with officers and tried to use eight-foot-long metal pipes to smash windows of a Starbucks in the East Village on Saturday."




Marketwatch.com reports of Potter Creek's MOG.

"MOG Expands Service to Australia and Strikes Exclusive Partnership with Telstra" at marketwatch.com.

"Music Fans Will Enjoy Unlimited, Unmetered Streaming, and One-Click Downloading of Songs, Albums and Playlists for the Ultimate Listening Experience." 



And "DeYoe Wealth Management Advises Clients to Prepare Now for End of Bush Tax Cuts" is also a marketwatch.com story.

"Berkeley-Based Financial Advisor Offers Concrete Strategies to Minimize Negative Impact From Pending Loss of Tax Incentive." 



"Unycom Spins Off IPfolio as an Independent Company" at virtualstrategy.com.

"Intellectual property (IP) management software provider Unycom has spun off its nascent IPfolio business unit as an independent venture. Led by former Unycom executive Rupert Mayer, IPfolio Corporation will operate globally out of Berkeley, California while Unycom continues to operate from its office in San Francisco, California as well as from the company's European locations."




"Management of UC Berkeley observatory handed over to nonprofit" is a Daily Cal story.












Jazz singer, Ella Fitzgerald

was born April 25, 1917



















the new shaded parking at Bayer

is under their new solar panels




the Bayer parking lot across the street

is being resurfaced with the Bright Horizons play area building in its middle





The China Daily is being delivered to some in Potter Creek.

Probably no more or less a propaganda sheet than the New York Times.










Potter Creekers on a weekend-morning ride

my gosh, where's Natalie?

out in front of the pack, she's out of the photo







"California May Credit Big Hydro Power to Green Energy Goal" by James Nash at bloomberg.com.

"California, the second-largest U.S. hydroelectric producer, would count large water projects toward its goal of having renewable resources supply a third of its power under a bill approved by an Assembly committee.

The measure would remove a limitation that now counts only smaller hydropower projects, capable of producing 30 megawatts or less, to qualify toward California's renewable portfolio standard. The biggest U.S. state by population, which consumed 8.5 percent of the nation's energy in 2009, generated 13.2 percent of U.S. hydroelectric power, second only to Washington State, according to U.S. Energy Information Administration data.

California adopted a formal target for renewable energy sources, such as solar and water, in 2002 and expanded it last year to require investor-owned utilities to generate 33 percent of their power from such sources by 2020.

Environmental advocates and state Assemblywoman Nancy Skinner, a Berkeley Democrat, said allowing the large hydroelectric projects to count toward the renewable goal would uproot the purpose of the rule. Skinner said utilities could build giant hydroelectric facilities in neighboring states and Canada, then export the power back to California.

'We would primarily be subsidizing hydroelectric out of state,' Skinner told the Assembly Committee on Utilities and Commerce yesterday.

The Democrat-dominated committee approved the bill 8-1." 

















Happy 420!

"Waiting to inhale: Pot smokers celebrate 'marijuana holiday' 420 today" at dailynews.com.

"You may catch a whiff of a fragrant green herb today.

That's because today is April 20, 4/20, making it a special day for marijuana smokers around the world, particularly in America.
Many will be lighting up to mark the occasion, sometimes even in public places like parks, and sometimes in fairly large groups."


The earliest use of the term 420 began among a group of teenagers in San Rafael, California in 1971.



There is a view, a strict constructionalist one, that if you draw a 1000 ft circle around all schools and school-like-facilitiies on a Berkeley map, there is no place in Our Town for the Berkeley Patient's Group.



And just what is it

that Albert's smoking in that pipe?

In The Day, Albert was the owner and proprietor of Campus Records on Telegraph and Bancroft.


Tomorrow, April 21st, is Record Store Day.

Back in The Day: Selling Records on Berkeley's Telegraph Ave

I just listened

Albert's recurring nightmare was that all the music would disappear from his records and he'd be left in the plastics business. You see, his first wife's folks thought that plastic was the business to get into. Albert probably didn't like that. I know he didn't like the plastics business and he probably didn't much care for his wife's parents advice either.

But Albert loved music, and it's this deep consuming love that he gave to all who would listen, whether it was a guy who stopped in front of the shop, or one of his daughters, or me, or the other fellows who worked for him. With the joy of a two-year-old shoving his toys at you, Albert would share his music discoveries.

When the Bach Accompanied Violin Sonatas by Menuhin, Malcolm and Ambrose Gauntlett came out, Albert found true love. "Listen to that note," he'd say. "Listen to the way he shapes it." The store's speakers were up toward the ceiling, on either side of a 14x10 foot window and in order to better hear the music he'd face the window, cup his hands over the back of his ears and look skyward. "Listen," he'd say, "Like this!" And he put his hands over his ears.

I'd listen. At first with some skepticism and embarrassment. After all, I was standing, looking at the ceiling with my hands over my ears, next to a guy who looked a little like Bogart with a goatee, who was looking toward the ceiling with his hands over his ears. And we were doing this in front of, or behind, a large window that looked out on the busiest corner in Berkeley.

After a while I just listened. I found there was a lot to hear. I heard not only how Menuhin shaped a note, but how he and Ambrose Gauntlett played notes that were of different pitch and color and yet sounded the same. I listened to how, in the violin sonatas, the violin accompanied the accompanying instruments, whether the gamba or the harpsichord. Finally I heard the players "get it right."

Sometimes when we were listening a customer would come in, and Albert being quite persuasive, would get him to put his hands over his ears and look skyward. Then there were three of us listening.

At most you could get four or five people between the speakers in front of that window, and there were that many there at the beginning of Albert's playing of the St. Matthew Passion- a favorite conducted by Karl Munchinger. Albert, almost immediately became carried away by the power of Bach's soloists, full chorus and orchestra, and he turned up the volume on the old Scott. The magnificent sounds rolled down over us all. I can remember being both exhilarated and stunned. The outside speaker was on and people streamed into the shop. Many had never heard these kinds of sounds before, and during the twenty-some-minute performance, though the shop was packed, the assembly was totally silent. Albert tended the amplifier, making a slight adjustment to bring a soloist forward, or to quiet a chorus or to prevent speaker damage. Now and then he'd make a gesture as if he was conducting- maybe he was.



















Today is Record Store Day

"Record Store Day" breathing new life into vinyl" by Jeff Glor with videos at cbsmorning.com.

"Some big-time musicians - like Bruce Springsteen and Paul McCartney - are releasing new music or playing live Saturday, because it's "Record Store Day." Organizers say this year's event is the biggest one yet.

It might seem like a foreign concept now, but for more than half a century records are how we listened to music. And now, it's back.

If you're a real audiophile, it's how you play music. If you're a band, it's why."


"Vinyl is like listening to a warm fire."


Some Moments with Janos Starker

by Harold Lawrence

Harold Lawrence joined Mercury Records in 1956 as music director. During his twelve years with the label, he was music supervisor, editor, and later producer for over 300 Living Presence recordings, including eleven LPs with Janos Starker. In 1967 he was appointed general manager of London Symphony Orchestra, after a decade of association in the recording halls with that orchestra.

After the last notes of the Bach Allegro had faded, Janos Starker rose from his chair in the ballroom of the Great Northern Hotel Studio A of Fine Recording, where many of Mercury's Living Presence chamber music recordings were made in the 1960s.

Starker gently laid aside his Lord Aylesford Stradivarius 'cello, inserted a fresh cigarette into a long holder, and walked swiftly toward the control room.

He entered just as the engineer was rewinding the tape. Above the garbled sounds emanating from the three Altec Voice of the Theater monitor loudspeakers, he asked, "What was the timing of this movement ?" "Three minutes and fifty seconds", I replied. Lifting his dark, expressive eyebrows, Starker said he played it slightly faster these days. "It sounds lighter this way... and it dances."

Having cued the tape, the engineer pressed the start button. The magnificent sounds of the Lord Aylesford filled the room. Starker mentally ticked off the details that required adjustment: a stronger accent for the top note of a phrase, a wolf tone that needed replacement, a 32nd note figure that could be clearer, an A-string that was a bit sharp. . .

In rapid fire Hungarian, Starker discussed balance problems with his colleague, pianist Gyorgy Sebök, then turned to us for a final consultation before returning to the hall for the next take.

The atmosphere at a Starker recording session is one of efficiency -sotto voce. No stranger to the recording process, Starker began making records right after World War II, when he not only played the 'cello, but supervised the sessions and edited the tapes. He performed all these tasks not because he aspired to become a musical Orson Welles, but simply because the small company for which he worked lacked the necessary staff.

The fact that Starker seems absolutely at ease in the recording studio might be regarded as a sign of an easygoing personality. Between takes, he responds with charm and wit to people around him; he is a vivid raconteur: and he loves nothing better than to engage in a brisk and lively exchange of ideas on politics and contemporary literature.

But it's fascinating to observe Starker switch instantly from the entertaining social companion to the intensely concentrated performer. Before we were through chuckling over a particularly amusing anecdote, Starker would already have stubbed out his cigarette and left the control room for the studio, leaving behind him a set of suggestions for the next takes. A record producer has got to be on his toes at a Starker session.

My first recording with Starker began on the morning of July 6, 1962 at Watford Town Hall outside of London, acoustically one of the finest recording spaces in the world. The work was Dvorák's Concerto in B Minor, with the London Symphony Orchestra conducted by Antal Dorati.

A favorite haunt of the Mercury Living Presence recording team, Watford Town Hall was the site of over 150 Mercury sessions between 1956 and 1965, including dozens with Dorati, who had a long term exclusive contract with the label. Dorati was also a regular guest conductor with the London Symphony and was largely responsible for the orchestra's rise to recording prominence in the late 1950s and early 1960s.

Dorati was therefore familiar with the Mercury modus operandi. He knew that his job was to start rehearsing while the recording team listened intently in the control room for instrumental definition and balance between soloist and orchestra, made adjustments to the three Telefunken 201 microphones set up on the wooden floor of the auditorium, and checked constantly with the engineers in the recording truck parked outside in the courtyard to ensure that the tape and magnetic film recorders were in good working order.

There was a lot of traffic going on between the control room and the halls; doors opening and shutting, cables unraveling, microphones being lowered, raised or angled, canvas being spread on the floor here and there for critical dampening. But neither Starker nor Dorati seemed distracted by these intrusions. When the time-consuming procedure was over, I made my announcement to the musical forces that we were ready for a level check. The principal oboist played the 'A', the machines in the recording truck began to roll, "Stand by, please" sounded over the monitor loudspeakers in the hall, and Dorati conducted the orchestra in what was the loudest and densest portion of the score.

Out in the recording truck, meters were carefully noted as the Dvorák fortes poured out of the three Ampex reference amplifier-speakers suspended on hooks above the dashboard and the steering wheel. In a few moments, chief engineer Bob Fine told us he was ready for a take.

Dorati tapped his baton and Janos Starker and the eighty-five musicians of the London Symphony settled down to wait for the "slate"-the announcement of the first take. In many ways, the first take at a recording session can be the most critical of all. Musically and technically, it provides the artists and the recording team with a blueprint of the work to be done.

After the run-through of the first movement, Starker and Dorati, accompanied by members of the orchestra, crowded into the control room for the playback. It was clear that alterations were needed: there was not enough woodwind sound generally; the timpani lacked crispness (should the player use hard sticks?); the upper strings of the solo 'cello seemed slightly off focus. . .

Bob Fine and the technical crew were already on their way to the hall. Moments later, stagehands added a six-inch riser to the wind section and the 'cello platform was moved a few inches toward the center microphone. Critical adjustments were made in placing the "outrigger" microphones (left and right). Meanwhile, in the control room, I compared "notes" with the soloist and conductor.

Like his friend and long-time collaborator, Antal Dorati, Starker is meticulous but not fussy. He strives for consistency of expression rather than merely achieving "the best takes". Unlike some other recording artists, Starker has a conductor's view of the orchestral score and attempts to integrate his part into the overall fabric. If a passage is designed strictly as an obbligato to an orchestral melody, he never insists it be given prominence. Years of playing inside orchestras in Budapest, Dallas and Chicago nourished this broader perspective.

Beyond an awareness of how his solo part dovetails with the full orchestral score, "I make it a point to relate each work I play to the total output of its composer", Starker said in an interview I had with him last summer.

Janos Starker often has been called a musician's musician. Commenting on this description, he said; "I've always felt that my music-making was not for mass consumption. My appeal will never be truly for the casual concert-goer, but rather for the more knowledgeable music lover".
To discophiles, however, Starker's appeal is worldwide. His recorded output of more than one hundred recordings is distinguished by a high level of excellence.

Born in Budapest into a musical family, Starker began to study 'cello soon after he was six. He was already teaching the instrument at the age of eight. With his two violin playing brothers, he explored the basic works of the chamber music repertory. At ten he made his solo debut, and four years later he was assigned to his first orchestral post.

After graduating from the Franz Liszt Academy, where Sebök was a fellow student, he became principal cellist with the Budapest Philharmonic and Opera Orchestras. Between concerts and rehearsal, he practiced furiously, building up his large repertory. For income-and amusement-he played in jazz bands and Gypsy ensembles. He recalls the potted-palm pieces he often played in Hungarian cafés and still performs some of them for his friends, using a wide vibrato and soulful slides.

At the war's end, Starker went west to seek a more secure livelihood. He settled in Paris where, faced with a scarcity of jobs, he once worked as a movie extra. At a certain point, he took time out to reassess his artistic and technical achievements. During the winter of 1946, he isolated himself in Cannes on the French Riviera to work and study. He began to make his mark on the European musical scene when, two years later, his friend Antal Dorati offered him the post of principal cellist with the Dallas Symphony. After Dallas came first chair posts with the Metropolitan Opera House Orchestra and the Chicago Symphony, both under the baton of the great Fritz Reiner.

Starker gave up orchestral work in 1958, going on to create a legendary career both on the concert stage and in recording halls of several continents.

text by Harold Lawrence, RECOLLECTIONS

photos by Mary Morris.





Back in The Day: Selling Records on Berkeley's Telegraph Ave

Mrs. Overholzer answered the door

I don't remember if it was Joe or Cynthia who called. Joe told me about other kinds of collections before. A good one contained a 1964 BMW R69S, a motorcycle that I've loved to this day. But I think it was his wife Cynthia who called me that afternoon at Moe's. One of her customers, she said, wanted to sell his record collection. She knew that he had good equipment, they had repaired some of it at their shop and she thought that he probably took good care of his records. (Cynthia and Joe still own the same shop they did in the 1970s, Resistance Repair, and they still repair stereo equipment. They opened the store in the '60s and named it as much for political resistance as electrical.)

Moe's had always bought book and record collections, but this was a large one, about 7000 records. No one at Moe's ever spent the kind of money that this collection might cost, and, Moe was a book man. He loved the music that was on the records but that was all he knew about them. (Actually he prefered cassettes because they were easier to play. Moe did not relate well to machinery, as any one who had the thrill of driving with him knows.) Also Moe was of a mixed mind about his employees spending his money on collections. He understood fully that it is through the careful buying of collections that lots of money can be made. Yet he didn't like to spend lots of money. He and I would often argue loudly, and publicly, about me spending his money. But I bought well and, after what was becoming a ritual confrontation, behind his contact lenses his eyes twinkled and his face lit up slightly. He gave me the go-ahead.

The fellow who owned the records, a Mr. Overholzer, lived in one of the Bay Area's modest and middle-class suburbs. It was definitely not a "hip" area so I wondered just what kind of record collection he really had. I was skeptical.

Still, the next day I telephoned Mr. O. On the phone he was businesslike and polite. He confirmed that the collection was mostly jazz and asked if I would please come out and see it. I agreed and he gave me careful and deliberate directions to his house, and in closing, as an afterthought, mentioned that he liked Duke Ellington and had all his records.

I arranged for some of us to go out to see the collection the following day. Together we drove to the Overholzer house. The neighborhood was pretty undistinguished. The area was built up in the '40s and '50s and was one of those drab look-alike California developments, saved that day only by California sunshine. Judging by the surroundings it looked like the records wouldn't be very jazzy. I was afraid that the three of us were going to look through 7000 pop, easy-listening, and semi-classical records. We parked in front of the house and cautiously went up the driveway, a beatnik and two hippies, we were out of our element.

I think Mrs. Overholzer answered the door. If she was uncomfortable with her guests she didn't show it. She ushered us politely through her house and into the den. There was Mr. O. among his records.


Thank you Mr. Overholtzer

The "Overholtzer Collection" precipitated the first "collectors section" in Moe's Books and Records-in fact, the first that I can recall in any record store.

Six-thousand-seven-hundred LPs, purchased for $9000, it was an astute mix of vintage jazz and classical LPs that raised eyebrows all around. Having viewed the records at their home, I was further amazed when poring over them at the store, pile after pile brought in and stacked, at first, on the floor: pristine original issues and much long-out-of-print material formed a good portion of the collection.

But before the records were off the floor-before most were even priced-there appeared, with a homing instinct peculiar to them, the dealers. Two came up from L.A., one fellow appeared from Asia! My memory is that we sold about $8000 worth of records to these three alone. Given the almost laughably low prices on these records, that added up to a lot of vinyl. And what is still clear in my memory is the seventy-five or so Ellington and Ellington sidemen originals, the price fetched by the coverless Art Pepper Intro record ($35), or the three records on the Transition label, a jazz label about as esoteric and valuable as any, that were priced at a ludicrous $30 each. These are today, name-your-price items.

After the initial feeding frenzy abated, and the records were ensconced in their new segregated area, the employees got to survey and purchase the material at their leisure and to pretend that they were just buying used records. But clearly our collective consciousness was raised by the Overholtzer affair.

We had moved into the future of records as collectibles.


I would like to thank Richard Brown for his contribution to this series.

by Ron Penndorf, RECOLLECTIONS





Jimi Hendrix

by Tony Almeida

Rock music is a music of youth, and the late 1960s was its coming of age. Like it or hate it, you couldn't ignore it. Jimi Hendrix, a guitarist, performer, and songwriter of the late '60s was the most influential rock artist of the era.

He began his career with jobs in rhythm and blues bands, playing behind, among others, Jackie Wilson, Little Richard, and the Isley Brothers. Later he lived in New York and played the clubs of Greenwich Village where he billed his group as Jimmy James and the Blue Flames.

At age 23, he left the U. S. for England to continue his career. There his new manager Chas Chandler had contacts, and informal auditions were held for a bassist and drummer to form the group, the Jimi Hendrix Experience. Mitch Mitchell was chosen as drummer and the bassist chosen was Noel Redding. Jimi's guitar skills more than filled out the sound of the three-piece band. What's more, at this stage of his career, he knew the importance of putting on a show. The Beatles learned this in Hamburg, where club owner, Bruno Koschmider, required it of them. "The Big Show", he called it-"Make the Big Show".

And Jimi Hendrix could make plenty Big Show.

Jimi used his guitar as a prop, dancing with it, fondling it, playing it behind his head and with his teeth. He even burned his guitar at the conclusion of the Experience's first American performance, captured in the wonderful film by director, D.A. Pennebaker, Monterey Pop. Jimi's entire performance at Monterey has finally been released on LP (Reprise 25358-1) and the excitement has survived the years. The album opens with Howling Wolf's "Killing Floor". This blues metaphor for the lowest floor of the Chicago slaughter houses had never rocked so hard. Hendrix and the Experience lighten up considerably after this, but for that first song, Jimi Hendrix is playing for keeps.

Around the time Jimi's second hit, "Purple Haze", broke the top ten, London's Sunday Mirror asked Jimi about the suggestive movements of his act. He replied: "I think 'act' is maybe the wrong word. I play and move as I feel. It's no act. Perhaps it's sexy . . . but what music with a big beat isn't?" Listen to the introductory bars of "Purple Haze". Who had heard such rhythmic dissonance in a rock recording before this? "Purple Haze" was the first cut on the Experience's U.S. debut LP, Are You Experienced? (Reprise RS 6261), released August of 1967. A similarly titled LP had already been released in England on the Track label. However, the English version was only available in monaural and featured a somewhat different song selection. One of these songs, "Red House", was a blues that Jimi wrote and had been playing for sometime. Amazingly, it is about the only song that Rolling Stone magazine's Jon Landau, thought had any merit. In the big print of the magazine's first issue he says, "Dig it if you can, but as for me, I'd rather hear Jimi play the blues," and in hindsight it is apparent that almost all of Jimi's songs are strongly blues-influenced.

The U.S. LP came out on the Reprise label. Reprise records was an unusual amalgam of recording artists begun for Frank Sinatra after his dispute with Capitol. The original label is Reprise's tricolor "riverboat" label. The cover also differs from the U.K. release, the American version being more psychedelic. It was available in stereo-or at least what passed for stereo. Rock collectors speak of "true stereo". Are You Experienced? was in true stereo. However, this does not mean that a pair of microphones captured the sound of the band and the room they were playing in. It merely indicates that the stereo effect was not produced by electronically modifying a monaural recording. The practice of electronically processing stereo was still acceptable in some companies. Capitol's "Duophonic Stereo" processing of the Beach Boy Pet Sounds is just one example.

The remarkable aspect of the engineered sound of Are You Experienced? lies not in the stereo spread, but in the effects that Hendrix and engineer, Eddie Kramer, were able to achieve with Olympic Studio's 4-track facilities, and Jimi's electric sound sensibilities and guitar orchestrations. Musicians are still trying to figure out how he got all of the sounds on that record.

Guitarist Mike Bloomfield gives a glimpse of Jimi's experimentation in an interview from 'Scuse Me While I Kiss the Sky. He and Hendrix were fooling around with their guitars backstage at a concert in Los Angeles. Bloomfield was concentrating on his playing when he started hearing strange sounds coming from Jimi's amp. "Here I am playing, hunched over and playing all these notes and there's this guy . . . tapping the back of the (guitar) neck and he's got his vibrato in his hand and he's moving the toggle switch . . . and it sounded like sirocco winds coming up from the desert."

After the opening cut, "Purple Haze", comes "Manic Depression". This is one of the more driving forward-moving songs that the Experience cut. It gives an indication of what it was that made the Experience so unique at the time. The changes in rhythm within the song were more complex than most previous rock recordings. It was easy to follow after a few listenings, but it kept on and keeps on surprising. The rhythm is emphasized at certain points through changing it slightly, and this shift in rhythm pleases and somehow makes the recording sound fresh at each listening. The next cut is "Hey Joe", which was the Experience's first hit in the U.K. This song and Dylan's "Like a Rolling Stone" from the Monterey album demonstrate another aspect of Jimi's appeal to a (mostly) white rock audience. Here was an ace rhythm and blues player who played and enjoyed and understood rock, folk-rock, and even abstract sound paintings. This in spite of the fact that one of the factors which contributed to the breakup of the Experience was Jimi's need to feel more accepted by other African Americans. Hendrix was the quintessential artist, needing to create according to his own muse, also needing to feel accepted by his society.

Who was the enigma Jimi Hendrix? Between the lines of his lyrics and the spacey interviews he gave, what were his thoughts? "When Six Was Nine" was on the soundtrack to the film, Easy Rider, and gave cryptic insights.

If all the hippies cut off all their hair-I don't care!
Ain't nobody know what I'm talkin' about.
I've got my own life to live.
I'm the one that's got to die when it's time for me to die.
So let me live my life
the way I want to.

"When Six Was Nine" ended side one of the Experience's second LP-Axis: Bold As Love (Reprise RS 6281). This LP, released in the U.S. in January of 1968, was again on Reprise's tricolor label. However, since the company switched to a different label design around March 1968 this first edition is scarce. The U.K. release was again on the Track label and had noticeably different mixes on a couple of the selections. Axis: Bold As Love was widely available in stereo, but the mono run was very small and is rare.

The feeling of Axis: Bold As Love is mellower and moodier than Are You Experienced?. It has its rockers, but what attracted most people were the ballads, especially the wistful "Little Wing", with its Curtis Mayfield inspired guitar stylings, and "Castles Made of Sand". Despite the historical significance of Are You Experienced? and how right it sounded at the time, I find Axis: Bold As Love to be the record I come back to more often. Even the token Noel Redding song "She's So Fine", has a moving feeling to it, and Jimi and Mitch lend sympathetic support. In fact, Mitch's fine drumming is given more prominence than on the first LP.

How heavy was Mitch's drumming? In those innocent days of 1968, having the stage hands loudly nail down your drum kit before the show was a significantly ominous bit of show biz indeed.

The stereo spread of Axis: Bold As Love is an improvement over Are You Experienced?, but there is evidence that Hendrix wasn't altogether happy with his inability to control the final product. This was in part due to the pressure to release it during a time of constant touring. ". . . the scene of cutting it. They go by levels and all that. Some people don't have any imagination. See, when you cut a record, right before it's being printed, you know, when you cut the master, if you want a song where you have really deep sound, where you have depth and all this, you must almost remix it again right there at the cutting place. And nine-nine percent don't even do this. They just say, oh turn it up so this mixture doesn't go over or their mixture doesn't go under. And there it is, you know. It's nothing but one-dimensional."-interview recorded by "Meatball" Fulton, 1968.

The Experience's last album, Electric Ladyland (Reprise 2 RS 6307), was released in the U.S. in October 1968. The front cover has a beautiful photo of Jimi, but it is the cover released in England that received the most attention. The two disq set featured a gatefold cover photo of about 20 naked women. There was an immediate and (I'm sure not unexpected) negative response from the retailers, but what's worse is that the photo makes them all appear less attractive than was intended.

The sound of Electric Ladyland was more influenced by Jimi's then current state of mind and his increased control of production than by the previous two LPs. There is an experimental, searching sense in how unrelated the songs sound. Also, this is the first LP that featured other players sitting in on some cuts. Among others, Steve Winwood from Traffic played organ on "Voodoo Child" and Buddy Miles from Electric Flag played drums on "Rainy Day, Dream Away". Most of Electric Ladyland was recorded at New York's Record Plant with its 8-track facility. Jimi's pride and joy, his Electric Lady Studios would not open until mid-1970.

By now Jimi was getting tired of the limitations of a trio and wanted to expand the sound. "Music has to go places. We'll squeeze as much as we really feel out of a three-piece group, but things happen naturally . . ."-Jimi interviewed by Guitar Player Magazine, December 1968. In early July of 1969 bassist Noel Redding announced his plans to end his association with Hendrix. "The crux of the split, it appears, is that he was not consulted by Jimi over his plan to expand the group from a trio into a 'creative commune' which would include writers as well as more musicians."-Melody Maker, July 5 1969.

Jimi often spoke of the epic number of verses he had originally written for "Purple Haze", and how his manager Chas Chandler, had insisted on recording a tightly edited version. It would be interesting to hear that long version, but I think that the discipline Chas placed on Jimi was for the better at that time, because from Electric Ladyland until his death, Jimi was increasingly free from that outside discipline. He was certain to hit upon a formula that would have led his music to an even higher plateau, but wasn't there yet. And he was too far past the wild-man leader-of-the-Experience role to be happy or successful with that much longer. Electric Ladyland was a new beginning and the end of a segment of Jimi Hendrix's musical career.

Linger awhile with the last two songs of Electric Ladyland.

Listen as the stylus goes down on "All Along the Watchtower". Extra special attention was paid to the sound of this song. Although again Jimi was not in on the cutting of the album, "All Along the Watchtower" has the depth of sound that he felt was missing from Axis: Bold As Love. It was closer to Jimi's ideal: "I want to have stereo where it goes up and behind and underneath, you know. All you get now is just across and across."-"Meatball" Fulton interview 1968. Next comes the monumental "Voodoo Child (slight return)".

This was the last encore the warm autumn night I saw the Experience in 1969. Jack Casady, from the Jefferson Airplane, sat in on bass. The Oakland Arena management had turned on the lights in a futile attempt to keep the show from running further over schedule.

Hendrix sang:

I stand up next to a mountain,
and chop it down with the edge of my hand.

The house came down.

James Marshall Hendrix died September 18, 1970, three years and three months after his performance at the Monterey Pop Festival.



Many more short stories about records and recorded-music

are at

Journal of Recorded Music 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11


















received from David Bowman as part of tonight's Potter Creek meeting notification

Without more information--north-south/east-west axis, height of buildings, street names, etc, this diagram is misleading, even alarmist, as it simply cries "'They're' coming-to-get-us."

Diagram from David

Here's a shadow study from the City's recent environmental impact [ERI] report to give you an idea of what's coming

David Bowman


A note at bottom-diagram indicates this is a study of shadows at 3:00PM on one of the the shortest days of the year, 12/21-- Something about "Long shadows of Winter"? 

I trust the information at tonight's meeting--6:30 PM at the French School, 9th Street Campus--will be more detailed, objective, and so, more fully informative.



ps from an informed reader

"The EIR studied worst case scenario.  It does not represent the zoning proposal!  It says what would happen in the event that everything went to 100 feet; the proposal doesn't go close to that.  Using this is misleading!"


Merryll emails

Thanks Ron


Strict constructism aside, sooner than later our Berkeley Patients Group will have a new space in Our Town . . . maybe?



on 4/13/12 I posted

This week's "UC Show and Tell" featured their plans for south-west Albany--the residential and commercial development close to the Berkeley-Albany border.

The new Berkeley Rep facility in northwest-Berkeley is close-by to the south.


"Activists raise stakes with renegade farm" Benny Evangelista,Carolyne Zinko at sfgate.com.

"A tussle between preservationists and UC Berkeley over a decadelong development project in Albany erupted into a pitchfork protest Sunday, when activists planted a renegade farm on a plot of land known as the Gill Tract in an effort to keep it agriculturally pristine.

Timing their action to Earth Day, about 200 members of Occupy the Farm to Take Back the Gill Tract broke a lock on a gate, rototilled the soil and planted carrot, broccoli and corn seedlings on part of the 10-acre site at Marin and San Pablo avenues. The Albany tract is owned by UC Berkeley, which has plans for further housing and commercial development nearby."






Published by the International Committee of the Fourth International (ICFI)
"No end in sight for mass unemployment in California" Julian Quinn at worldsocialistwebsite.org.

"Nearly two years after the supposed end of the US recession, 10.9 percent of California's labor force is officially unemployed. A new study released by the Institute for Research on Labor and Employment at the University of California, Berkeley documents in detail stagnant job growth in country's most populous state.

California added only 1,500 jobs in January and 4,000 in February. The unemployment rate has been above 10 percent for three consecutive years, reflecting an employment situation that is significantly worse than the poor conditions prevailing throughout the country."


















Kate Klise, illustrated and designed by M. Sarah Klise

The letter-loving trio at Spence Mansion has something to grieve about-Ghastly's post office is about to close, which will cut off their connection to their fans. A new invention called VEXT-mail is threatening to replace not only letters, but books, hair dryers, and even garage door openers! Could the mysterious occupant of P.O. Box 5 and his seemingly sinister plan save the doomed post office? Will he strike down Ghastly's beloved ghostwriter in the process? In this fourth book in the award-winning 43 Old Cemetery Road series, eleven-year-old Seymour Hope and his new friend, Wy Fye, must solve this postmortem mystery . . . before it's too late!

publication, May 1, 2012




Steve Drobinsky, owner of Ohmega Salvage since 1986, passed away on Sunday, April 15th.

Ohmega Salvage will continue under the direction of Katherine Davis, Steve's wife



BPD Ofc Cesar Melero emails

Lieutenant David Frankel is inviting anyone who wishes to have coffee with him at the following date, time and location:
May 2, 2012 / 2:00 ­ 3:00 PM, West Side Café ­ 2570 Ninth St., #125, Berkeley, CA
I would like to take this opportunity to thank all of you who have made this program so successful and we look forward to seeing you.




Bark, a Potter Creek institution, has moved to a new west-Berkeley location,

on Addison next to Don, John and Steve's place.





"Berkeley bicyclist captures hit & run on video; police investigate" is a story with video at sfgate.com.

"A Berkeley cyclist taped a hit-and-run crash that spilled him across the asphalt in Berkeley.

Cyclist 'Bruno' uploaded the video of the Wednesday afternoon crash after he and and a buddy were hit by black sedan while climbing Tunnel Road in Berkeley. The black sedan appears to drift right and clip the two cyclists.
Both fall to the ground and get up without serious injury. The driver flees the scene.

Berkeley police are investigating the crash, said Capt. Andrew Greenwood, a Berkeley police spokesman."



















"THX Announces Five New THX Certified Global Cinemas, Mastering/Production Studio Partners and THX Approved Equipment" is a press release at marketwatch.com.

"THX Certified Facilities Provide Consumers around the World with the Highest Level of Audio and Image Performance - as the Filmmakers Intended - Delivering the Finest Cinematic Experiences.

THX Ltd. . . . announced five new THX Certified facilities and THX Approved equipment that meet or exceed THX unique and rigorous standards for delivering a world-class cinematic experience: Basecamp Films, Kuala Lumpur, Malaysia (in progress); Chinese Theatres, Hollywood, CA; James Cameron's Lightstorm Entertainment MBS Media Campus, Manhattan Beach, CA (in progress); Meyer Sound, Berkeley, CA; and SonicPool, Hollywood, CA."


And "Cal Performances Announces 2012--2013 Season" is also a press release at marketwatch.com.

"Matias Tarnopolsky's third season as Director of Cal Performances features 113 artists and ensembles presented in more than 125 performances. Highlights include 13 multi performance residencies with important ensembles, including the Philharmonia Orchestra led by Esa-Pekka Salonen and Simon Bolivar Symphony Orchestra of Venezuela led by Gustavo Dudamel; the third year of Ojai North!, featuring longtime Cal Performances collaborator Mark Morris; the world premiere of The Secret Garden, in collaboration with San Francisco Opera; Theatre de la Ville's acclaimed production of Eugene Ionesco's Rhinoceros; nine new works from eight diverse dance companies, including the Mariinsky Ballet & Orchestra in their signature 1950 production of Swan Lake; the world premiere of Harrison Birtwistle's Gigue Machine co-commissioned with Carnegie Hall for British pianist Nicolas Hodges; and the iconic Einstein on the Beach, by legendary artists Robert Wilson, Philip Glass and Lucinda Childs, in the first fully realized performances west of the Hudson River."











Marsha forwards

A very touching story, hard to see, about two brothers who were separated at birth; a story of life and death and a cruel twist of fate. Certain to stir your heart.





"NASA Tests GPS Monitoring System for Big U.S. Quakes" at nasa.gov.

"The space-based technology that lets GPS-equipped motorists constantly update their precise location will undergo a major test of its ability to rapidly pinpoint the location and magnitude of strong earthquakes across the western United States. Results from the new Real-time Earthquake Analysis for Disaster (READI) Mitigation Network soon could be used to assist prompt disaster response and more accurate tsunami warnings."





"Berkeley kayak thefts hurt struggling youth program" by Henry K. Lee at sfgate.com.

"The theft of a trailer full of kayaks at Berkeley's Aquatic Park is jeopardizing a youth program already struggling to stay afloat because of budget cuts."



"Despite Cuts, UC Berkeley Offering High Pay To Guest Lecturers"at cbslocal.com.

"A practice by the University of California at Berkeley of paying higher-than-scale salaries to guest lecturers has raised eyebrows among tenured faculty amid staff and program cuts to make up for budget shortfalls."


"UC Berkeley Must Face Protester Retaliation Suit" Chris Marshall at courthousenews.com.

" Officials from the University of California, Berkeley, may have retaliated against student protesters by arresting them, instead of giving citations, a federal judge ruled."




"Storied contractor Rudolph & Sletten recovering from recession" by George Avalos, Contra Costa Times.

"Rudolph & Sletten, the iconic construction firm known as 'the contractor that built Silicon Valley,' has begun to battle back from the brutal downturn unleashed by the Great Recession.

Like other contractors in California, the Redwood City-based firm suffered a steep drop in revenue. The year 2008, the best in the comp at cbslocal.com. other,' said Martin Sisemore, president and chief executive of Rudolph & Sletten, which was founded in 1962. 'It was like dropping off a cliff.' "


"Lawmakers pushing to tie California minimum wage to consumer price index" is a story at sacbee.com.








from our log

4/15/12--4:44 PM--irritant in warehouse front and immediately in front of warehouse, "epoxy/asbestos/hot roofing tar" odor, mucus membrane irritation. 9:08 PM---irritant in front room, "epoxy/asbestos/hot roofing tar" odor, mucus membrane irritation.

4/17/12--5:42 PM--irritant in front room, mucus membrane irritation.

4/18/12--9:12 AM--irritant in front room, dry dirty air, light head, Marsha very sick with nausea and is dizzy.

4/26/12--2:02 PM--irritant in front room, dirty dry sir, mucus membrane irritation, cough attack, Marsha similar. 7:17 PM--SERIOUS irritant in front room, dirty dry sir, h"stinging "hot metal" odor, SERIOUS mucus membrane irritation.

4/28/12--8:59 AM--SERIOUS irritant in warehouse front and immediately in front of warehouse, SERIOUS mucus membrane irritation, Marsha similar.




eternally useful links

You can find more information about our current weather conditions than is good for you at www.wunderground.com

Want to see weather coming in, going out, beautiful sunsets, and much, much more? Check out http://sv.berkeley.edu/view/ This very hip site was in an email from reader and contributor, Tony Almeida. Read Tony's Jimi Hendrix story on the only page that routinely gets more hits than Scrambled Eggs.



Richmond Ramblers' motorcycle club member, Cliff Miller emails a very

useful link

If you ever need to get a human being on the phone at a credit card company or bank, etc., this site tells you how to defeat their automated system and get you to a human being within a few seconds.




Best gas prices in 94710, as well as all of US and Canada, are here at gasbuddy.com

Kimar finds Costco routinely has the lowest price.



Bay Area home prices from sfgate.com

Bay Area foreclosures from sfgate.com


Our City Council update is here.

Our Planning Commision update is here



Our City of Berkeley Boards and Commissions page is here--redone and friendly.



All reports of crime-in-progress should first go to Berkeley PD dispatch--911 or non-emergency, 981-5900. THEN make sure you notify EACH of these City people.

The contacts are below:

Our Area Coordinator, Berkeley PD - 981-5774.

Ryan Lau, aid to Darryl Moore - 981-7120 rlau@ci.berkeley.ca.us

Darryl Moore, City Councilman dmoore@ci.berkeley.ca.us

AND check out BPD feature "Who are these Suspects."






The original owner of all posted material retains copyright. The material is used only to illustrate.