BPD Capitain Andrew Greenwood
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
an apparent attempt to escape, the suspect emerged, ignored officers'
commands, and opened fire on several officers. Several Officers
The suspect was wounded before he was able to leave the property.
Paramedics transported the suspect to a local trauma center, where
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
Berkeley Police Homicide Investigators are investigating this
case, and will be
joined by the Alameda County District Attorney's Officer Involved
team, who will conduct their investigation as well. As mandated
Police Department policy, officers involved in this shooting are
placed on paid
This investigation is in its early stages, and will be underway
next few days. We do not anticipate having additional information
over the weekend.
"A shift to more aggressive tactics against
heroin" is an AP
"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
'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
THIS IS A "PROTOTYPE"
AMERICAN 1941 BLACK-OUT TAIL-LIGHT (LAMP) WITH WIRING AND MOUNTING
HARDWARE--NOS, EXCELLENT/NEAR MINT WITH PERFECT LENSES, SOME LIGHT
SCRATCHES IN PAINT.
IT WAS DESIGNED BY DAN FINCH OF
BERKELEY'S INDUSTRIAL TESTING LAB AND WAS BUILT BY CORONADO LIGHTING
MANUFACTURING OF LONG BEACH, CALIFORNIA. IT WAS SENT TO DAN FOR
TESTING IN THE EARLY1940s.
THE LIGHT COMES IN ITS ORIGINAL
CORONADO SHIPPING CARTON ADDRESSED TO DAN AT THE UC RICHMOND FIELD
(DAN FINCH WAS ALSO THE DESIGNER
OF SPACE SHUTTLE LIGHTING AND ROADWAY DELINIATION REFLECTORS.
DAN DESIGNED THE REFLECTORS IN HIS POTTER CREEK BERKELEY LAB FOR
ELGIN MOULDING PLASTICS. HE GOT THE IDEA FROM THE POWERED AIRPLANE
RUNWAY LIGHTS IN ENGLAND IN WW2 AND USED BICYCLE PEDAL REFLECTORS
FOR HIS FIRST MODEL. HIS SON STILL REMEMBERS THEIR ELGIN PLASTIC
ALSO INCLUDED IS THE "CIVILIAN
DEFENSE REG. BULLETIN NO3, BLACKOUT LIGHTS FOR EMERGENCY VEHICLES,
DECEMBER 16, 1941."
AND THE "HEADQUARTER WESTERN
DEFENSE COMMAND AND FOURTH ARMY PUBLIC PROCLAMATION NO.10 , AUGUST
AN ABSOLUTELY UNIQUE COLLECTABLE.
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
"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."
Wealth Management Advises Clients to Prepare Now for End of Bush
Tax Cuts" is also a marketwatch.com story.
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.
(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.
POST FROM THE PAST
Jazz singer, Ella
was born April 25, 1917
END POST FROM THE
the new shaded parking at
is under their new solar
the Bayer parking lot across
is being resurfaced with
the Bright Horizons play area building in its middle
Daily is being delivered to some in Potter Creek.
Probably no more or less
a propaganda sheet than the New York Times.
POST FROM THE PAST
Potter Creekers on a weekend-morning
my gosh, where's Natalie?
out in front of the pack,
she's out of the photo
END POST FROM THE
"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."
"Waiting to inhale: Pot smokers celebrate
'marijuana holiday' 420 today"
"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
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.
what is it
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
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.
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.
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.
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.
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."
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.
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
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."
Moments with Janos Starker
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.
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.
gently laid aside his Lord Aylesford Stradivarius 'cello, inserted
a fresh cigarette into a long holder, and walked swiftly toward
the control room.
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."
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. . .
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
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.
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
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.
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.
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.
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
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.
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.
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.
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. . .
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.
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.
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.
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
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.
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.
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.
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.
gave up orchestral work in 1958, going on to create a legendary
career both on the concert stage and in recording halls of several
by Harold Lawrence, RECOLLECTIONS
Back in The Day:
Selling Records on Berkeley's Telegraph Ave
Overholzer answered the door
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.)
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.
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.
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.
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.
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.
you Mr. Overholtzer
"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.
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.
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
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.
had moved into the future of records as collectibles.
I would like to thank Richard
Brown for his contribution to this series.
Ron Penndorf, RECOLLECTIONS
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.
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
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".
Jimi Hendrix could make plenty Big Show.
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.
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.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
awhile with the last two songs of Electric Ladyland.
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)".
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.
stand up next to a mountain,
and chop it down with the edge of my hand.
house came down.
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
of Recorded Music 1, 2,
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'
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
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
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!"
This week's "UC Show
and Tell" featured their plans for south-west Albany--the
residential and commercial development close to the Berkeley-Albany
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
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
Published by the International Committee
of the Fourth International (ICFI)
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
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:
"Berkeley bicyclist captures hit &
run on video; police investigate" is a story with video at sfgate.com.
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
a Potter Creek institution,
has moved to a new west-Berkeley location,
on Addison next to Don,
John and Steve's place.
"A Berkeley cyclist
taped a hit-and-run crash that spilled him across the asphalt
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,
Performances Announces 2012--2013 Season" is also a press
release at marketwatch.com.
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."
POST FROM THE PAST
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
END POST FROM
"NASA Tests GPS Monitoring System for Big
U.S. Quakes" at
"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
"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
" 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
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.
in front room, mucus membrane irritation.
in front room, dry dirty air, light head, Marsha very sick with
nausea and is dizzy.
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.
irritant in warehouse front and immediately in front of warehouse,
SERIOUS mucus membrane irritation, Marsha similar.
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
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.
Ramblers' motorcycle club member, Cliff Miller emails a very
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
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
Our Planning Commision update
Our City of Berkeley Boards
and Commissions page is here--redone
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.
Coordinator, Berkeley PD - 981-5774.
aid to Darryl Moore - 981-7120 firstname.lastname@example.org
City Councilman email@example.com
AND check out BPD feature
are these Suspects."
The original owner of all
posted material retains copyright. The material is used only to