Rooftops Newsletter: How Do You Solve A Persistent Problem?

When the Problem is Persistent, The Solution is Persistence

Again this week, as the news focuses on the President’s proposed budget for the next fiscal year, news outlets across the country are carrying stories raising questions about what impact cuts in spending for so-called “social programs” might have on the lives of America’s neediest citizens. In many of those stories we have seen a familiar name – our own, the National Foundation to End Senior Hunger. The references are to our research and the findings that in 2014 approximately 10.2 million seniors were threatened by hunger. It is an impressive figure (but not in the positive sense of that word) and it should help us focus on this one critically important fact: we have a serious and persistent problem in America. Every year, more and more seniors are negatively affected by the scourge that is, frankly, inexcusable in this land of plenty.

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Apr 01,2017: The Harmony Sweepstakes A Cappella Festival

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Apr 01,2017: Tiffany !!! Live at Saint Rocke

Tiffany’s iconic number one hit single I Think We’re Alone Now captured the heart of a nation and catapulted her to pop superstardom. Tiffany obtained a long and storied career in a short amount of time, and today her goal is to continue writing songs for herself and others, cementing her status in the industry as a powerhouse hit maker and go-to songwriter.

Tiffany has guest stared on reality TV shows such as Food Network’s Rachael Ray VS. Guy: Celebrity Cook Off, ABC’s Celebrity Wife Swap, VH1’s Celebrity Fit Club, AE’s Celebrity Ghost Stories and Food Network Challenge. She also headlined Good Morning America’s Summer Concert Series. As an actress Tiffany starred in SyFy Channel’s hit and campy movie’s Mega Piranha and Mega Python vs Gatoroid, in which the sci-fi disaster movie had her feuding with fellow pop star Debbie Gibson. 

Doors open at 6 PM ~ Show starts at 8 PM 



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Mar 31,2017: Leftover Salmon

Looking back over the past 25 years of rootsy, string-based music, the impact of Leftover Salmon is impossible to deny. Formed in Boulder at the end of 1989, the Colorado slamgrass pioneers were one of the first bluegrass bands to add drums and tour rock roll bars, helping Salmon become a pillar of the jam band scene and unwitting architects of the jam grass genre.

Though the lineup would change through the years, the foundation of Leftover Salmon was built on the relationship between co-founders Drew Emmitt (vocals, guitar, fiddle, mandolin), Vince Herman (vocals, guitar, washboard) and Mark Vann (electric banjo). Following a decade of constant growth and constant touring, on March 4, 2002, Mark Vann lost his battle with cancer. Vann insisted that the band carry on and Salmon did so for several years leading up to an indefinite hiatus in 2005.

If Leftover Salmon had never played another note after leaving the stage in 2005, the legacy would have been secure; the members’ names etched in the books of history. But today, more than two decades after Salmon first took shape, the band has a new album, Aquatic Hitchhiker, due May 22 on LoS Records, a new banjo phenom named Andy Thorn, and a new lease on an old agreement. Leftover Salmon is officially back.

The 29-year-old Thorn grew up a Salmon fan in North Carolina and says the band helped him realize “this is what I want to do with my life.” Ironically, it’s his presence in the group that has given Leftover Salmon new life. “Andy’s a real young guy with a lot of great energy who plays in a way that definitely relates to Mark’s [Vann] playing and he’s a lot of fun to be around, it’s led to a real revival that just clicks on some hard to describe level” says Herman. “We’ve played with some great banjo players over the past few years, and not to say anything about them being less than great musicians, but there’s just something intangible about playing with Andy that kind of makes Drew and I look at each other and grin. This is what we’ve been missing as far as that feeling between Drew, Mark and I that used to be there.”

Produced by Los Lobos’ Steve Berlin, Aquatic Hitchhiker is Leftover Salmon’s first record in eight years and first ever of all original material. “Steve [Berlin] understood where this album needed to go and how we all needed to work together as a band to make it happen” explains Emmitt. Set for release on May 22, the recording process solidified the new Salmon, cauterizing old wounds and allowing fresh ideas to grow over past scars.

“The time is right for this band to come back on a lot of levels” says Emmitt. “It’s taken us a little while, but I think we’re finally there.”

Today, Leftover Salmon is: Vince Herman (vocals, acoustic and electric guitar, mandolin); Drew Emmitt (vocals, mandolin, acoustic and electric guitar, mandola, fiddle); Andy Thorn (vocals, acoustic and electric banjo, National guitar); Greg Garrison (vocals, acoustic and electric bass, acoustic guitar); Jose Martinez (drums, percussion).

-Aaron Kayce



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Earth Talk: Neil Gorsuch and environmental policy

Dear EarthTalk: If Neil Gorsuch is confirmed to fill the vacant seat on the Supreme Court, what will be the implications for environmental and climate policy?  — JM

 

Environmental leaders aren’t particularly jazzed about Neil Gorsuch as Donald Trump’s nominee to fill the vacancy left on the U.S. Supreme Court following the death of Antonin Scalia in February 2016. For starters, the name Gorsuch brings back bad memories of the 1980s when Anne Gorsuch (Neil’s mother) slashed federal environmental funding by 22 percent as head of the U.S. Environmental Protection Agency (EPA) under Ronald Reagan. Greens at the time accused her of placating polluters and trying to dismantle the very agency she was hired to run. (And it’s deja vu all over again at the EPA with Scott Pruitt now at the helm.)

 

But it would be unfair to judge a son based on his mother’s doings some four decades ago. Nevertheless, environmentalists aren’t finding much to like from Neil Gorsuch either. According to Billy Corriher of the Center for American Progress, Judge Gorsuch made his way onto candidate Trump’s radar as a potential Supreme Court nominee in August 2016 after writing a “controversial manifesto arguing that it should be easier for corporations and individuals suing federal agencies to have courts strike down regulations and overrule decisions by experts at agencies like the Environmental Protection Agency.” Gorsuch contends that the judiciary should be able to overrule how federal agency experts interpret how a given law should be implemented. In the case of global warming, the Obama EPA interpreted carbon dioxide as a harmful pollutant worth regulating under the Clean Air Act based on the recommendations of the very agency experts Gorsuch would potentially seek to overrule.

 

Like Trump’s cabinet picks, Gorsuch favors the shrinking of federal bureaucracy and an increased reliance on the states to handle their own problems. This antipathy toward federal regulations is another reason Gorsuch could be a disaster for the climate in the case he casts the deciding vote on the Supreme Court against implementing the Clean Power Plan, an Obama-era effort to ratchet down carbon emissions from the utility sector by moving away from coal. Without the Clean Power Plan—currently cooling its heels in judicial review and likely headed for the Supreme Court later this year—there’s little hope of the U.S. meeting its Paris climate accord emissions reduction commitments.

 

Another concern is Gorsuch’s historically dismissive posture toward the standing of public interest groups as plaintiffs (defined as their right to file suit given direct injury or harm). According to EnviroNews, Gorsuch dismissed a 2015 case brought by a hunters and anglers group against the Forest Service for allowing motorcycles to access trails in Colorado’s San Juan National Forest due to lack of direct harm. Likewise, he barred three leading environmental groups from joining a 2013 suit regarding where off-road vehicles could travel in New Mexico’s Santa Fe National Forest.

 

Greens, still hopeful that the judiciary can be the last check on the conservative-dominated legislative and executive branches, are crossing their fingers that Democrats can block Gorsuch and send the Trump administration back to the drawing board for someone more to their liking.

 

CONTACTS: Center for American Progress, www.americanprogress.org; Clean Power Plan, www.epa.gov/cleanpowerplan/clean-power-plan-existing-power-plants; EnviroNews, www.environews.tv.

 

 

 

EarthTalk® is produced by Roddy Scheer Doug Moss and is a registered trademark of the nonprofit Earth Action Network. To donate, visit www.earthtalk.orgSend questions to: question@earthtalk.org.

 



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Mar 30,2017: Moonalice

Moonalice is a band of seasoned musicians who feel that live music should be a communal experience where the listener and musicians feed and derive inspiration from each other. Their songs try to speak to everyone, mixing a variety of genres with extended musical improvisations that evoke a sense of adventure and exploration.

John Molo: Drums, Vocals (Bruce Hornsby The Range, John Fogerty, Phil Lesh Friends, The Other Ones).

Barry Sless: Lead Guitar, Pedal Steel Guitar, Bass (Phil Lesh Friends, David Nelson Band, Kingfish, Cowboy Jazz).

Roger McNamee: Rhythm Guitar, Vocals, Bass Guitar. (Guff, The Engineers, Random Axes, Flying Other Brothers)

Ann McNamee

Pete Sears: Keyboards, Guitar, Vocals, Bass (Sam Gopal Dream, Rod Stewart, original Jefferson Starship, Hot Tuna, John Lee Hooker).

Big Steve Parish: Road Scholar, Medicine Man, Story Teller. (Grateful Dead crew for 26 years, co-founder of Jerry Garcia Band)

You can watch nearly every Moonalice concert live on MoonaliceTV. Most of the shows are available via satellite and HTML 5, which means you can watch them from a smart phone without an app.

Website: http://www.moonalice.com

Video: http://www.moonalicetv.com

Facebook: http://www.facebook.com/moonalice

Twitter: https://twitter.com/moonalice



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Mar 29,2017: Old 97’s and Ha Ha Tonka

Although they became one of the most enduring bands in the alternative country-rock catalog, Old 97′s drew inspiration from a broad range of genres, including the twangy stomp of cowpunk and the melodies of power pop. Formed in 1993 by frontman Rhett Miller and bassist Murry Hammond, the group spent the bulk of the decade posed on the brink of mainstream success, issuing albums that often drew warm reviews but never yielded a substantial hit. Old 97′s tightened their sound as the decade drew to a close, retaining their bar-band vigor while introducing a stronger pop/rock sound on albums like Too Far to Care and Satellite Rides. Miller also mounted a solo career in the early 2000s, but the band remained together nonetheless, continuing to release material with their original lineup intact into the following decade.

Rhett Miller and Murry Hammond first partnered up in 1989, when Miller enlisted the latter’s help in producing his debut solo album, Mythologies. Although six years younger than Hammond, Miller proved to be a dedicated musician as he canvassed the Dallas club circuit, playing an blend of folk and British-styled pop to local audiences. He also displayed a knack for storytelling, having previously earned a creative writing scholarship to Sarah Lawrence College. One year after Mythologies’ release, Miller and Hammond teamed up once again, this time as part of the short-lived Sleepy Heroes.

Although the Sleepy Heroes disbanded after issuing one album, the band’s mix of pop and Texas-styled twang helped lay the foundation for Old 97′s. Continuing to build upon that sound, Miller and Hammond linked up with lead guitarist Ken Bethea and recorded a demo tape at the Cedar Creek studio in Austin. Drummer Philip Peeples climbed on board shortly thereafter, and Hammond’s childhood obsession with trains inspired the band’s new name, which paid homage to the country ballad “Wreck of the Old 97.” With their lineup intact, Old 97′s released the debut album Hitchhike to Rhome in 1994. It garnered positive reviews and began to build the group’s alt-country fan base, which they consolidated on the album’s follow-up, Wreck Your Life. Issued in 1995 by the newly formed Bloodshot Records — a label that would also launch the alt-country careers of Neko Case and Ryan Adams — Wreck Your Life presented Old 97′s as a sharp, eclectic country-rock outfit with a pinup-worthy frontman. Such positive attention led to a major-label deal with Elektra Records, who hoped to translate the band’s underground buzz into mainstream success.

Old 97′s made their Elektra debut in 1997 with Too Far to Care, a muscular album that balanced the band’s Texas traditionalism and pop leanings. Many publications placed the band among the leaders of the alt-country movement, and Old 97′s toured extensively in support, joining the Lollapalooza tour that summer and playing alongside Whiskeytown for a series of shows sponsored by No Depression magazine. Arriving two years later, 1999′s Fight Songs offered another polished, pop-friendly set of songs, allowing the band to sell out 1,500-seat venues during its return to the road.

By this time, Miller had moved to Los Angeles and shed the thick, ’50s-style glasses that had become a major part of his image. He and Hammond also began performing in an informal side project dubbed the Ranchero Brothers, although a proposed album never materialized. Instead, the musicians returned their focus to Old 97′s, releasing another pop-influenced record with 2001′s Satellite Rides. Miller took a temporary leave after its release to work on a solo power pop record, The Instigator, which was released in late 2002. A period of relative inactivity followed, as the bandmembers found themselves in different cities, with several of them starting families.

The hiatus ended in 2004 with the release of Drag It Up, whose subsequent tour featured prominently on the double-disc live album Alive Wired. Afterward, Miller returned to his solo career with 2006′s The Believer, which found the frontman experimenting with strings and orchestral arrangements. Old 97′s returned to the studio once again in 2008, though, this time holing up in their native Dallas to help channel the energy of their earlier records. The move worked, and the resulting album, Blame It on Gravity, delivered some of the band’s strongest songs in years. While touring the country in support, Murry Hammond launched his own solo career, packaging a wealth of old-timey gospel ballads and locomotive imagery onto the album I Don’t Know Where I’m Going But I’m on My Way. Miller also found time to release a solo album, 2009′s self-titled Rhett Miller, which appeared one year before the ninth Old 97′s record, The Grand Theatre Volume One. Originally intended as a double-album, The Grand Theatre was followed in mid-2011 by a companion record, The Grand Theatre Volume 2.



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Mar 29,2017: Hermosa Beach Farmers Market

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Mar 28,2017: Josh Arbour and Kira Lingman

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Mar 28,2017: Manhattan Beach Farmers Market

Market Hours:

Winter Market

Tuesdays, 11AM – 4PM

Location: Metlox Plaza behind Shade Hotel – 13th Street and Morningside Drive



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