How’d They Do It: The New Trust’s ‘Marigolds’ Video

Santa Rosa trio the New Trust has released a stunning video for “Marigolds,” a song from their forthcoming fifth album, Keep Dreaming. The entire thing is one long, time-lapse shot of flowers sprouting, growing, blooming and then dying. Below, guitarist and photographer Sara Sanger describes the process of making the video, the challenges of photographing plants and why her sister probably now hates both flowers and photography.

The New Trust – Marigolds from The New Trust on Vimeo.
How long did this take to shoot, start to finish?
I started the photography in early November, and finished in March. Almost four months.
What was your setup and process?
I searched seed catalogs for dwarf variety marigolds, as most grow almost 12-18 inches tall and that wasn’t going to work out. I ended up planting a few varieties that I found that grew under 8 inches tall.
I started with a shallow Tupperware storage box, added some drip/soaker tubing underneath the soil, with a tube to get water under the dirt, as opposed to on top. I used a good tripod, a constant source of power for my camera (plugged in direct, battery wouldn’t last more than a half day), and an intervalumeter that was set to take a photo every 10 minutes.
Once the files were done, I found out that Photoshop CS6 has some pretty good basic movie editing capabilities. I was pleasantly surprised by the way that the growth and movement of the flowers moves along with the song pretty well. I had visualized that it might work out, but I don’t have any experience with time-lapse so I really didn’t know. I did not know that plants moved as much as they do, and was really happy to find a lot more motion than I had ever expected.
I shot about twice the amount of frames than I needed. Our song is 3:40, or 220 seconds, so for a standard 30 frames per second I needed 6,600 frames total. I was lucky I had shot more than I needed, since I have found the antique electricity in my house fluctuates pretty wildly—I had to sit and edit out frames that appeared to have less light or more light. Those few days staring at these flowers was hallucination-inducing.

This Time Google Did it Right

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Holy mackerel, media junkies! I came across this gem on Salon.com and what a doozy it is.

My impetus in writing on media issues for the Bohemian is to make the media landscape a better place. That may be bold and ambitious, possibly megalomaniacal—and oddly enough, if it worked, I would ostensibly be making myself irrelevant. But that’s my goal.

I was a reporter with the North Bay Business Journal for about three and a half years. I have written for myriad other publications, but nowhere else did I receive regular press releases about and from businesses and institutions I wrote about. The job of marketers is to market, and they did it, and did it well. My job as a reporter was to sift through and find the “news,” and this was my judgment call. For some reason I was allowed to be the “gatekeeper.” (A term thrown around in J school which I find sort of funny.) But the point is that I looked at these releases and determined whether there was real news value or whether they were things marketers were trying to slip past me as news so they wouldn’t have to pay for advertising.

It’s a tough job, but someone has to do it.

Anyway, this well-written column from Salon, by Andrew Leonard, is about exactly the sort of thing that has troubled me.

That trusted news sources (in this case, the author is calling out a Forbes magazine article for saying Google shouldn’t discriminate between news and sponsored content, i.e. ADVERTISING) aren’t making sure their readers know the difference between actual stories and advertising is maddening.

The Forbes writer, Jeff Bercovici, argues that Google’s recent stance against this kind of media manipulation is OK.

He says:

But even if Google’s stance isn’t a threat to the native business model, its approach here leaves something to be desired. When Google wanted to address the infestation of content farm crud in its search result, it didn’t have to threaten to block the perpetrators from showing up in search unless they played by its rules. It simply watched how its users responded to content farmed articles and used those signals to adjust its algorithm accordingly.

That’s the sort of elegant engineering solution we’ve come to expect from Google, and there’s no reason it shouldn’t apply here. If Google News users think some sponsored content is news, who is Google to say otherwise?

I’m sorry, but I am a Google News user, and I absolutely mind if there are paid-for or even not-paid-for advertisements posing as news stories!

How can we have a press that actually makes a difference in our lives if it is half advertising masquerading as editorial? We can’t. I think they call that propaganda. Kudos Google, at least this time, for drawing a line in the sand.

Misappropriation of Funds at SRJC

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An inquiry into the alleged misuse of two student funds at Santa Rosa Junior College has spurred questions that could turn into a statewide investigation at the community college level.

On Easter, the Associated Students, in concert with Director of Student Affairs and New Student Programs Robert Ethington, sent questions to the district counsel, the School and Colleges Legal Services of California, about the legality of the current use of some of these student funds to pay salaries.

Each semester, every SRJC student is asked to pay an optional $1 Student Representation Fee, amounting to between $42,000 and $45,000 annually in recent years, according to Robert Edmonds, executive vice president of the Associated Students. The fund was created by special election, and its stated purpose is to be used by students to lobby government to change policies as they see fit.

The other fund is the Student Activity Fee or Student Program Fee, a $15 fee paid by students to join the Associated Students and reap the benefits thereof. Discounted parking, free admission to events and games and discounts at the CyBear lounge are among such benefits.

But instead of going solely to programs and lobbying, these funds are paying for the salaries of two positions, Administrative Assistant III and Account Specialist, and have for a number of years, says Edmonds. A total of roughly $111,000 per year goes to the salaries, benefits and expenses associated with the two positions; $75,000 comes from the Student Activities Fund, and $36,000 from the Student Representation Fee.

“The Associated Students develop a budget every year at this time and they recommend that budget to the trustees,” Ethington said. “This year, that process is being put on standby because of this inquiry.”

Ethington has been working with the students to determine if funds are being used in an appropriate way.

“First and foremost, we want to follow the law,” he said.

Every year, the Associated Students develops a budget and takes it to the Board of Trustees for approval. “It is part of the student experience,” said Ethington. “Just like they would in a nonprofit, they recommend that budget to the board. In the 13 years I have been with the college, the board has always approved what the students bring.”

That the students’ budget is approved annually without trustee intervention means every year, the students have passed this line item, approving the funds to be used for salaries.

That is, until now.

Edmonds is the first person in charge of the budget who has taken the inquiry this far. He said as long as it’s clearly and transparently communicated to the students what they are getting for their money, there is no issue. But, he added, if it is considered legal, “I think the district should be responsible for at least half of what the students are paying now.”

“I have been advised that if, as I believe, the use of these funds is illegal, and that I am being compelled to continue including salaries in the budget that I believe is illegal, that I should resign from my position,” he added.

This advice, among other things, created a desire in Edmonds to dig deeper into the issue that had been raised semester after semester by the associated students, but never fully addressed and solved.

Jessica Jones, the president of the Associated Students, created the budget last year, and says she wasn’t made aware at the time that the funds that were allocated to pay the salaries were even accessible.

“I had no idea I could access these funds,” she said. Her chief concern with the current inquiry is that it takes months for the Associated Students to access the funds. She envisions a future where on-campus clubs can easily access funds for appropriate usage such as travel to conferences and putting on events.

According to Edmonds, Ethington is taking steps for this to happen now, but Ethington said that it is difficult once the budget has been passed to get to the reserve funds.

In 2005 there was a memorandum of understanding stating the associate students would pay 75 percent of a .6 full-time equivalent position, according to Ethington.

That later morphed over the years, and the students agreed to pay 45 percent of one full-time equivalent position. At the time of the MOU, there was no specification as to which funds the monies came out of. Over the years, the item in the budget has just passed on and been approved. The number changes every year with contract negotiations and healthcare rate changes.

“The specifics aren’t something I can even look at,” Edmonds said, citing confidential personnel issues. “I can just see the big number.”

The questions that Ethington and the Associated Students sent to district counsel are:

1) Use of Student Activities Fee revenue (pursuant to EDUCATION CODE SECTION 76060-76067):

a) Is it legally permissible for the Associated Students of Santa Rosa Junior College (ASSRJC) to authorize the use of revenue collected from the optional Student Activities Fee to fund salaries and benefits for Sonoma County Junior College District (SCJCD) classified employee position(s) whose duties include work performed on behalf of the ASSRJC?

b) If it is legally permissible to fund such a position, and such a position is fully funded (1.0 FTE) by Student Activities Fee revenue, can the position perform work for the department that supervises the position and provides administrative oversight of the ASSRJC? Background note: some of the work performed may not directly benefit ASSRJC, but it does support the overall financial operations of a college department that has historically maintained a reciprocal support and consultative relationship with the ASSRJC.

2) Use of Student Representation Fee revenue (pursuant to EDUCATION CODE SECTION 76060-76067):

a) Is it legally permissible for the ASSRJC to authorize use of revenue collected from the optional Student Representation Fee to fund salaries and benefits for SCJCD classified employee position(s) whose duties include performing work to support “students or representatives who may be stating their opinions and viewpoints…”(California Title 5, Section 54805) before legislative bodies?

b) If it is legally permissible to fund such a position and such a position is partially funded (.45 FTE) by Student Representation Fee revenue, must at least .45 FTE of work performed by the position be in direct support of activities related to “students or representatives who may be stating their opinions and viewpoints…” before legislative bodies?

c) Must language of intent to authorize salary and benefit funding for SCJCD classified employee position(s) be included in the ballot text of a student election that would include authorization of payment for salary and benefit funding of said position through collection of a Student Representation Fee?

Typically, answers to questions like this come within two weeks, but Edmonds said Monday that district counsel has sent clarification about some of the questions.

Regardless of what the opinion is by counsel and what the district chooses to do at Santa Rosa Junior College, Edmonds said he will likely be taking this issue to the chancellor’s office, and that he hopes the Student Senate of California Community Colleges is on board with him to look deeper into this issue at each college.

There is a General Assembly of the SSCCC at the end of April. Hopefully, said Edmonds, counsel will give their opinion before then so they can bring it up at the annual meeting.

As to the positions and whether the college would be able to fund them if the AS monies dried up, Ethington couldn’t comment at this time.

“But,” he said, “I think the college would work to find a place for the employees. I am hoping by the end of next week we will have a legal opinion,” he said.

“It is a big institution, there is a lot of bureaucracy,” Ethington said. “But I think there will be a good outcome. Jessica and Robert [Edmonds] have been great and I commend them on the amount of work and good things they have done for this college. Their job is to advocate and they feel like this is an issue that needs their attention.”

Live Review: Nick Cave at the Bill Graham Civic Auditorium

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How I’ve gone this long without seeing Nick Cave live is beyond me, especially since I’ve always… well, “always been a fan” wouldn’t be accurate. (I own three of his albums.) More truthful would be to say that Nick Cave’s music has never, ever irritated me. Considering Cave’s extensive output, that’s saying something. Combine it with the full-blown “holy shit” moments his songs have given to me—like hearing “Nobody’s Baby Now” while nursing a $1 PBR at EJ’s in Portland, in 1997—well, Nick Cave finally demanded to be seen live.
If you’ve seen him, you know. If you haven’t, imagine a rail-thin circus ringmaster whipping a band of lions not out of but into aggressiveness. A flamboyant offspring of Valentino and Satan, Cave channels 55 years of romantic bandwidth into sharp, stinging things called “songs,” which are more like forays across continents than things you might sing in the shower. These forays are not for the faint of heart, or, evidently, for the young: tonight, he had a children’s choir backing him up, and when they exited the stage, they covered their ears and looked terrified.

Letters to the Editor: April 10, 2013

Stop the Pipeline

I am asking for help to stop the Keystone-XL pipeline. For me, it is a moral obligation I have to my children and to future generations. The pipeline will enable a substantial escalation of the development and burning of the Alberta Tar Sands, one of our dirtiest carbon polluting energy sources.

Climate change is real and dangerous. It is now understood that Earth’s massive ecosystem can be affected by human activities. Our centuries-old habit of burning fossil fuels has affected the planet’s atmosphere in a harmful way.

Continuing to develop and burn our known fossil-fuel reserves will create catastrophic climate chaos with deadly consequences for our planet. Instead, we should direct our efforts to more rapidly deploying clean, renewable energy sources. It is possible. Germany’s “Energiewende” made a strong commitment to do this 12 years ago, and they have made great progress. I believe we can, too.

Please write the president and ask him to stop the Keystone-XL, pipeline, and go to 350.org to become active and learn more.

Kudos for Angelo

Wonderful article on Angelo Chambrone (“Fresh Blood,” March 27)! I’ve known this kid (man? Ha-ha) since he was 11. I worked with him and his parents at Sweet Lou’s, and all I can say is that his passion for food ran as deep as it does now. I’ve had the pleasure of enjoying his amazing menu at Barolo. They definitely scored with him in the kitchen. Congrats, Angelo!

Via online

I Like the Ads

I agree with Mr. Rick Call in his response to the comment made by a reader about doing away with capitalism (Letters, April 3). If it weren’t for the privately owned businesses in this community, spending their hard-earned dollars in hopes of attracting new customers, the Bohemian could not exist as the advertisement vehicle it is. I always enjoy the advertisements of local businesses in the Bohemian, and that’s why I look at it. However, I usually don’t agree with many of the ideas expressed in the articles and cartoons.

Via online

The End of War

“The war that will end all wars.” Yes, this is what we were told in middle school during the ’40s—that, yes indeed, World War I was the last war for the world. Maybe it was because of the mustard gas that did its evil thing before the gas masks could be made en masse. Maybe the slaughter of teenaged men and those in their early 20s was so terrible, twisted bodies lying in the mud or light snow. Maybe this was sobering.

What about now?

World War I didn’t end war. World War II followed, Korea came and went, and now, what of this in our immediate here and now? No one knows what Korea will do next.

The premier war to protest, Vietnam, came and went, and the lesson of war’s negative effects was not yet a hit at home. The early ’80s saw a lot of war in Latin America and elsewhere. And of course the wars in the Middle East. What will it take to end war?

And so World War I did not end war. We can only hope that if World War III ever comes, it will end the idea that might makes right in order to survive. Here’s hoping.

Santa Rosa

No More Meat

The new link between meat consumption and heart disease, discovered by Dr. Stanley Hazen of the Cleveland Clinic, is just the latest evidence linking meat consumption to killer diseases that cripple, then kill, 1.3 million Americans annually.

We have sacrificed the lives of 10,000 American personnel and trillions of dollars in waging two wars to avenge the deaths of 2,600 Americans in the 9-11 attacks. When will we wage a bloodless, low-cost war on the killer meat-based diet, potentially responsible for as many as 1.3 million American deaths annually?

Santa Rosa

Write to us at le*****@******an.com.

A Golden Affair

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Marin Ballet is half a century young this year, and its golden anniversary marks a significant milestone. To honor founder Leona Norman, and students past and present, the company hosts a public performance on April 13 featuring alumni whose aspirations and hard work led to careers as professional dancers.

Marin Ballet’s humble beginning dates back to the 1950s, when Leona Norman, an accomplished dancer, began teaching lessons in a small studio above the old Tamalpais Theatre in San Anselmo. An ambitious woman herself, having danced throughout the world and trained with notable figures in the industry, Norman was determined to bring the standards she knew to her own community in Marin.

In the 1950s and ’60s, Norman was a driving force in the regional dance movement, which promoted high-quality dance education and the further development of performing companies across the country. Norman also taught private lessons from a studio in her home until 1963, when Marin Ballet was established as a nonprofit. In 1971, Marin Ballet received a generous grant from the S.H. Cowell Foundation. These funds enabled the organization to acquire its current facility located at 100 Elm St., now equipped with six large studios, including a 120-seat studio theater, dressing rooms, administrative offices, a kitchen and a library.

But it was at the Tamalpais Theatre where Norman met her youngest pupil, Ms. Cynthia Lucas, an ambitious three-year-old who would become Marin Ballet’s current artistic director.

Initially too young to take Norman’s pre-ballet class, Lucas was determined nonetheless; she even watched her older sister take class through a tiny hole in the wall. With further persistence, Lucas earned herself a spot in Norman’s pre-ballet class for five-year-olds. “I just really wanted to dance,” says Lucas today. “And that’s when the love affair started.”

By 1972, Lucas completed her training at Marin Ballet and joined the National Ballet of Canada, where she enjoyed a fulfilling career as a dancer and, later on, ballet mistress. Some years after the birth of her daughter, Lucas accepted Marin Ballet’s offer in 1998 as school director and, two years later, artistic director.

Norman passed away in 1975, yet her vision survives. Lucas instills her students with Norman’s philosophy of maintaining a sense of life-balance when training to become a dancer. “She had a work ethic that required a serious commitment and a certain amount of respect,” Lucas explains, “which meant working our hardest every day while staying within our own individual limits.”

Marin Ballet alumna Olivia Ramsay graduated from the program in 2002 under the direction of Lucas. Ramsay represents a modern-day example of Marin Ballet’s successes. “My training not only gave me the technical base that I needed to survive as a dancer,” she says, “but Marin Ballet also gave me exceptional coaching and performance opportunities.”

Ramsay began dancing professionally the same year she graduated, joining Santa Barbara’s State Street Ballet and touring throughout the United States, China and Taiwan. Two years later, she joined Ballet Pacifica in Irvine, followed by San Francisco’s Smuin Ballet, where she danced for six seasons. (“I loved working with Michael Smuin,” she says, “and feel honored to have had the chance to dance for him before he passed away.”)

Recalling the influence Lucas had on her while she was a student, Ramsay says, “She is an incredible teacher and has clearly dedicated herself towards preserving classical ballet. She was a tough but loving teacher as a student. Now, I see how this gives her the foundation to be such a successful director.”

Marin Ballet’s alumni performance on April 13 features a series of solo performances by Boston Ballet’s John Lam; Smuin Ballet’s Robin Cornwell; and Josie G. Sadan of the Robert Moses’ Kin dance company. One work from years past is Ronn Guidi’s “Trois Gymnopedies,” first performed in 1967 by Cynthia Lucas; in her place, Lucas’s daughter Mila Lavoie, an apprentice with the Sacramento Ballet, will perform, along with Dawson/Wallace Dance Project’s Jessica Wagner and Memphis Ballet’s Travis Bradley.

Current students of Marin Ballet will also have a turn in the spotlight, to perform works by Robert Dekkers, Casey Thorne, Amy London and the legendary George Balanchine.

Closing the program, students will perform Julia Adam’s “A Midsummer Night’s Dream,” alongside San Francisco Ballet’s Pierre-François Vilanoba, and Smuin Ballet’s John Speed Orr and Jonathan Mangosing.

“April 13th is going to be an exceptional showcase of our current students, alumni and guest artists,” says Ramsay. “I hope to see many members of the Marin arts community in the audience.”

Butting Out

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The list of toxic substances in the air around us can be daunting to consider, but one of the most important yet preventable of them all is secondhand smoke, which is a lethal, unseen, almost phantom-like toxin that permeates the air in which we live and breathe. A recent joint study from British and Chinese researchers published in the January 2013 issue of the journal Occupational and Environmental Medicine strongly links secondhand smoke with both severe and mild dementia, damaging parts of the brain responsible for reason. My sense of reason tells me that our acute sense of smell and our capacity for compassion has become immune to the dangers and that we cannot escape the “silent spring” that infringes on our lives during every season of the year.

Secondhand smoke from cigarettes is still allowed to continue in many cities and towns here in Sonoma County. Fortunately, Rohnert Park, Petaluma, Sebastopol and the county do have smoking bans in place for multi-unit housing and bus stops, but we need to urge the City Council of Santa Rosa and other cities to enforce smoking bans in multi-unit housing, bus stops and other public areas. Without such enforcement, elders, children and medically sensitive residents are subjected to the hazards of secondhand smoke on a daily basis.

During the last couple of years, I have devoted volunteer time with the Northern California Center for Well Being, where I have joined their expert and passionate advocacy staff for workshops, presentations to the City Council of Santa Rosa and have unofficially designated myself as a representative for my fellow elders who suffer the effects and health hazards from secondhand smoke every day and every night.

My heart tells me it is right to want change, and that it is right to not be quiet or to not give up. I keep waiting for my city of Santa Rosa to listen.

Nina Tepedino lives in downtown Santa Rosa.

Open Mic is a weekly op/ed feature in the Bohemian. We welcome your contribution. To have your topical essay of 350 words considered for publication, write op*****@******an.com.

Manifesto

“When you are doing something that is not about you,” says Joey Damico, “it shifts the paradigm.”

One afternoon last year, the new board members of Little Tribe Children’s Foundation heard the lyrics to Nahko Bear’s song “Manifesto.” The message went straight to their hearts, and they sought out Nahko and his band, Medicine for the People, to headline the nonprofit’s first benefit concert in support of arts and music therapy for kids.

Oregon’s Nahko Bear is a folk revivalist who, along with his tribe of spirited troubadours, makes community-healing music. Nahko’s weighty vocals drift in and out of ballads about cultural cohesion, environmental consciousness and social transcendence. The message is heavy, but the rhythms are energizing. It’s a combination that resonates with the vision of the Little Tribe organization.

The budding nonprofit is based in Sebastopol. Founder Joey Damico is an Oakland native and Rhode Island–raised West Countian whose corporate technology career propelled him to the top—until his personal life suddenly came crashing down. Damico found himself searching for something to heal a broken spirit: “I started thinking about my kids and my gratitude for how healthy they were. There are a lot of people who are not blessed with healthy children.”

Bay Area children’s hospitals offer lots of creative arts therapy programs, and doctors believe they have a tremendous impact on healing, even for terminally ill kids. Generally, however, they’re sparsely funded and lack the resources to expand. That’s where Little Tribe comes in, donating 90 percent of funds raised at major events to like-minded institutions. It’s an ambitious goal, and “it’s not easy to do but it’s our mantra,” assures Damico. “We are an all-volunteer army and our core principle is to run lean and mean.”

Damico is in good company with the foundation, enlisting successful local artists to head up the board of directors. “In any business relationship, you want to surround yourself with talented and inspired people,” he says. “But more importantly they need a skill set that augments your own.” Graphic designer Zack Darling, photographer Jade Turgel and hip-hop artist Tevya “Wisdom” Jones each lend a creative dose of professional artistry to attract community enthusiasm.

Also performing on Friday is Wisdom, whose third studio album, Full Spectrum, was released in March. Wisdom’s new bout of lyricism is rooted in conscious hip-hop, enriched with world rhythms and classic dancehall beats. Featured in the seminal film The Indigo Evolution, Jones believes children must develop themselves spiritual and musically. “If I could just reach one person and help uplift their life,” says Jones, “I mean, how many artists have done that for me? That’s what inspires and drives me in my music.”

Dark Unknown

While visiting Occidental a couple years ago, Holcombe Waller played at West County Herb Company and quickly dubbed it his “favorite tiny venue west of the Mississippi.”

Even though Waller’s haircut is hipper than all the single speeds and plaid shirts in the land, the Portland-based theatrical troubadour defies easy stereotypes. He creates elaborately staged shows incorporating video projections and costumes (what he once called a “meta-theatrical singspiel-style pop opera”), and yet he can also goose-bump a crowd with nothing more than his sweet tenor and acoustic guitar. “Holcombe has an aura of magic,” West County Herb Company owner Lisa Kurtz says. “His voice is angelic.”

When Waller returns to the West County Herb Company this week, he’ll draw heavily from his most recent album, Into the Dark Unknown, which one critic described as “a contender for least macho album of the year.” Indeed, whether he’s singing about breakups or unicorns, Waller suffuses both the mundane and the magical with an arresting emotional honesty. See him on Friday, April 12, at West County Herb Company. 3641 Main St., Occidental. 8pm. $10–$20. 707.874.9567.

Dr. Motivation

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Dr. Cornel West’s voice is so motivational that hearing him read a grocery list could make heads nod in unison and inspire one to cry out, “He’s right! We have to do something about the lack of peanut butter in this house!”

But Cornel West doesn’t read grocery lists. Born in 1953, he became a lecturer at Harvard at age 25. He’s now a professor at Princeton who’s written 20 books, several of which are required reading at Sonoma State University, where he lectures this week.

West’s expertise lies in politics and religion, but race, poverty and the inequality of wealth are all fair game—and nobody is above reproach. On a C-SPAN panel, he famously lambasted President Obama for taking the oath of office on Martin Luther King Jr.’s bible while approving drone strikes in Pakistan and leaving 62 percent of prisoners in jail for soft-drug crimes—while not a single Wall Street executive is incarcerated.

Cornel West speaks Thursday, April 11, at SSU’s Green Music Center. 1801 E. Cotati Ave., Rohnert Park. 7pm. $20. 866.955.6040.

How’d They Do It: The New Trust’s ‘Marigolds’ Video

Santa Rosa trio the New Trust has released a stunning video for "Marigolds," a song from their forthcoming fifth album, Keep Dreaming. The entire thing is one long, time-lapse shot of flowers sprouting, growing, blooming and then dying. Below, guitarist and photographer Sara Sanger describes the process of making the video, the challenges of photographing plants and why her...

This Time Google Did it Right

Advertorials and editorials: not the same thing

Misappropriation of Funds at SRJC

Two students funds found to be paying staff salaries

Live Review: Nick Cave at the Bill Graham Civic Auditorium

How I've gone this long without seeing Nick Cave live is beyond me, especially since I've always... well, "always been a fan" wouldn't be accurate. (I own three of his albums.) More truthful would be to say that Nick Cave's music has never, ever irritated me. Considering Cave's extensive output, that's saying something. Combine it with the full-blown "holy...

Letters to the Editor: April 10, 2013

Letters to the Editor: April 10, 2013

A Golden Affair

Marin Ballet turns 50

Butting Out

In support of local smoking bans

Manifesto

Wisdom, Nahko Bear play benefit

Dark Unknown

Holcombe Waller to play Occidental

Dr. Motivation

Cornel West to give powerful message at SSU
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