Source: Streetwise Reports 11/05/2024

Revolve Renewable Power Corp. (TSXV:REVV; OTCQB:REVVF) released its strongest financial results since going public in 2022, those for fiscal year 2024 (FY24) ended June 30, 2024, the company announced in a news release.

"FY24 marked significant progress for the company as it continues its transition to an owner and operator of renewable energy projects, incorporating a focus on building long-term recurring revenues and cash flow for the business," the release noted.

This company, headquartered in British Columbia, develops utility-scale solar, wind, hydro, and battery storage projects in North America. The Revolve Renewable Business Solutions division installs and operates sub-20-megawatt, behind-the-meter distributed generation assets.

FY24 revenue of US$6.7 million (US$6.7M) exceeded guidance by 35% and surpassed FY23 revenue by 509%. Significant contributors to total revenue for this latest fiscal year were deferred revenues and milestone payments of US$4.25M from the sale of the Bouse and Parker projects to ENGIE. Completion of the WindRiver Power Corp. acquisition in February added $671,738 of total revenue. In the future, WindRiver business is projected to generate recurring revenue of US$1.8M on a 12-month basis.

Adjusted EBITDA in FY24 also was up year over year (YOY), at US$2.7M versus US$1.5M of guidance and (US$2.1M) in FY23.

The gross margin in FY24 was strong at 96%. This was due to increased recurring revenues from the distributed generation portfolio, low operating costs of the rooftop solar projects therein, the addition of operating utility-scale projects in Canada, and sale proceeds from utility-scale projects in the U.S.

FY24 resulted in a net income of US$2.6M, whereas FY23 saw a net loss of US$2.3M.

As for the balance sheet, at FY24's end, Revolve had US$3.2M in cash. Total liabilities were US$10M, up from US$2.6M in FY23 due to nonrecourse debt taken on via the WindRiver acquisition plus additional loans granted by RE Royalties Ltd., a Canadian royalty finance company, throughout FY24.

Operational Progress Made

Operationally, in FY24, according to the release, Revolve generated 8,048,729 kilowatt-hours (8,048,729 kWh) of renewable energy, up 397% from 1,618,456 kWH the year before. The main drivers were continuing output from the company's operational distributed generation portfolio and power produced at the Box Springs wind farm.

During the 15 months between July 1, 2023, and Oct. 31, 2024, Revolve added of 76.1 megawatts (76.1 MW) net of development hydro projects in Canada through the WindRiver acquisition and 480 MW of new greenfield development projects in Canada and the U.S. These took the total of Revolve's utility-scale projects under development to 3,015 MW.

The company made significant progress on its 20 megawatt (20 MW)/80 MWh Vernal BESS battery storage project and 49.5 MW Primus wind projects, now in the late stage of development and expected to reach ready-to-build status at the end of 2025 (2025E).

Revolve is still building its two distributed generation assets in Mexico, totaling 3.45 MW. Permitting work continues on the 3 MW CHP project continues, and the final commissioning of the 450-KW-peak rooftop solar project is taking place.

The distributed generation project pipeline remains at about 150 MW, and efforts are ongoing to sign additional power purchase agreements for new projects from it.

Also, Revolve recently announced its acquisition of a 30-MW-peak solar development project in Alberta, Canada, and expects a 20-MW-peak first phase will be ready for construction by 2025E.

Independent Power Producer

Revolve is a revenue-generating, renewable-focused independent power producer formed in 2012 to capitalize on the growing global demand for renewable power, according to its October 2024 Corporate Presentation.

The company began as solely a developer of utility-scale projects, a line of business that provides investors access to higher returns. Currently, the company has two projects under construction, the ones in Mexico and 3,000-plus MW worth of projects in development in Canada, the U.S., and Mexico. To date, Revolve has developed and sold more than 1,550 MW of utility-scale projects and is now targeting 5,000 MW under development.

Today, Revolve is also an owner-operator of renewable energy distribution generation projects that provide recurring revenue and cash flow via long-term power purchase agreements. Currently, the portfolio contains 150-plus MW of generation projects in Canada and Mexico. The company will continue expanding this line of business through organic growth and mergers and acquisitions (M&A) activity.

Revolve's management team has a successful track record in taking renewable energy projects from greenfield to ready-to-build status and in selling them to large operators. Collectively, it has generated about US$23M in revenue historically from the sale of 1,550 MW of development assets and has raised US$10.3M in equity capital.

Significant Sector Growth Forecasted

The transition to net zero emissions continues driving the renewable energy industry after nearly 200 countries at the COP28 UN Climate Change Conference in December 2023 pledged to triple global capacity by the end of this decade. In a report last month, the International Energy Agency (IEA) forecasted global renewable capacity reaching almost 11,000 gigawatts (GW) by then, reflecting 2.7 times growth, falling short of the goal.

Solar Photovoltaic (PV) Power: Of the growth predicted for renewable energy during this period, solar photovoltaic power will make up 80% of it, according to the IEA, due to its increasing economic attractiveness in most countries.

"At the end of this decade, solar PV is set to become the largest renewable source, surpassing both wind and hydropower," the agency wrote. Hydropower currently is the top source worldwide.

Wind Power: Wind power will account for 15% of all forecasted renewable capacity growth, noted the IEA. This sector has suffered recently from macroeconomic factors and supply chain difficulties, but it is expected to recover. Global wind capacity is projected to expand between 2024 and 2029 at double the rate it grew between 2017 and 2023.

"Policy changes concerning auction design, permitting, and grid connection in Europe, the United States, India, and other emerging and developing economies are expected to enhance project bankability and help the wind sector recover from recent financial difficulties," the article noted.

Hydropower: As for hydropower, capacity is continuing to grow consistently, noted the IEA, due primarily to efforts by China, India, Africa and the Association of Southeast Asian Nations region.

In North America, the U.S. is expected to be the biggest market for hydropower, according to Mordor Intelligence. Between 2024 and 2029, the market is forecasted to expand at a compound annual growth rate of 1%, spurred by demand for renewable energy and investments in hydropower plants.

"The technological advancements in efficiency and decrease in the production cost of hydropower projects are expected to create ample opportunity for market players," the article noted.

The Catalysts: Results of Business as Usual

As Revolve continues effecting its growth strategies, numerous potential stock-boosting events should occur, according to its corporate presentation.

Catalysts resulting from ongoing efforts include further M&A transactions, signing additional power purchase agreements, and bringing new distributed generation projects online. wo increasing revenue and cash flow growth.

Specifically, the company reaching its goals of advancing 70 MW of the BESS and Wind projects to ready-to-build status as well as 30 MW of solar in Canada, in 2025. These have the potential to generate material revenue and add value.

Another catalyst is Revolve achieving ready-to-build status for its two wind projects in Mexico, the 103 MW El 24 and the 400 MW Presa Nueva. The company's ultimate goal with these assets is to partner on or sell them. [OWNERSHIP_CHART-10982]

Finally, payments toward the remaining US$45–55M balance still owed to Revolve regarding the ENGIE sale could boost its stock.

Ownership and Share Structure

About 60% of the company is owned by insiders and management, Revolve said.

Top shareholders include Joseph O'Farrell with 13.21%, Roger Norwich with 12.15%, the CEO and Director Stephen Dalton with 6.01%, President and Director Omar Bojorquez with 4.82%, and Jonathan Clare with 1.84%, according to Reuters and the company.

The rest is retail.

Revolve has a market cap of CA$17.96M. It has 63.04M outstanding shares and 38.75M free float traded shares. Its 52-week high and low are CA$0.50 and CA$0.21 per share, respectively.

Sign up for our FREE newsletter at: www.streetwisereports.com/get-news

Important Disclosures:

1. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Revolve Renewable Power Corp.
2. Doresa Banning wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an independent contractor.
3. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

For additional disclosures, please click here.

( Companies Mentioned: TSXV:REVV;OTCQB:REVVF, )

Source: Streetwise Reports 11/07/2024

Jericho Energy Ventures Inc. (JEV:TSX.V; JROOF:OTC; JLM:FRA) has announced a strategic move to spin off its hydrogen solutions platform into a separate entity. The new entity, to be named Hydrogen Technologies Corp. (HTC), was approved by the company's board of directors. The intention is to create two specialized companies focusing on hydrogen technology and traditional energy assets, respectively. Each Jericho Energy shareholder will retain their Jericho shares while receiving shares of the new HTC entity on a pro-rata basis in consideration of the transfer of Jericho's hydrogen assets.

The planned transaction, still subject to regulatory and shareholder approvals, aims to allow both companies to focus on their distinct markets and strategies. Jericho Energy expects this restructuring to enable each company to operate with tailored capital structures and investment plans, positioning them for growth within their specific sectors. The final terms of the spinout will be detailed in a management information circular to be shared with shareholders before they vote on the proposal.

Approval processes for the spinout include a review by the TSX Venture Exchange, shareholder consent, and possibly court approval in British Columbia if the plan proceeds via a formal arrangement. Jericho's CEO, Brian Williamson, noted in the news release, "By separating our hydrogen platform, we can create two agile, focused companies . . . positioning them for long-term growth and success."

Jericho Energy, which will continue trading on the TSX Venture Exchange under the symbol JEV, will retain its traditional oil and gas assets following the separation. The company's annual general meeting on January 15, 2025, may serve as a venue for shareholder approval, or a separate meeting may be scheduled.

Hydrogen Energy and Clean Tech

Energy Storage, in its November 5 report, underscored the growth potential for green hydrogen in the U.S. Supported by the government's US$7 billion Regional Clean Hydrogen Hubs program, this program aimed to boost clean hydrogen production and reduce costs. The report noted that the Mid-Atlantic Hydrogen Hub (MACH2) anticipated large-scale green hydrogen projects, generating over 20,000 jobs and incorporating hydrogen applications across sectors like steel, aviation, and maritime.

On November 6, Reuters reported that despite political shifts, U.S. clean energy momentum continues to be driven by federal tax credits and technology advancements. Renewable energy sources, including hydrogen, were identified as the fastest-growing segments on the power grid, benefiting from initiatives like the Inflation Reduction Act (IRA) and state mandates. Carl Fleming, a partner at McDermott Will & Emery, highlighted that "the jobs and the economic benefits have been so heavy in red states, it's hard to see an administration come in that says we don't like this." Although political challenges might impact renewable sectors like offshore wind, the trajectory of clean energy, including hydrogen, remained strong due to market demand and state-level support.

The International Energy Agency's (IEA) 2024 Global Hydrogen Review reported that global hydrogen demand reached 97 Mt (metric tons) in 2023. This demand was projected to approach 100 Mt in 2024. The IEA highlighted a rising focus on low-emissions hydrogen, particularly for refining and heavy industries. Although new applications in transport and energy storage accounted for less than 1% of global demand, industry interest grew, with chemical, refining, and shipping sectors making strides in contracting low-emissions hydrogen. The IEA also noted substantial investments in electrolyzer projects worldwide, with installed capacity expected to grow significantly.

Jericho's Catalysts

According to Jericho Energy's April 2024 investor presentation, the spinout of Hydrogen Technologies Corp. aligns with a broader strategy to drive advancements in hydrogen technology. Currently, an area experiencing significant momentum due to global energy transition efforts, the investor presentation highlights key growth drivers, including Jericho’s patented hydrogen-based boiler technology and emerging partnerships with institutions and companies across the hydrogen sector. [OWNERSHIP_CHART-7025]

The decision to separate hydrogen assets positions HTC to capture opportunities within the rapidly expanding hydrogen ecosystem, benefiting from policy support and rising market demand for green energy solutions. As part of its strategy, Jericho intends to leverage its expertise in traditional energy systems while directing resources to support innovation in hydrogen applications.

Ownership and Share Structure

Around 35% of Jericho's shares are held by management, insiders, and insider institutional investors, the company said. They include CEO Brian Williamson, who owns 1.19% or about 3.1 million shares; founder Allen Wilson, who owns 0.76% or about 1.97 million shares; and board member Nicholas Baxter, who owns 0.44%, or about 1.14 million shares, according to Refinitiv' latest research.

Around 10% of shares are held by non-insider institutions, and approximately 55% are in retail, the company said.

On March 6, 2023, JEV completed an insider-led private placement financing, above the current share price, for gross proceeds of CA$2.23 million.

JEV's market cap is CA$25.19 million, and it trades in a 52-week range of CA$0.07 and CA$0.18. It has 259.75 million shares outstanding, approx.. 189.99 million floating.

Sign up for our FREE newsletter at: www.streetwisereports.com/get-news

Important Disclosures:

1. As of the date of this article, officers and/or employees of Streetwise Reports LLC (including members of their household) own securities of Jericho Energy Ventures Inc.
2. James Guttman wrote this article for Streetwise Reports LLC and provides services to Streetwise Reports as an employee.
3. This article does not constitute investment advice and is not a solicitation for any investment. Streetwise Reports does not render general or specific investment advice and the information on Streetwise Reports should not be considered a recommendation to buy or sell any security. Each reader is encouraged to consult with his or her personal financial adviser and perform their own comprehensive investment research. By opening this page, each reader accepts and agrees to Streetwise Reports' terms of use and full legal disclaimer. Streetwise Reports does not endorse or recommend the business, products, services or securities of any company.

For additional disclosures, please click here.

( Companies Mentioned: JEV:TSX.V; JROOF:OTC; JLM:FRA, )

L-R Access Hollywood film critic Scott Mantz moderates a talk by Neil deGrasse Tyson at the Aero Theatre in Santa Monica, June 9, 2017. Courtesy of the American Cinematheque; Credit: Robert Enger

Neil deGrasse Tyson came onto the science-themed, late night talk show circuit with some clout. The "Cosmos" host, author, educator, and Hayden Planetarium director's first guest when StarTalk "jumped species" from podcast to television was Whoopi Goldberg. 

On Friday June 9, 2017, Tyson opened up a screening of "Star Trek II: The Wrath of Khan" at the American Cinematheque's Aero Theatre in Santa Monica with a talk on his career as an astrophysicist-turned-broadcaster. Access Hollywood's film critic, Scott Mantz, moderated the event and asked Tyson for his three favorite StarTalk guests.

1. Nichelle Nichols

While StarTalk was still just a podcast, Nichols appeared on StarTalk twice. Tyson learned that Star Trek had been a holdover gig for Nichols while paying her dues to land dancing parts on Broadway. Tyson didn't think being Lieutenant Uhura was anything to sneeze at. "She is actually in the chain of command to be captain of the ship," remarked Tyson.

Early on into the series, Nichols decided it was time to go back to New York and find her dream job, Tyson said. However, before leaving she attended a party where she bumped into Dr. Martin Luther King Jr. 

"And he says, 'Oh, my children! We line up at night, and you make us all proud.' And she said, 'Oh, thank you, but I'm going back to New York,' and he said, 'You can't do that. There are no other black people on television. Much less, what there are, they're not in any kind of role of responsibility, and integrity, and dignity.' And he convinced her to stay with the series." - Neil deGrasse Tyson

Tyson teared up, searched for tissues, and said he opened up a bottle of wine at eleven in the morning during the taping with Nichols. "And then, I think it was only one and a half glasses of wine," Tyson said, before he asked Nichols about her and William Shatner's interracial kiss on Star Trek, one of the first interracial kisses on television. Tyson said Nichols told him that the producers of the show wanted to film a version of the scene without the kiss, but that she and Shatner purposefully kept messing up the non-kiss until they ran out of filming time so that the editors of the show wouldn't have any such scene to work with.

Nichols then asked Tyson if he wanted to see what a "racial kiss" was, and then she kissed him.

Tyson also recognized Nichols for her role in recruiting women and people of color for NASA space missions from engineering schools across the United States. Tyson said Nichols was able to find these recruits by looking where NASA had not been looking.

"You were only looking at the U.S. Naval Academy and not Tuskegee Institute where they have a huge engineering group. So she laid out this recipe, and that first astronaut class: it had black people, it had Asians, it had women. And they were at the top of their class when they came out of college and graduate school, so she shaped the modern view of NASA."

2. Biz Stone

"The name doesn't even sound real," said Tyson, referring to the co-founder of Twitter. Tyson counts Stone among the great entrepreneurs who never finished college: Bill Gates, Michael Dell, Mark Zuckerberg.

"Until he described how he envisioned Twitter, I had not fully appreciated what it was," said Tyson. Stone asked Tyson if he had ever seen birds suddenly take flight and flock together after behaving independently, and then, just as swiftly as they started, return to their posts and be "individuals again."

"Twitter is a flocking mechanism for humans," Tyson said. "I live near Ground Zero in New York City," Tyson recalled what could be described as a Twitter moment from 2011. "I'm watching TV, all of a sudden I heard noises in the street. Crowds were developing. I said, 'What's going on?'" While Tyson was sitting in his home, it had been announced that Osama Bin Laden had been killed.

Tyson got on the internet and read the news. "I missed all that, but all these people got the tweet, and everyone gathered back at Ground Zero." That realization of the nature of social media made Biz Stone Tyson's number two guest.

3. Kareem Abdul-Jabbar

Jabbar's appearance on StarTalk is from the upcoming season, so Tyson did not want to reveal the topics of the episode, but he could not resist including Jabbar because of his numerous qualifications.

• He has written a novel about Sherlock Holmes' older brother, Mycroft Holmes (which Jabbar talked with Off-Ramp about in 2015)
• He had a column in Time Magazine
• His high scores on Celebrity Jeopardy
• He's the highest scorer ever for the NBA, with 38,387 career points (Kobe Bryan is third with 33,643 points)
• He played in the All-Star Game 19 times out of his 20 NBA seasons
• He has six NBA Championship rings
• And he was in "Airplane!" and Bruce Lee's "Game of Death"

Tyson gives us one giveaway though, from Jabbar's interview. The one film role that Jabbar is disappointed about never being cast in was Chewbacca in "Star Wars."

Neil deGrasse Tyson's new book is Astrophysics for People in a Hurry. Thanks to him and the American Cinematheque for allowing us to excerpt their presentation on Off-Ramp.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp's Rosalie Atkinson, her dad, and her dad's mustache circa quite a few facial hair fads ago. (Credit: Rosalie Atkinson); Credit:

These cool tips would have landed in your in-box with no extra effort on your part IF you'd subscribed to Off-Ramp's weekly e-newsletter. We send out a recommendation every week, along with all the latest Off-Ramp news. Sign up now!

Father's Day is coming quick! But before you run to Walgreen's Sunday morning to find they are sold out of touching cards for the father figure in your life, let us help you curate a fun day out with dad.

Thinking about significant-figure holidays, there seems to be more of a method for planning Mother's Day surprises. You get the breakfast-in-bed together quietly for mom or grandma or aunt, etc., wake her up early on a Sunday, she quickly scrambles to hide the fact that she decided to sleep pantsless, then you present her with some poorly made waffles and juice which she will inevitably spill on her white sheets.

But what about your father-figure? A card? Yes. Maybe a golf ball? Okay. A mug you Amazon Prime'd to him in a last-ditch effort that says "Captain Dad?" Don't do that. It might be weird to ask the men in our life, "What the hell do you want?" under the veil of Father's Day, so to spare you we've compiled some ideas.

Idea #1: Take your father to get pampered! Spa days are are not gender-specific and when was the last time someone even looked at your dad's feet? Hollywood salon Hammer & Nails focuses on men's cuticle care. Treat your dad to a MANi-pedi, and he'll also enjoy a glass of bourbon, a personal flatscreen TV with noise-cancelling headphones, all while relaxing in an over-sized leather chair. Although Hammer & Nails targets men, women are also welcome. 8257 Melrose Ave, Los Angeles, CA 90046.

Idea #2: Take in a tasting. Greenbar Distillery is LA's first spirit distillery since the Prohibition was repealed in 1933. They boast the "World's largest portfolio of organic spirits." Take a tour, pose with their gigantic copper stills and whiskey barrels, sign up for a class, or just taste some of their 16 spirits and five bitters. Their tours are reserved for Saturday so consider this a pregame to your other Father's Day plans. 2459 E 8th St, Los Angeles, California, 90021.

Idea #3: Younger kids? Let's play! Sunday, the Autry Museum of the American West is opening a new exhibit about the history of play. Experience the next generation of toys and games, but also see how they differ across generations and cultures. The exhibit is very interactive and the museum is in beautiful Griffith Park, so there are plenty of hiking trails, picnic spots, or viewpoints to snap some pictures with your man/men.  234 Museum Drive, Los Angeles, CA 90065 .

Idea #4: The Abbey's annual Father's Day Brunch. For the past six years, The Abbey in West Hollywood has hosted a brunch in celebration of LGBT families or those considering starting one. There will be a breakfast buffet from 9am-1pm and attendees can get more info about fostering opportunities. $18 per person. 692 N Robertson Blvd, West Hollywood, CA 90069 .

Much love to all the dads, uncles, grandpas, friends, and men nurturing other people!

This content is from Southern California Public Radio. View the original story at SCPR.org.

"Dispersion" (detail). Acrylic ink and paint on canvas. (Courtesy of Kenyatta A.C. Hinkle); Credit:

Kenyatta A.C. Hinkle's "The Evanesced" was inspired by the #SayHerName movement against police violence, as well as Los Angeles's Grim Sleeper serial killer. Hinkle depicts black women in the nude, twisting and writhing, as though they're sinking back into the canvas. Or are they reemerging from it?

Deputy Director of the California African American Museum Naima Keith says Hinkle's exhibit looks at the "historical present," the way in which history still affects us today, harkening back to slavery and Jim Crow. Keith says the main issue Hinkle is addressing is the invisibility of black women, especially those who are abused or in danger. 

Hinkle was particularly inspired by the South LA serial killer "The Grim Sleeper." He is accused of murdering over one hundred women from the 1980's onward, until being captured in 2007. Many of his victims were women of color according to the Los Angeles Police Department.

"He had been killing prostitutes and runaways and drug addicted women," says Keith, noting that some saw these deaths as occupational hazards.

Most of Hinkle's subjects in the paintings and sketches in "The Evanesced" are clearly nude. This was a deliberate choice to showcase femininity, according to Keith. She says:

She’s talking about being women... There’s love, there’s joy, there’s pain. All things we experience as all women... But [nudity], I think, allows us to focus on the female form, not necessarily get caught up on what they are wearing or what they’re doing.

In the artwork, viewers can see that every face, body, and hair style is completely unique to each sketch or painting. Keith says this helps the viewer appreciate the diversity amongst women of color. She says:

You have women that are smiling. You have women that are looking at you- you know- lovingly, shyly. Not every one, not every image in the show is about negativity, disappearance, or sadness. There is a bit of celebration. There’s interaction between multiple women. That’s what makes the body of work so interesting: it’s not just seeing women of color through one lens. There’s the possibility of seeing them through, like I said, disappearance, and also the freedom to have a wide range of emotions.

There is one painting that continues to draw Naima Keith back to it. It is called "Uproot 2017" and it features a feminine figure with three exposed breasts. She says this painting speaks to her about motherhood and the connection women have with their changing bodies. Keith says:

I asked Kenyatta why she depicts women with multiple [extra] breasts and we had a conversation about being moms. Kenyatta and I are both mothers of young children... As moms, we just kinda talked about how things aren't what they used to be, in terms of where they used to be. Like I said, becoming mothers, you have this different relationship with your body in relation to someone else.

Kenyatta A.C. Hinkle's "The Evanesced" runs at the California African American Museum through June 25, 2017.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Drew Arriola Sands, left, sings in the South Gate band Trap Girl at La Conxa, 2017.; Credit: Amina Cruz

Growing up, Drew Arriola-Sands' music was "too weird for the weird kids." Her first band couldn't even get a backyard gig, but since Sands transitioned in 2013, her current band, Trap Girl, have been at the center of an exploding queer hardcore scene in Los Angeles. 

NOTE: Trans Pride L.A. is taking place this weekend, Saturday June 17, at the Los Angeles LGBT Center. To hear a preview of the event with organizer Gina Bigham, listen to the extra audio on this post.

Sands is 28 now, but she's always been drawn to glamorous women with big hair. Her mirror is adorned with pictures of Ronnie Spector, Dolly Parton, and Jayne Mansfield. Wig idols, she calls them. Sands has a large collection of wigs, and even makes her own, but it all started 20 years ago.

"When I was a little kid, my mom always had short black hair," Sands remembers. "And then one day, getting ready for school, she walked out of the bathroom with a long, thick, black braid with a ribbon on it, and it freaked me out, because I never saw her with long hair. So I was like, 'That’s weird! What is it?'" She was eight years old. For weeks to come, Sands would lock herself in the bathroom and stare at the extension braid in it's clear, Avon box until her mother threw it away without warning. The seed had been planted, though.

Her love of singing came at an early age too. As a child, Sands would stand up on a chair while watching baseball with her father to sing the national anthem. Her mother would scold her for being loud and tell her that she could sing at a baseball game when she was older. At 11, her father put her in little league.

We look at a picture of young Drew in a baseball jersey. Sands was a chubby little kid, biting down a smile, and burying her hand in her mitt. "I was a 'catcher' even then," laughs Sands.

"I was told I was gay before I even knew I was gay, because people saw I was feminine, did things a little different, spoke a little different, a little more sensitive," says Sands. Bullying was a consistent part of her childhood, with no one incident standing out because there was always "80 more horrible ones," she says. But she found ways to cope through her hobbies.

Her father said if she wasn't going to play a sport, she had to play an instrument. The first instrument she started with in earnest was the guitar, before picking up bass and more. "Nirvana was still the biggest band in the world. Everyone at my junior high who played guitar learned how to play 'Rape Me' or 'Smells like Teen Spirit' as their first song" says Sands. The first song sands learned on guitar was Nirvana's "About a Girl," and the first album she bought was Hole's "Live Through This."

"One of my first jobs, actually, was making burnt cd’s for a guy who sold them at the alley, and he made me copy Trina cd’s, ten at a time. She had songs on there like 'Nasty Bitch,' things like that, and I just loved it! But it was like a guilty pleasure, 'cause I was still a rock kid."  - Drew Arriola-Sands

By her early twenties, she started her first real band, The Glitter Path; Sands describes it as something like Daniel Johnston, the schizophrenic outsider musician, mixed with Patsy Cline - extremely emotional, "lying across the road, ready to die type of music." It didn't fit in in the "very straight, very cis, surf rock-indie" backyard scene, says Sands. She can't remember the band playing more than two or three shows, anywhere, but she says she doesn't hold any grudges.

The Glitter Path's "Wear a Wig"

We look at another photo of Sands from her Glitter Path days. She points out the increasing number of women’s accessories she was wearing at the time. She was starting to feel a change coming.

"I was in a relationship in 2013 with an artist, but I was male presenting, and I had these feelings of identity and gender, and I expressed them to him, and he accepted them," Sands says,  "but didn’t know how to deal with me and I didn’t know how to deal with myself." Sands boyfriend broke up with her, and she reevaluated her emotional state. "My mental health was not going to get better if I did not come out [as a trans person]," she decided.

She had a much easier time dating after transitioning, and one chance hook-up set Sands down a new musical road.

"So this guy I was hooking up with at the time would play the Damned in the room while we were hooking up. I had a guitar in the room, and he didn’t know I played music and said, 'Do you play guitar?' I said, 'Yeah.' He said, 'Well, you should start a band, like the Damned, and play guitar. It’d be good, looking the way you do, and wear ball gowns.'” - Drew Arriola-Sands

Sands started Trap Girl, not as guitarist, but as lead singer, in 2014.

The early shows were backyard gigs in South Central. Songs like “Dead Men Don’t Rape” went over well, but Sands wasn’t out as a trans performer yet. Maybe people could read between the lines though, with a name like Trap Girl. Sands offers a few definitions for Trap Girls/Trap Queens (though she has never settled on just one).

• A woman who helps out a "trap lord," or drug dealer
• A very convincing transvestite
• A girl trapped in a man's body

Throughout 2015, Trap Girl built their following Downtown and on the Eastside, with Sands finally out as a trans artist.

Trap Girl live at Xicana PUNK Night

"I started this band alone," explains Sands. "I didn’t know any queer people, I didn’t know any trans people, I didn’t know who was gonna help this band. Who was gonna give us a shot? So, I was ready to defend this band, even though there was no one defend it from."

Rather, Trap Girl were embraced and found sisterhood in bands like Sister Mantos and Yaawn. In 2016, Sands took it a step further and organized the first annual Transgress Fest (at the Santa Ana LGBT Center), for trans performers. "We had people as young as twelve to people as old as sixty in the audience," she says. "We had a huge turnout. I never expected that."

Transgress Fest is coming back in November. In the meantime, Trap Girl are getting ready to release their second EP, "The Black Market." The title track grapples with the question of whether or not a trans person needs surgery.

"Being a woman doesn’t mean you have to look like a woman. I didn’t know any trans people at all before I transitioned, so automatically, my idea was to think that I needed to present as feminine to be accepted as a trans person, but little did I know, that that’s the last thing you need to be a trans person. Not all people can pass, and that’s ok." - Drew Arriola-Sands

Sands says the takeaway from "The Black Market" is not to risk your life with black market cosmetic procedures. "These girls are killing themselves to achieve their looks," says Sands. "They’re getting it offline [sic], off Craigslist. You know, they go to someone’s basement and get their ass injected with cement, and then they go home and get a blood clot in their lungs, and they die." "The Black Market" EP is due for release this summer.

Trap Girl is singer Drew Arriola-Sands, bassist Ibette Ortiz, drummer Jorge Reveles, and guitarist Estevan Moreno.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Hollywood billboard queen, Angelyne was featured on the first Off-Ramp episode producer Chris Greenspon ever heard.; Credit: Creative Commons via Flickr user Thomas Hawk

After a few semesters of college radio at Mt. San Antonio College, I landed my first radio job: Board Operator! At struggling KFWB Newstalk 980. My career in radio began the way it does for so many, working odd hours and weekends.

A few months into my new gig, I was leaving for work and I thought, “You know, if I’m going to work in radio, I should listen to the radio.” I drove over the bridge on Hacienda Boulevard in La Puente, heading towards the 60, and right in front of my on-ramp, there was a big, orange billboard for KPCC. Why not 89.3?

The first thing I heard (and I should clarify that this was also my first time ever hearing public radio) was Janis Joplin getting her star on the Hollywood Walk of Fame, on Off-Ramp. Clive Davis, the CBS A&R executive who signed Joplin, told the crowd about how Joplin had suggested sealing their new relationship by having sex (though he demurred), and that his heart was broken when she died. Then Kris Kristofferson sang “Me & Bobby McGee,” and I was smiling, until I heard a chorus of hippies singing "Mercedes Benz." Pee-yew!

“Should I stay?” I asked myself. How could I not, when someone named Dylan Brody came on and told a story about letting his dogs poop on the neighbor’s lawn? But then, the real cheese, for a 20-something year old, biracial kid who loved space ships and tough punk girls; "Love and Rockets" cartoonist Jaime Hernandez talking about drawing for Junot Diaz.

All this was to say nothing of the loud, defiant-sounding host, who kept saying. "This is Off-Ramp, I’m John Rabe." I listened to him slide between all of these topics, and even report from the field himself, talking about museums in a way that wasn’t – boring. After a few more pieces and a few more uses of the Off-Ramp theme song, I had a new favorite show. And I suspect a few other people did too.

That was November 2013. Five months later, I was on the show. At the end of the episode, I noticed that they had an intern in the credits, and after many repeated scourings of the KPCC careers page, the position finally opened up. So what’d I do? I went out with my chintzy audio recorder, and recorded a story so if I got an interview, I wouldn’t go in empty-handed. I didn’t get the internship then, but John did buy the piece. Remember the one about the Burmese Café run by an ex-biologist?

I kept freelancing after that, and honestly, I got a lot of my ideas from stuff that Off-Ramp wasn’t doing. John would have Angelyne, and her famous Hollywood billboard, but what about the giant neon sign at Rose Hills Cemetery in Pico Rivera? Kevin Ferguson would hang out with Mike Watt from the Minutemen, but what about punk supergroup, the Flesh Eaters? And could we talk about a domestic violence shelter in a Thanksgiving Special, or the fact that a home-abortion movement started in Los Angeles?

John eventually asked me to intern after turning the Jim Tully mini-documentary in, and even after joining the company, writing these kinds of stories for Off-Ramp was still not easy, but there was room for all of them. I would be beyond thrilled if somebody heard even one of them when they heard Off-Ramp for the first time.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Catcus garden at the Getty Museum (Creative Commons via Flickr user Prayitno); Credit:

'Off the 405' is a free night of music, agua-fresca cocktails, and immeasurable views. The Getty Museum stacks their performance calendar with great artists, sometimes indie, sometimes local, always energetic; this Saturday's line-up features the great, all-Angelena rock group, La Luz.

The band's sound was deemed "surf-noir" by Stereogum, complete with bright lyrics and haunting harmonies. The band quickly gained notoriety in LA for the energy of their live performances, and Soul-Train style dance competitions during their sets.

https://www.youtube.com/watch?v=WlUiwINM5lM

'Off the 405' takes place from 6pm to 9pm and will feature a cash bar, some light bites, and an opening DJ set as the sun goes down.

It doesn't get more scenic and quintessentially Los Angeles than this. So enjoy a free night out, a craft cocktail, and some fantastic music. Don't forget to snap a skyline-selfie and send it to Team Off-Ramp!

The Getty Center is located at 1200 Getty Center Drive in LA, roughly 12 miles northwest of downtown. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Elizabeth Harper, a relics expert, at Mountain View Cemetery in Altadena; Credit: John Rabe

"Reach a certain moment in your life, and you discover that your days are spent as much with the dead as they are with the living." – Paul Auster

This has been one of my favorite quotes for a long time. To me it means that when you get older and your friends, relatives, and heroes start dying, you have a choice. You can either stop thinking about them because they're dead, giving up, as it were, the pleasure of their company; or you can keep them in your life. To me, that's not denial; it's being realistic.

So, it makes sense that I felt a kindred spirit with Elizabeth Harper, who keeps the website All the Saints You Should Know, when we met at a beautiful mausoleum at Mountain View Cemetery in Altadena to talk about the history of cemeteries, relics, castrated Italian avuncular mummies, and the best spots in Los Angeles to commune healthily with death.

Elizabeth will be part of the team when Atlas Obscura leads tours of The Cathedral of Our Lady of the Angels on Saturday, July 1. It's billed as "A celebration of life, death, architecture, and the patron saint of Los Angeles."

Here are some highlights of my mausoleum conversation with Elizabeth Harper:

At first glance, she says, all of the tombs are very similar.

And that was one of the things, when we started making modern cemeteries, outside the city lines, they wanted them to be regular and not so expressive and macabre. But people leave little things behind. On a lot of these (crypts), you can see a little emblem of something that was important to them. If they were a Mason or if they served in the Army. I like the (cremains) urns that are shaped like books. I have a friend who is a librarian and she was very taken with the idea of being in a book.

Napoleon instituted the Edict of Saint-Cloud, which mandated that cemeteries must be outside city limits (for health reasons) and must be toned-down (for no good reason).

People did not like the edict. There's a very famous poem called Sepulchers by Ugo Foscolo that was written in protest, that said, essentially, looking upon the graves of strong men strengthens the mind and the spirit.

From Slate: Photographing the Real Bodies of Incorrupt Saints, by Elizabeth Harper

Elizabeth often writes about cemeteries and tombs and sometimes posts photos of bodies, which causes a "certain segment" to assume she has no experience with death, or she wouldn't presume to do such a thing.

What I want to put out there is that we have this pervasive idea that we grieve and move on, and this moving on is very important, and I think there are multiple ways to incorporate the idea of death in your life, to get used to the idea, without forgetting, that's more of a way of memorializing. When I take these pictures, I'm very aware that these are real people, and I think of myself, what I will be one day, and people I love, who are already there.

Make sure to listen to our entire interview in the audio player to hear Elizabeth's 3 top spots in Los Angeles to consider the place of death in our lives, and to hear about poor old Uncle Vincent, a neutered naked mummy in a small town in Italy who has a large fan base.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The back cover photo splash from Ruth Batchelor's album "Songs for Women's Liberation: Reviving a Dream"; Credit:

I’ve been a member of the LA Film Critics Association since 1999. LAFCA is a good group - collegial and filled with real movie lovers. But it has a problem.

It's a professional organization, meaning a baseline for membership is you have to have a job, and film criticism is overwhelmingly white and male. 78 percent of the top critics listed on RottenTomatoes are male, and women write only 18 percent of the major reviews. So LAFCA is like the profession itself: overwhelmingly a platform for white men.

It's trying to diversify. It has been for years. But how do you do that when the pool you draw from has a huge institutional bias? According to film critic Claudia Puig, "Criticism has been a white male dominated field for very long. And it continues to be. And not just white males, but middle aged."

Claudia is the current LAFCA president - and a legendary critic, who wrote lead reviews for 14 years at USA Today, and now appears regularly on KPCC’s Film Week.

"Very few movies pass the Bechdel Test. Women are often just girlfriends, wives, mothers. They don't get to have a story arc of their own. But if you had more women reviewing these movies, they would point out certain things that people might not notice as potentially offensive. Because we have been harassed, or we have experienced any number of things. It's something I've grappled with through my entire career." - Claudia Puig

I'm on a committee with Claudia for the LA Film Critics. The concept is to mentor young writers - to generate diversity, from the ground up. One idea is to have a scholarship for aspiring female film critics. We thought it would be good to name it after a prominent woman from the group's past.

So I went to Myron Meisel, who joined LAFCA in 1979, just four years after it formed, and I asked him, "Is there a woman you can think of who played an especially prominent role in the history of the LA Film Critics Association?" "Oh!," Myron said. "Ruth Batchelor was the founder and driving force..." "Wait, what?" I asked. "LAFCA was founded by a woman?"

"We weren't shocked. You had Ruth, who was very much concerned with creating a Los Angeles equivalent to the New York Film Critics Association. Which she largely pulled together by force of will. While Ruth was the moving force, you really can't discount her ability to martial the enthusiastic support of Charles Champlin as a co-founder, and the imprimatur of the Los Angeles Times behind him. Ruth had an enviable ability to make everything she undertook seem inevitable." - Myron Meisel

It's poignant, isn't it? And a little creepy. A prestigious group commits to gender diversity, and somehow, it doesn't have the institutional memory to know that the pivotal figure in its history was a woman.

How could we forget Ruth? Batchelor was nothing if not memorable. Before she became a pundit, she was a successful pop songwriter in the style of Neil Sedaka, or Goffin and King. She wrote dozens of songs, recorded by everybody from Phil Spector to the Partridge Family. She wrote Elvis Presley numbers, including "Cotton Candy Land," which might be the most hated track in the Presley catalogue.

But Batchelor also wrote "Where Do You Come From?", which is beautiful.

Elvis Presley performing Ruth Batchelor's "Where do you come from?"

Where do you come from, Ruth?

It wasn't easy to find out.

Batchelor's New York Times obituary was full of false leads. It said she was a critic for National Public Radio. She wasn't, but when NPR searched their archives, they unearthed a lead: a Film Comment article from 1982, where Batchelor is described as "Ruth Batchelor of National Public Radio's 'As it Happens.'" "As It Happens" airs on Canada's CBC.

So I placed a call. And I waited.

Meanwhile, I found a blog post about Batchelor as a songwriter on an excellent site called "Zero to 180 - 3 Minute Magic." The title of the post was riveting: "First 'Women's Liberation LP.'"

It turns out in 1971, Ruth Batchelor self-produced and financed a concept album called "Songs for Women's Liberation: Reviving a Dream." 

Myron Meisel told me about Ruth's earthy sense of humor, and it's right there in the first write-up's, where her working title is "A Quarter for the Ladies Room." A Billboard article from August 1971 quotes Batchelor about the album: "Right now I have an album of dirty Women's Liberation poems recorded, and I'm trying to sell the master." Then she laughs. "The last record company I recorded for folded."

Batchelor shopped her record. There were no takers.

But Batchelor proved unstoppable. She created her own record company and called it Femme Records. Then she put out what the leftist journal Broadside called "the first feminist record album," all by herself. "Reviving a Dream" is forgotten, bordering on lost. It's never been available for streaming, or released on CD.

Batchelor's record is a pastiche of radio styles from her era. There's Joan Baez folk, two drawling country laments, even some call and response stuff Batchelor probably learned from Phil Spector and his girl groups.

Are Batchelor's songs any good? They're amazing. Amazing just because they exist.

She fits into the churning sea of anonymous faces so seamlessly it takes awhile to realize: She's Ruth Batchelor. The woman who founded the LA Film Critics. A group currently struggling with gender diversity.

LAFCA prez Claudia Puig agreed to an interview knowing it had to do with LAFCA, but not what it was about. I played her Batchelor's song "Drop the Mop." Batchelor intended it as an anthem, scored to a tempo of marching feet.

The listen was awkward - like force feeding a roommate your iTunes playlist. Claudia took notes the whole time, to occupy her critical mind, but I could see when it ended that she was moved.

 "Yeah, it's a really interesting song," Claudia said. "My reaction is sort of...ummm..."

Claudia hesitated, looking for words.

"And this was the origin of the group. Yeah. It really kind of... It is really interesting. I'd never heard of her. She was right there, fighting that fight." 

"And here, we were looking for an avatar," I said.

"Right. Right. It means something. This is a really important discovery that you made."

A piece of the portrait was missing - an essential one. It came courtesy of Kevin Robertson, a producer for "As It Happens" at the CBC. Batchelor had been the show's "Hollywood Correspondent" in the early 1980s. There was audio in the archives. Kevin provided me with five MP3s.

Batchelor's CBC brand was gender traditional. She was the tinseltown gadfly, a niche created by Hedda Hopper and Louella Parsons in the 1930s. There was gossip about Burt Reynolds and Loni Anderson. Richard Burton's widow. Marvin Hamlisch. TV's "Gomer Pyle."

It was kitsch heaven, so I wasn't disappointed. Not exactly. But it was still a bit like listening to Wonder Woman try to be ordinary, because hey, we all gotta eat.

Ruth Batchelor's "Mr. Principal"

The LA Film Critics get a cameo in Batchelor's Oscar season broadcast, when she mentions her LAFCA Awards vote. For awhile, I thought that would be the only audio connecting the "As It Happens" Ruth Batchelor to the feminist fireball she wanted to be.

Then Batchelor starts riffing on "Partners," a buddy cop farce about a straight cop who goes undercover as a gay man. The film had sparked protests from the gay community. Batchelor is unsympathetic, which is surprising in a civil rights pioneer. Her reasoning is devastating.

"You know if women got angry every time there was a movie against women," Batchelor says, "there wouldn't be any movies."

Batchelor died of cancer early - she was just 58. 25 years later, men still direct most mainstream movies - 93 percent as of 2015. They have 70 percent of the speaking parts, and play 88 percent of the leads.

While women get to be naked twice as often in American movies.

Men review almost all movies too. Maybe that's why Ruth Batchelor founded the LA Film Critics. Because she lived in that world. She covered it. Spoke to it. Fought hard against it.

And then left behind a hidden legacy.

"She is our avatar," Claudia says, as our interview time runs out. "It sort of makes me want to redouble our efforts to honor her spirit."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Former LA Times food writer Russ Parsons offers John Rabe a piece of pie, in John's Mercedes; Credit: John Rabe/KPCC

Semi-retired, former LA Times food writer Russ Parsons appeared often on Off-Ramp over the years, helping to explain the city’s communities through their food, as well as giving solid cooking advice. For the final edition of Off-Ramp, John picked up Russ at Jongewaard's Bake-N-Broil, a Long Beach institution.

Parsons brought John an olallieberry pie (a cross of 'Black Logan' blackberries and youngberries), whilst the inimitable Parsons -- author of "How to Pick a Peach: The Search for Flavor from Farm to Table" and "How to Read a French Fry: And Other Stories of Intriguing Kitchen Science" -- opted for the coconut cream.

Listen to the audio for John and Russ' observations on how food brings the disparate cultures of Los Angeles together, and to hear about which part of hosting Off-Ramp is as humbling for John as it is for Parsons when readers tell him they cook his food at Thanksgiving.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: John Rabe/KPCC

Off-Ramp fan, KPCC member (!), and Tom Petty and Heartbreakers keyboardist Benmont Tench III joined John in his old Mercedes with his large, but portable Casio.

Tench has lived in the hills of Tarzana for decades, in a perfectly good house, but in the 100-degree heat, John outfitted his car with condenser mikes to record a farewell ode to Off-Ramp, Tench's "Like the Sun."

The full band version of Benmont Tench III's "Like the Sun"

"Like the Sun" helped Tench get back in the songwriting groove a decade ago after he burnt out on being professional songwriter in Nashville. He based the lyrics on tours of Los Angeles given to him by a friend, and takes the listener (with his Southern accent) from a restaurant called Michoacan to a hill top tent city. Tench also told John how he and his wife Alice explore Los Angeles.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp producer Queena Kim acts on behalf of millions of Angelenos. The meter didn't stand a chance.

; Credit: John Rabe/KPCC

Off-Ramp began eleven years ago, just as digital technology was beginning to overtake radio. No more cassette tape or mini-discs; host John and producer Queena Kim thought they could take on all of Los Angeles with two digital audio recorders and a different approach to public radio.

Short-handed as they were, John and Queena had to adopt slash-and-burn tactics to get each show produced on time. The majority of interviews were conducted in the field; at the homes, workplaces, and favorite hang-outs of their subjects (instead of waiting for guests to come to the station) and many of the stories were edited as simple two-way interviews with life in Southern California picked up as ambient, background noise. After all, a show called Off-Ramp had better be ready to brave some LA traffic.

At this juncture, John feels free to say what he has always wanted to, but hasn't for fear of self-aggrandizement: "I think we were trendsetters. I think Marketplace and NPR heard the stuff we were doing, and started doing stuff like it." Once again, Kim chalks it up to being in the right place at the right time technologically, and the two person team's willingness to break out of the old-school, public radio way writing a story: with a very clear sonic difference between studio narration and field audio.

Of course, it wasn't just Marantz recorders and minimal rewriting that gave Off-Ramp its flavor. There was a whole lot of weird spewing up out of Los Angeles during the show's formative years and Kim's tenure (2006-2010). She recalls covering a ten-theremin orchestra at Disney Hall, and the excitement of working on a show that let her (and the listeners, vicariously) do things she always wanted to do. "It was almost like having a free pass to the city."

In order to capture what was new and exciting, John and Queena both agree that it was absolutely vital to abandon the reporter's instinct for safely packaging the story ahead of time. John cites his editor at Minnesota Public Radio's philosophy, Mike Edgerly; "Go find what the story is, go out and explore and figure out what the story is. Don't figure it out at your desk first." The collaboration between John's ideas and Kim's sense of logistics formed a dialectic relationship, valuing the "third, better idea" over either of their original perspectives. In light of that, John says Queena Kim was the perfect person with whom to start Off-Ramp. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Stones Throw DJ Peanut Butter Wolf spinning.; Credit: Photo by Maris Kaplan via Flickr Creative Commons

For the final Off-Ramp recommendation, we scoured the internet far and wide for options that really speak to Angeleno culture and the show's mission of spreading LA love far and wide. However, upon thoughtful reflection, we've decided the show has always been about getting out and trying fun, new things and learning something. Every engaged community member getting out in Southern California adds to the cultural wealth of the city and so this weekend, let's get out and play/shake it fast and loose.

LA has multiple cheap or free events this weekend to get you out into the city, meeting new people, and that will have you considering shaking your groove-thang on a sliding scale, from gingerly to furiously.

1. Dance DTLA

During summer, The Music Center celebrates multicultural dance with alternating lessons and performances, each Friday. Friday the 30th will feature a DJ set curated by local label Stones Throw's golden boy Peanut Butter Wolf. The night will include sets by Peanut Butter Wolf, DJ Steve, Vex Ruffin, and Jimi Hey playing the 80's and 90's hits that inspired their music careers. The performances will include Funk, Soul, Disco, New Wave, and Rap reimaginings. The event is entirely free and begins at 9pm at 200 N Grand Ave, Los Angeles, 90012.

2. Grand performances: First peoples, New voices.

As part of their free summer concert series, Grand Performances has curated a line-up of fantastic Hip-Hop performers, emboldened with an indigenous perspective. The MCs are encouraging Hip-Hop fans to come experience "raw lyrics, urgent poetry, and iconic dance" by a selection of performers representing native Southern California groups, spreading their culture and passion. The event runs 8pm-10:30pm on Saturday at 350 S Grand Ave, Los Angeles, 90071.

3. House Party LA + DoLA: The Biggest Dollar Party Ever!

Event group House Party LA has outdone themselves on this Saturday's event. Yes, there will be great performers: Tiger, Suga Shay, Gianna Lee, and DJ Damage. Yes, admission is $1, or $5 without a facebook RSVP. But here is the real draw: slices of pizza are just $1. Cheap fun, music, and cheap pizza? That is the selling point to end all selling points. Unless they were giving out free cars and puppies... which we can't rule out just yet, you had best to go and investigate for yourself. The event starts at 9pm and will run until 2am at the Regent, located at 448 S Main St, Los Angeles, 90013.

A fond farewell to all the Off-Ramp recommendation readers and takers. It's been a pleasure.

This content is from Southern California Public Radio. View the original story at SCPR.org.

L-R: Three Southern California retro fanatics, John Rabe, Chris Nichols, and Charles Phoenix; Credit: John Rabe/KPCC

Is it possible that the two titans of retro Southern California - Charles Phoenix and Charles Nichols - have never been on Off-Ramp at the same time? But maybe that brings up a larger question. Is it even possible for them to exist in the same place, at the same time, or would their meeting cause a cosmic singularity, an undarnable rending of the time-space continuum?

The answers are, stupidly, yes; and thankfully, yes.

Over the 11 years of Off-Ramp, "God Bless Americana" author Charles Phoenix and Los Angeles Magazine's Chris Nichols have played a large part in bringing interesting and endangered places to our listeners. From Pomona to Chatsworth to Bellflower to Anaheim, both men have made careers of highlighting and preserving things that in their day were seen as expendable, flavor-of-the-month, mass marketed creations. Like programmatic architecture (buildings that look like what they're selling or making, i.e. the Donut Hole in La Puente, the Idle Hour - a giant wine cask - in NoHo).

Yet, with hindsight, we've been able to see them as archetypal and important touchstones of our region.

For their final appearances on the show, they got in the Mercedes and shared their love of getting lost in Southern California.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Off-Ramp host John Rabe and Mayor Eric Garcetti playing backgammon in John’s car. Julian “The First Lady of Off-Ramp” Bermudez in the passenger seat with camera. ; Credit: Andrea Garcia

John Rabe’s last show coincides with Eric Garcetti’s inauguration for his second term as Mayor of Los Angeles. In John's car, the two talked about:

• The joys of exploring Los Angeles
• The time the future Mayor's mom and dad took his drivers' license away
• Where Justin Trudeau should visit when he comes to LA
• And how the drop in crime has led to more people doing the Off-Ramp thing

The Mayor also did some slam poetry, and then played a competitive game of backgammon. Listen with the audio player to see who was brown and who was white. And listen to Off-Ramp on the radio to find out who won the game! (Saturday at noon/Sunday at 6pm)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Brad and George Takei, the new typical American married couple.; Credit: John Rabe/Grant Wood/Michael Uhlenkott

UPDATE: “Allegiance” will be performed Feb. 21-April 1, 2018, at the Aratani Theater at the Japanese Cultural and Community Center in downtown L.A.'s Little Tokyo.

ORIGINAL STORY: In an intimate interview, George Takei tells Off-Ramp host John Rabe about crafting the Japanese-American internment camp history into compelling Broadway musical theater. "Allegiance," with Takei, Lea Salonga and Telly Leung, played at the Longacre Theater.

George Takei and his husband Brad were putting their house in mothballs when I arrived for our interview in August. They'd already been spending a lot of time in New York because of George's recurring role on "The Howard Stern Show," but now, with the Broadway opening of "Allegiance" just a couple months away, they were preparing to move for as long as the musical brings in the crowds.

While Brad went off to deal with the mundane domestic tasks around the move, I sat with George in their living room to talk about turning one of America's most shameful episodes — the internment of some 120,000 loyal Japanese-Americans during World War II — into a musical that could make it on the Broadway stage.

George, you just sent an email to your fans with the subject line: "I've Waited 7 Years to Send You this Email. Seven years!" Inside, you wrote: "Few things are as difficult and complex as taking a show to ‪Broadway‬. It's both thrilling and terrifying." What was terrifying?

"The terrifying part is, you've poured your passion, your energy, your resources ...  you make all that investment in that project, and then you're hoping the seats are going to be filled.That 'what if' is terrifying. But in San Diego, we had a sold-out run and broke their 77-year record. But now we're going to Broadway, and that same fear is there. Will they come? What will the critics say? Because it's life or death."

It took a long time just to get a Broadway theater.

"It took a long time to get a theater.You think there are a lot of Broadway theaters, but there are even more productions that want those chunks of New York real estate. So we thought we'd get in line. But then the other discovery we made is that the theater owners have relationships with grizzled old producers who have brought them a vast fortune with enormous hits, and they can cut in line. They have a track record. And so, 'will we ever get a theater' became a big question. But we have this time now — let's use it creatively, productively."

So, Takei says, the team tweaked the show, removing parts that didn't work didn't advance the story, inserting numbers that worked better and kept the story moving. They doubled down on social media, building and proving demand in the show.

"We have a Shubert theater (the Longacre), and Bob Wankel is head guy there, and I remember pouring my heart out, telling the story of my parents, hoping that touches. And he was understanding, but I understood his problem, too. Everybody is trying to get a theater and he has to make a good business decision and was initially skeptical. An internment camp musical? But music has the power to make an anguished painful situation even more moving, even more powerful. It hits you in the heart."

Highlights from "Allegiance" at the Old Globe in San Diego

This is your Broadway debut, right? Are you petrified?

"Yes, yes. I've done a lot of stage work, and I've done a lot of public speaking, but it's Broadway, and I'm a debutante... at 78 years old! And it's the critics, too. The New York Times, Ben Brantley. That's who I'm going to be facing, and so it's both exciting and absolutely filling me with ecstasy, but what makes it ecstatic is the fear."

For much more of our interview with George Takei, listen to the audio by clicking the arrow in the player at the top of the page ... and hear George Takei and John Rabe's duet of "Tiny Bubbles."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Full Text:

The same artificial intelligence technique typically used in facial recognition systems could help improve prediction of hailstorms and their severity, according to a new, National Science Foundation-funded study. Instead of zeroing in on the features of an individual face, scientists trained a deep learning model called a convolutional neural network to recognize features of individual storms that affect the formation of hail and how large the hailstones will be, both of which are notoriously difficult to predict. The promising results highlight the importance of taking into account a storm's entire structure, something that's been challenging to do with existing hail-forecasting techniques.

Image credit: Carlye Calvin

Full Text:

After 16 years of dedicated planning and engineering, scientists at the U.S. Department of Energy's (DOE) Brookhaven National Laboratory have completed a 3.2 gigapixel sensor array for the camera that will be used in the Large Synoptic Survey Telescope (LSST), a massive telescope that will observe the universe like never before. The digital sensor array is composed of about 200 16-megapixel sensors, divided into 21 modules called "rafts." Each raft can function on its own, but when combined, they will view an area of sky that can fit more than 40 full moons in a single image. Researchers will stitch these images together to create a time-lapse movie of the complete visible universe accessible from Chile. Currently under construction on a mountaintop in Chile, LSST is designed to capture the most complete images of our universe that have ever been achieved. The project to build the telescope facility and camera is a collaborative effort among more than 30 institutions from around the world, and it is primarily funded by DOE's Office of Science and the National Science Foundation.

Image credit: SLAC National Accelerator Laboratory

Full Text:

The Maya of Central America are thought to have been a kinder, gentler civilization, especially compared to the Aztecs of Mexico. At the peak of Mayan culture some 1,500 years ago, warfare seemed ritualistic, designed to extort ransom for captive royalty or to subjugate rival dynasties, with limited impact on the surrounding population. Only later, archeologists thought, did increasing drought and climate change lead to total warfare -- cities and dynasties were wiped off the map in so-called termination events -- and the collapse of the lowland Maya civilization around 1,000 A.D. (or C.E., current era). New evidence unearthed by National Science Foundation-funded researchers call all this into question, suggesting that the Maya engaged in scorched-earth military campaigns -- a strategy that aims to destroy anything of use, including cropland -- even at the height of their civilization, a time of prosperity and artistic sophistication. The finding also indicates that this increase in warfare, possibly associated with climate change and resource scarcity, was not the cause of the disintegration of the lowland Maya civilization.

Image credit: Francisco Estrada-Belli/Tulane

Full Text:

Many wild southern sea otters in California are infected with the parasite Toxoplasma gondii, yet the infection is fatal for only a fraction of sea otters, which has long puzzled the scientific community. A National Science Foundation-funded study identifies the parasite's specific strains that are killing southern sea otters, tracing them back to a bobcat and feral domestic cats from nearby watersheds. The study marks the first time a genetic link has been clearly established between the Toxoplasma strains in felid hosts and parasites causing fatal disease in marine wildlife. The study's results highlight how infectious agents like Toxoplasma can spread from cat feces on land to the sea, leading to detrimental impacts on marine wildlife.

Image credit: Trina Wood/UC Davis

Full Text:

What an animal eats is a fundamental aspect of its biology, but surprisingly, the evolution of diet had not been studied across the animal kingdom until now. Scientists at the University of Arizona report several unexpected findings from taking a deep dive into the evolutionary history of more than one million animal species and going back 800 million years, when the first animals appeared on our planet. The study revealed several surprising key insights: Many species living today that are carnivorous, meaning they eat other animals, can trace this diet back to a common ancestor more than 800 million years ago; A plant-based, or herbivorous, diet is not the evolutionary driver for new species that it was believed to be; Closely related animals tend to share the same dietary category -- plant-eating, meat-eating, or both. This finding implies that switching between dietary lifestyles is not something that happens easily and often over the course of evolution.

Image credit: Daniel Stolte/UANews

Full Text:

The molecular mechanism used by many bacteria to kill neighboring cells has redundancy built into its genetic makeup, which could allow for the mechanism to be expressed in different environments, say researchers at Penn State and the University of Wisconsin-Madison. Their new study provides insights into the molecular mechanisms of competition among bacteria. "Many organisms, including humans, acquire bacteria from their environment," said Tim Miyashiro, a biochemist and molecular biologist at Penn State and the leader of the research team. "These bacteria can contribute to functions within the host organism, like how our gut bacteria help us digest food. We're interested in the interactions among bacteria cells, and between bacteria and their hosts, to better understand these mutually beneficial symbiotic relationships." Cells of the bioluminescent bacteria Vibrio fisheri take up residence in the light organ of newly hatched bobtail squid. At night, the bacteria produce a blue glow that researchers believe obscures a squid's silhouette and helps protect it from predators. The light organ has pockets, or crypts, in the squid's skin that provide nutrients and a safe environment for the bacteria. "When the squid hatches, it doesn't yet have any bacteria in its light organ," said Miyashiro. "But bacteria in the environment quickly colonize the squid's light organ." Some of these different bacteria strains can coexist, but others can't. "Microbial symbioses are essentially universal in animals, and are crucial to the health and development of both partners," says Irwin Forseth, a program director in the National Science Foundation's Division of Integrative Organismal Systems, which funded the research. "The results from this study highlight the role small genetic changes can play in microbe interactions. Increased understanding will allow us to better predict organisms' performance in changing environments."

Image credit: Andrew Cecere

Full Text:

A new study shows that graphene sheets can block the signals mosquitoes use to identify a blood meal, potentially enabling a new chemical-free approach to mosquito bite prevention. Researchers showed that multilayer graphene can provide a twofold defense against mosquito bites. The ultra-thin yet strong material acts as a barrier that mosquitoes are unable to bite through. At the same time, experiments showed that graphene also blocks chemical signals mosquitoes use to sense that a blood meal is near, blunting their urge to bite in the first place. The findings suggest that clothing with a graphene lining could be an effective mosquito barrier.

Image credit: Hurt Lab/Brown University

Full Text:

Many people turn to the Internet to find a Mr. or Ms. Right. But lemurs just give their potential partners a sniff. A study of lemur scents has found that an individual’s distinctive body odor reflects genetic differences in their immune system, and that other lemurs can detect these differences by smell. From just one whiff, these primates can tell which prospective partners have immune genes different from their own. The ability to sniff out mates with different immune genes could make their offspring’s immune systems more diverse and able to fight more pathogens. Shown here: Fritz the ring-tailed lemur sniffs a tree for traces of other lemurs’ scents.

Image credit: David Haring/Duke Lemur Center

Full Text:

Scientists have recovered the first genetic data from an extinct bird in the Caribbean, thanks to the remarkably preserved bones of a Creighton's caracara in a flooded sinkhole on Great Abaco Island in the Bahamas. Studies of ancient DNA from tropical birds have faced two formidable obstacles. Organic material quickly degrades when exposed to heat, light and oxygen. And birds' lightweight, hollow bones break easily, accelerating the decay of the DNA within. But the dark, oxygen-free depths of a 100-foot blue hole known as Sawmill Sink provided ideal preservation conditions for the bones of Caracara creightoni, a species of large carrion-eating falcon that disappeared soon after humans arrived in the Bahamas about 1,000 years ago. Florida Museum of Natural History researcher Jessica Oswald and her colleagues extracted and sequenced genetic material from the 2,500-year-old C. creightoni femur. Because ancient DNA is often fragmented or missing, the team had modest expectations for what they would find –- maybe one or two genes. But instead, the bone yielded 98.7% of the bird's mitochondrial genome, the DNA most living things inherit from their mothers. The mitochondrial genome showed that C. creightoni is closely related to the two remaining caracara species alive today: the crested caracara and the southern caracara. The three species last shared a common ancestor between 1.2 and 0.4 million years ago. "This project enhanced our understanding of the ecological and evolutionary implications of extinction, forged strong international partnerships, and trained the next generation of researchers," says Jessica Robin, a program director in National Science Foundation's Office of International Science and Engineering, which funded the study.

Image credit: Florida Museum photo by Kristen Grace

Full Text:

How do galaxies such as our Milky Way come into existence? How do they grow and change over time? The science behind galaxy formation has long been a puzzle, but a University of Arizona-led team of scientists is one step closer to finding answers, thanks to supercomputer simulations. Observing real galaxies in space can only provide snapshots in time, so researchers who study how galaxies evolve over billions of years need to use computer simulations. Traditionally, astronomers have used simulations to invent theories of galaxy formation and test them, but they have had to proceed one galaxy at a time. Peter Behroozi of the university's Steward Observatory and colleagues overcame this hurdle by generating millions of different universes on a supercomputer, each according to different physical theories for how galaxies form. The findings challenge fundamental ideas about the role dark matter plays in galaxy formation, the evolution of galaxies over time and the birth of stars. The study is the first to create self-consistent universes that are exact replicas of the real ones -- computer simulations that each represent a sizeable chunk of the actual cosmos, containing 12 million galaxies and spanning the time from 400 million years after the Big Bang to the present day. The results from the "UniverseMachine," as the authors call their approach, have helped resolve the long-standing paradox of why galaxies cease to form new stars even when they retain plenty of hydrogen gas, the raw material from which stars are forged. The research is partially funded by NSF's Division of Physics through grants to UC Santa Barbara's Kavli Institute for Theoretical Physics and the Aspen Center for Physics.

Image credit: NASA/ESA/J. Lotz and the HFF Team/STScI

Premier Bank, in partnership with

Thunes has announced that its proprietary Direct Global Network...

Mastercard has expanded its US...

Network...

Cloud banking provider Mambu has partnered with

Global financial platform Adyen has announced that it enabled...

Pix by Proximity has been introduced by the Central bank of Brazil,...

Austria-based payment brand Bluecode has announced the launch...

Boxo has partnered with global payments infrastructure firm

Full Article