Calexico’s seventh long-player, Algiers, had recently dropped, marking the band’s first opportunity to play live for its new label, Anti. But after a short acoustic song, Burns bid the remaining crowd good night with a promise to return in January. And tonight, Calexico makes good on its promise at the El Rey.

This interview originally posted at LAist.

We caught up with Joey Burns, Calexico’s principal member, to talk about his L.A. upbringing, life in Tucson and more.

LAist: Everybody talks about Calexico being a Tucson band, but you actually started out here in Southern California?

Joey Burns: Yes. In high school I was in bands that played Gazzarri’s on the Sunset Strip, among other places like Madame Wong’s East and West, and my favorite band from back then was a band from San Pedro called The Minutemen. Great punk rock band, Mike Watt’s still touring and playing — really fun to watch.

Any favorite spots you like hitting when you return to L.A.?

I like to go to the water nowadays because I live in the desert. That’s the first destination. I like to go to places that I haven’t really been before, so I’ve been enjoying checking out East L.A., just checking out parts of town that I didn’t really hang out much in, and so that’s always been kind of fun. There’s a Levi’s Showroom on the Sunset Strip that I might check out — pretty excited about that. I hear they have some rare vintage shirts. All the used clothing stores — I used to go to Aardvark’s a lot. Record stores: Amoeba’s always a good one; Aaron’s was a good one, too.

I used to work at a record store in San Pedro, but I don’t think it’s around anymore. It was called Soundsations. There was a store, I think it was in Inglewood for a while, and then one opened up in San Pedro for a short while.

You grew up in San Pedro?

Well, I grew up in South Bay — various places in South Bay. I went to high school in Palos Verdes, so that’s even further remote. I went to college in Irvine — that’s pretty far away, I wouldn’t call that Los Angeles at all. But I used to drive up the Harbor Freeway a lot to get up to Hollywood.

We’re really excited to come back. L.A. is where John and I first met in 1990. I was working at SST Records after college, and we became friends through a studio. ’89 was the end of a lot of the big stuff at SST, a lot of them went to Geffen. A lot of people went to major labels. Firehose went to Columbia for a while; everyone had to kinda jump ship. It was kind of the end. It was Cruz Records that was being pushed at the time.

We met up through a mutual connection at Radio Tokyo, which was a recording studio in Venice Beach. We met up there in L.A., started playing together and now we’re going back!

What brought you out to Tucson originally?

We were playing in Giant Sand for a while and wanted to have more of our own time. I think in L.A. having to work several jobs… you can get away with working less out here and just focus more on music. So the overhead was lower, and there’s a lot more characters out here. We enjoyed the change of pace, and Tucson is a much more down to earth place. And downtown has always been an interesting part to Tucson: a lot of artists, a lot of warehouse spaces and interesting venues that have come down throughout the years. Places like Rialto Theatre and Hotel Congress, which has a club in it, have always been the mainstays for both national and local touring acts.

In some ways, coming to Tucson definitely nurtured that one foot in tradition, one foot in experimentation approach. Taking some of the ideas we were kicking around and developing them.

What kind of music were you playing prior to Calexico?

I played in a garage rock band, an experimental jazz group, some orchestral stuff in college, jazz band in high school — so a lot of variety for me growing up in music groups that I played in.

Mostly guitar?

No! Mostly bass. Upright bass and electric bass. And I think that’s what kind of connected John and I because he liked a wide variety of stuff. He loves listening to jazz and classical music, and I think it shows in his playing. He’s definitely one of those kinds of drummers that has a different sort of approach, much like Jim White of The Dirty Three who has also played with Cat Power.

Both John and I, when we moved to Tucson — I think he moved in ’92 and I moved in ’93 — we wound up to looking for old and unusual looking instruments. Things that people back then didn’t want. Accordions, mandolins, marimba, vibraphoone… nobody wanted those things. And there were a lot of musicians who had retired here who were interested in getting rid of stuff. It was readily available. Along with a lot of Western shirts, y’know, things people really just weren’t wearing back in those days. So it was an interesting time coming out here and tapping into something I think that is part nostalgic and part reinventing something, taking these pieces, whether they’re instruments or influences, and making your own statement. Giving these things its own voice by way of your own story and where we came from.

Algiers was recorded in New Orleans. Is it the first album you’ve recorded outside of Tucson?

We recorded in Nashville a little bit, the Convict Pool with the cover of Love’s “Alone Again Or.” But with there being a lot of family and kids around, it made sense to get out of town. We couldn’t think of a more eclectic place: philosophy, themes and music. And Craig Schumacher of Wavelab Studio had just gotten over cancer, and part of that recovery was going to New Orleans and surrounding him with all the things that he loves and bringing business to a city like New Orleans.

Is location and travel a big part of what inspires a Calexico record?

Yes. With our previous record, Carried From Dust, there are definitely influences from our travels to South America, which happened in 2007. Songs like “Victor Jara’s Hands” or “House of Valparaiso,” those songs were definitely influenced by going down there.

Travel has always been a big influence on our music. We’ve got band members from Europe and around the States — Paul Niehaus from Nashville, Tennessee; Martin Wenk from Berlin, Germany. Last couple years we had somebody from Spain joining us, who also sits in on the new record as well as the last album. So there’s always been this sort of multilingual, multicultural influence.

How does being such a cultural melting pot affect life on the road for the band?

We all hang out. I often get asked, “How do you guys rehearse?” and, well, we’re going to be rehearsing Sunday and Monday before we hit the road, and, of course, we toured a bunch, so we already have a very deep working relationship, and it doesn’t take very long before we fall back into a rhythm. But it makes it nice, especially when the Europeans come over and they see what’s happening with politics and just the general direction where things are going. Sometimes they’re really surprised. For example, the idea of a wall between U.S. and Mexico: You mention that to somebody from Berlin, and they can’t help but to do a double take. It’s like: “What? What are you talking about?”

Themes of immigration — there’s a different approach to things like that overseas. But it’s all really good. Even within the band the European crisis, you’ve got a Spaniard and you’ve got a German in the band and their viewpoints are quite different. For me it’s interesting to see how they interpret what’s going on both in their own countries and in Europe as a whole. And that’s really been the first time there’s been something that severe going on. Most of the time it’s focusing on the wars that have been happening in the past, going for years and years now.

Do you have an expanded touring band again on this tour?

Yes, seven musicians. Paul Niehaus is playing, Martin Wenk on trumpet and multi-instrumental stuff, Jacob Valenzuela on trumpet and doing a lot of different things. Sergio Mendoza on piano, who was born and raised in Nogales, Arizona, and lived in Sonora, northern Mexico for a while. And Ryan Alfred is playing bass. He and Sergio are the newer members. So seven musicians on a stage, and it’s incredible getting to see how things have evolved both on a personal level and in regards to audience and industry. The music industry has changed a lot. Of course, the European Union has formed.

It had been a while since we had been back to Europe, so when we went in the fall, I was excited to see where things are at for the band and if there’d be people coming to the shows. And of course there were a lot of people coming to the shows. There were a fair amount of sold out shows, which is really cool, and people were excited to see the band. Some even saying they were some of the best shows that they’ve seen to date, people who had seen us eight, nine, 10 times. So that meant a lot to me. And getting to reunite with people and venues we’ve played in the past — the Muffathalle in Munich, or the Forum in London, the Paradiso in Amsterdam, or in Belgium we played one of the first sold out shows at Ancienne Belgique.

For me it feels good to connect with Europe because we’ve drawn so much influence from the European aesthetic. I think it’s influenced the sensibility and the tone — it’s hard to put it into words without generalizing… but the attitude — it’s kind of a combination of North American and European. I noticed it when I first met John, the drummer. He’s really quite a unique person. He loves the things that are made with the intention of being around for a long time. He loves vintage drums, old cars… things that are built to last. And I really learned to appreciate that. I didn’t really think about these things before I met John, whether it was houses or architecture or homes or clothing, which comes full circle to the Levi’s showroom. He was the one who asked, hey is it possible to check out this “House of Strauss” because Paul [Niehaus] was on tour with Justin Townes Earle, who is connected to these clothing circles and was able to get in and have an appointment with the showroom.

I’d say that aesthetic extends to the music, too. That sort of timelessness. Algiers sounds immediately familiar, even though it’s more expansive and complex than previous Calexico records. Is it a challenge to keep writing new songs. Do you ever hit walls?

You’ve gotta keep it going. We love it. You need the songs in order to go on the road. And similarly you need the road in order to inspire experiences and songs and writing. Over the past couple years just about everyone in the band has settled down and had families. Both Jacob and Paul have kids. Jairo has three kids. John has three kids. I’ve got two kids. So the familial quality that happens at this point in most people’s lives really makes us appreciate having our jobs. It makes it special for us all to get together. We love hanging out, and it shows on stage. I kept on getting that comment in Europe last fall. People could really tell that we were enjoying each others company and that booking agents and promoters were having a great time backstage with us as well.

We love this job and we’re looking forward to coming to L.A. Man, it’s been a while.

It’s been a while since you’ve played with the lights on. Any other collaborations you’re looking forward to?

Our office hours are always open. We love doing collaborations. We recently did some recording with Neko Case for her upcoming record. Variety keeps it fun and interesting.

Is there any artist that you’d like to get a phone call from?

I’ve been hearing some new Bob Dylan on the radio here in Tucson and you know, that’s one of those things that, well, if you mention it, you’ll curse it. But getting the opportunity to work on soundtracks and especially the film I’m Not There was a great example of just that. We got the opportunity to collaborate with a whole slew of artists, some we even suggested, like “Hey, Charlotte Gainsbourg is in the movie, can we send her some tracks and see if she’d like to sing on them?” And the answer that we got back was yes, so that was one of those lessons where nowadays you can just about send tracks to everyone and hope for the best. I think certain artists are really open to trying new things. We got to work with Roger McGuinn in a similar way. Getting to meet Jim James [of My Morning Jacket] was a lot of fun, and Willie Nelson, and of course we knew Iron & Wine. It was great to get to do a lot of different collaborations all under the umbrella of one movie and one project. That was really thanks to Randall Poster, the music supervisor who connected us with soundtrack work previously.

I thought “Goin to Acapulco” was one of the most poignant moments in the movie, with Jim James singing and Calexico performing and actually appearing on set.

Being on set was a lot of fun. No one had really heard that song and there was a lot going on in that movie and in that scene in general. There were a lot of things happening. You’re on location. It was shot outside of Montreal, Canada. Everyone’s in character, and it’s pretty amazing.

When we got there they were working with Richard Gere; he was on horseback. Before we had gotten to the set, the horse had acted up, and they nearly had an accident. So people were a little bit on edge. And then this huge mess of a rainstorm came in, and everybody took a break for lunch. We came back and everyone is pretty relaxed and chill and we begin working on the scene that we’re in.

And they pump the music through the PA system, and it’s resonating through the area, basically out in the middle of nowhere. It really took people by surprise but got people in the mood so we could get in character and into the scene. There was a real person pretending to be a corpse right in front of you. It’s pretty creepy and wonderful at the same time.

I’m sure we will have some more acting opportunities. These things just kind of happen all by themselves. Hollywood’s a bizarre place I love it. You never what might happen from whatever project or collaboration you do. The music has continued to have a bridge to soundtracks and movies. Seems like every day I get an email or a request to watch something. Tonight I’m supposed to watch a documentary on Wild Horses in North America, so that would be the next collaboration, seeing what music would work with that. We also get a lot of requests for songs to be used in documentaries regarding immigration, and I’m really proud of that. In the future I’d love to get some calls from directors like Wes Anderson or Jim Jarmusch. Something that’s outside of the Southwest, something a little different. Who knows, I don’t know if I’ll be able to go to Sundance this month since we’ll be on tour, but someday I’d love to check out more film festivals, whether it’s Berlin or L.A. or Toronto or New York, meet people and get involved. Who knows, maybe I’ll just write a screenplay and a soundtrack and see if I can get someone to make the movie.

You mentioned documentaries on immigration. How is Calexico getting involved with these issues?

I would like to play more benefits for sure. Humane Borders is one of the groups that we’ve helped out consistently over the years. The only time we ever played Calexico, California, was a benefit for another border group called Border Angels. And interestingly enough, in Europe, immigration is becoming more of an issue, just like in the States. Hopefully we can come up with a better exchange program or better legislation for workers — people who are here and have been paying taxes. I guess for most people it’s just not simple enough to file the proper paperwork to come here and work. It should be simpler.

I was born in Montreal, so I had to become a citizen at some point. I’m sure there was a lot of paperwork back then. I know my dad was trying to make sure my brothers and I wouldn’t act out and say something silly and stupid when we went for the interview. It’s given me the perspective of not taking things for granted over here and also being sympathetic to those who don’t have a lot and are coming here because they need to. It’s survival, especially from Mexico. How do we as a country make sure that our neighbors are doing alright? You want to make sure everyone in the hemisphere — and world — is doing alright, not just in your own backyard. But that’s a much bigger topic.

And SB 1070…

Yeah. Now Sheriff Joe Arpaio from Maricopa County — the same guy who was doing raids on businesses suspected of having immigrants working there — is in the news saying he wants to have armed citizens patrolling around schools. Not professional police offers, citizens, y’know, 500 of his gang to go patrol around schools, and that’s going to be intimidating and send the wrong message. It’s just kind of confrontational. And of course it’s the same guy causing the negativity with SB1070. It’s one of the things that on one hand, I don’t like about Arizona, that there are a lot of conservative people throughout the state, whereas little islands like Bisbee, or Flagstaff or Tucson are more balanced.

I’m also really happy to be here because I feel like I can do something. Our involvement with immigration or I’m helping out with raising awareness around the shooting that involved our Congresswoman Gabrielle Giffords. We got involved with the Fund for Civility Respect and Community. It meant a lot to me because I felt I was doing something directly for my community. And it’s hard to feel that important in a bigger city or bigger state. And I’m hoping that our music can be an influence at least on a very small level. We do a benefit for our local community-sponsored radio station. We can raise money for a cool radio station, KXCI, and they play a lot of local music. It’s pretty cool. It’s nice because I like being in some of those smaller towns because you really get a sense of who people really are and what the spirit is of a place, but when you’re in a big city you can be anywhere. That’s my little rant about being in Tucson.

Calexico plays tonight, January 16, at The El Rey Theatre. Bahamas opens. Tickets ($20 + fees) are available at Ticketmaster.

With the snip of a lock and the opening of a “mystery box” that had been sealed since SXSW, TOMS Shoes founder Blake Mycoskie revealed the next chapter in the Santa Monica-based company’s one-for-one mission: Eyewear.

“In 2007 after giving away 10,000 shoes, I recognized that the one-for-one model was working but what I also saw in a lot of the villages we went to was that there were many more needs that were not being met,” Mycoskie told a crowd of about 200 fans, supporters and media outside the California Heritage Museum Tuesday morning. “I made a promise to myself that as soon as the business was ready we would use our model to address another need.”

TOMS one-for-one model has provided more than one million shoes for people in need worldwide as a result of more than one million pairs sold via the TOMS website and retail partners including Nordstrom, where TOMS is the number-one selling shoe.

With eyewear, TOMS believes it can have an immediate impact on a solvable issue. For each pair of eyewear sold via toms.com/eyewear or TOMS retail partners, someone will receive either medical help for severe eye diseases, glasses to improve eyesight, or sight-saving surgery, in conjunction with TOMS giving partners, which include the SEVA foundation.

The launch of TOMS next chapter is a great story for the potential of the one-for-one business model and is receiving international headlines as launch events occurred in 90 locations simultaneously this morning. At each location an identical mystery box was opened and nobody — not even the president of Nordstrom — knew for certain what was inside.

The celebration continued into Tuesday night at the Santa Monica Farmers Market space between in the 2600 block of Main (between The Victorian and the California Heritage Museum). Ice cream, pastries, live art, and TOMS sunglasses for sale ($135-145) on site. DJ sets by Garth Trinidad, TOKiMONSTA and Paul Devro and live performances from Lord Huron, and Fool’s Gold.

What’s next for Mycoskie, who launched TOMS out of a Venice apartment in 2006 after succeeding multiple times as a small business entrepreneur? His first turn as an author, “Start Something That Matters” is out in September.

Originally posted at LAist.

National Geographic may be one of the longest-publishing magazine in history — first printed in 1888 — but that isn’t keeping it from taking a front seat in the industry-wide drive to innovate for the digital age.

From interactive iPad apps to games and plans for digital subscription plans, NatGeo is living up to its shiny reputation and building its brand across the web and new digital platforms in real time, winning numerous Webby awards in the process, including four this year.

I caught up with John Caldwell, president of National Geographic Digital Media and head of National Geographic Ventures at Digital Hollywood Spring 2011. Watch and find out what to expect later this year from National Geographic across all digital platforms.

Click here to see my other interviews from Digital Hollywood Spring 2011

Originally posted May 26, 2011 at LAist.

Thanks to detailed sustainability planning and multiple trash-sorting stations at last weekend’s Silver Lake Jubilee, the event successfully diverted 90 percent of trash produced at the event from landfills. According to Sustain LA, of the trash generated by dozens of vendors and more than 10,000 attendees, 3,600 pounds of waste was diverted to compost & recycling (over 2,000 pounds to compost alone) leaving 400 pounds of trash to landfill.

I spoke with Leslie van Keuren Campbell, founder of Sustain LA at the Jubilee and learned how her staff and volunteers help make local restaurants, events and street fairs more sustainable.

Originally posted May 25, 2011 at LAist.com.

I spoke with AOL’s Entertainment Practice Head Debbie Menin at Digital Hollywood Spring 2011 last week at the Ritz in Marina del Rey. We discussed the different ways in which consumers are using social media to inform purchases and decisions and how that in turn is informing the advertising industry. Menin also gave me the lowdown on the latest trends on branded content and how and why consumers share content using social media (based on recent AOL – Nielsen research). Plus, if online video is “the future,” how does Heidi Klum play into AOL’s plans?

This post original appeared at LAist on Tuesday May 10. Please click on the link in the menu bar above to view more of my posts at LAist.com.

Jad Abumrad Interview from Andy Sternberg on Vimeo.

It’s not often that you get to see your favorite radio show or podcast produced and performed before a live audience. Granted, there are more opportunities to “watch the radio” than you’d imagine and I’ve seen my fair share of Buzz Out Loud and TWiT podcasts live in person. But I digress.

I posted some of my favorite Radiolab episodes right here a few months ago. Soon after that it was announced that the show was going on the road. A typical hour of Radiolab is likely to contain some of the most incredible, cerebral and aurally tantalizing radio you’ll hear. And it was just as fulfilling and entertaining as I could have expected live. Hosts Jad Abumrad and Robert Krulwich were brill as usual — the 5-part show was built around the theme: Symmetry (I’ll post it after it airs). And a big bonus was live cello machinations by the incredibly talented Zoë Keating.

Thanks WNYC for taking the show on the road and especially for giving me a few minutes to “geek out” with Jad about everything from writing to production to sequencing the Novation Launchpad MIDI controller for Ableton Live.

A shareable and fully embeddable 720p version of the above video interview is available on my Vimeo and YouTube channels.

Video and interview below as well as photos from the event.

Originally published at LAist.com.

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Originally posted at LAist.com

“…I know y’all fresher than North Hollywood,” Common freestyled from a stage set up in the Grant High Lancers’ gym.

Los Angeles was the ninth stop on Get Schooled’s National Challenge and Tour, a program funded in part by MTV and the Bill and Melinda Gates Foundation. In each city, a top school is chosen by the district but the details and location of the school are kept under wraps to maximize the surprise. In L.A. Get Schooled is encouraging students to not just stay in school but to be proactive and take advantage of LAUSD programs such as City of Angels, to help those who are still a few credits shy of a diploma and the Green Dot Public Schools. The comprehensive website is loaded with resources and tips for students of all ages as well as volunteer opportunities, such as City Year. Everyone is encouraged to step up!

We caught up with Common and Sway to discuss the importance of programs such as Get Schooled. Watch the videos below!

Interview with Sway:

Student asks Common what the best advice he ever received was:

Common freestyles:

Grant High Principal Ibach on the event: