 we're in the DCTV studio watching in the studio. Thanks for tuning in. In the studio is a local platform for learning about who's doing what in our community, what it's important, how we can get connected, and why we should care. We're so glad you tuned in. You can watch the show on Concast Channel 15 on the Davis system on Tuesday and Thursday evenings at 7 p.m. It airs at other times during the week. You know, you can also catch it online at DCTV.Davismedia.org. That's our online video archive and you should check it out. There's many seasons of in the studio and lots of great local content there. I'm your host today, Autumn Lab A Renault, and I'm talking with Sam Hock and Peter Pasteur, who are a couple of our local content producers. We're going to talk about local content production, what that means, and what kinds of experiences they're having and sharing here at Davis Media Access. So one thing I want to say about local content production, there's a lot of people who say, well, we have YouTube. What do we need community media for? Or everything's online. Anybody can do this now. But my question is really, is that true? And if that's true, are you having experiences with your neighbors and the people in your community? That's a big role that DMA plays, and that's the kind of thing we're going to talk about here today. So let me welcome our guests. We've got Peter Pasteur and Sam Hock. Welcome, guys. Thank you. Glad to be here. So, Peter, I met you first when you came in as a radio programmer. So you produced Listening Lyrics, which airs Fridays at 4 p.m. on Kater. And you've built the show into this amazing thing. Tell us a little bit about that experience. Well, I was at a live event in Sacramento some three years ago now, and met Jessica Kelly, who was involved here, and said, you know, you should give radio a try. And I came in and fell in love with it and started a show that I primarily, it started out as really focused in on my poetry and talking to poets, but it slowly morphed into interviewing musicians on the radio, playing some cuts from their CDs and or having them play live in the studio. And it's really morphed because some of the people you're bringing in have a national presence. Yes, exactly. You know, I tried to snatch artists that are coming through the area and put them on the show. And to my big surprise, most of these people really want to do this. They want to get their voice out there. They want to talk about where they're playing. And of course, we want to learn a little bit about them. So it's a two-way street and I'm loving it. Right. So I said this thing about localism and local content. Right. One of the big areas, I think, Davis Media Access, the roles we play is in supporting independent musicians because unless you are the biggest of the big names and Sam's a musician and knows this, it's really hard to find an audience. It's really hard to get exposure and it's hard to, you know, keep people engaged. Right. So that's a role that community radio, I think it plays a critical role there. You have no idea the thrill I get when I have a young gentleman or lady sometimes just in college or out of high school or maybe pushing their late 20s and it's their first time on the radio performing and the thrill they get. They're on a high for a week and it's an absolute wonderful benefit that Davis Media and KDRT can offer to its local citizens. And almost one step further, there's Live in the Lone. Let's talk about that for just a second. Live in the Lone is a similar program but that program, many artists come through the area and perform not on Friday's at four o'clock when my show's around. Right. So if they're performing on a Thursday or a Wednesday night, we'll try to bring them into the studio and it's called a pop-up show. So we'll bring them in for 30 minutes or 60 minutes and we do our thing either in the radio or in the TV studio and have them perform. And now a lot of local artists want to be on Live in the Lone. So that's an interesting challenge for me because I'd really like to keep it more for people traveling through. And before we move over to Sam here, there's one coming up at the end of March. Yes, there is one coming up at the end of March and that is Sweet Water Springs or String Band. And Sam's going to be the sound guy. Oh, cool. Yeah. Cool. And so you've been doing radio for a couple of years and you have this nice groove going. And Jeanie, your lovely wife, comes in and helps out with the show. And Friday's at four is just this wonderful time. I like to tell people, I love Friday's at four. People come to my office and play music for me. Totally personal, you know. Then you connect it with this fellow to your right here and now you're doing TV. He was a guest on my show and yeah, he can take over from there. Well, you know, we, I mean, Peter Pasteur was always this kind of ghostly figure in the back. My wife and I had started an open mic in Winters. Right. And suddenly we kept hearing this name, Peter Pasteur, radio show. Who is this guy? Who is this guy, you know? And so I don't know how Peter heard of us, but we got an invitation to be on his show. How did you hear from him? I went to an open mic. Saw you guys perform and asked you. There you go. Yeah. And this was for your duo. This is for our duo, Evertree. Yeah. And so we came on Peter's show and did a whole hour and it was a blast. And it was, it was really our first time on radio too. So it was, it was a real high and it lasted about a week. You're about right. And the process of doing that show, I mean, it was actually on the air. He said to me, you know, you've got to, you've got a good voice. You ought to be in radio. And I hadn't really ever wanted to be in radio. I did a little bit of that when I was in the Navy and that was enough. But as I walked out of there, I forget who it was. Somebody showed me this room with TV cameras in it and lights. And suddenly I was awestruck because this is kind of a today show kind of a thing. You've got some great equipment in here. So I talked to Peter a little bit about doing a video show, thinking one show. And he said, yeah, it's a great idea. And then that, that morph to something that I've always wanted to do is, is create a show that was like inside the Actors Studio, right, which is a very famous show, very famous show still going on, I believe. Yeah. Yeah. And the cool thing about that show is, you know, you had these, these actors come in. And instead of talking about, you know, different characters, they played and things like that. It was a lot more about what they were thinking and feeling. And it was the human side of acting. And, you know, being a musician, having been a musician for since the 70s, performing musician, that's the one thing that that struck me is that the audience never really sees the human side of the performer. They only see what the performer gives them. And so wouldn't it be cool if we can have a show that would actually show the human side of the performer. So that was the start. I depended on Peter for everything, because he knows about this, the policies and the way things go here at DMA. And I was just blown away at the resources that are here, the expertise that's here. I mean, just five minutes with Alex and I was in heaven because the guy speaks my technical language, you know, right. So we're going to talk about some of the willingness to help here. Yeah, and the willingness to help. Yeah, big time. We're going to talk about some of the steps we go through. But right now, I think we have a short, like about a one minute clip of Rita Hosking from the second episode of Artists Connection, which is the show, which I don't think we've named yet. So if we can take a look at that clip. So that, of course, was the very lovely Rita Hosking who's Davis based here, and has really developed a kind of an international following for her just singular voice and the poetry of her lyrics and the, you know, the musicians who play with her. So the show that you have started is now taking on a life of its own. So it's called Artists Connection. And at this point, you're recording monthly. And let's say a word about your host, your interviewer, because he's really good. What that was was a music clip. But I really like the way he interviews people. Well, the host is Kevin Fagan. He's a senior journalist at the San Francisco Chronicle. And we met him at an open mic in Benesia a few years ago. And he actually joined us in a band called Finding Fable. So we were a trio. And we played around the Yellow County area. And but he lives in Walnut Creek. And so and so we eventually it was it got to be too much. We couldn't rehearse and all this other stuff. So that's why Lori and I formed the duo. But we, you know, Kevin's a really good friend. One thing about being in a band with you is you kind of you almost marry the person, you know, it's a it becomes a very close in your case, literally, my case. So that's that's how we knew Kevin. So when we started talking about this show, I started racking my brain for who would be a host that would really draw the best parts of these of these people, you know, out so that we could all see and share with it. And he was he was the guy. So I called him, he said, love to do it. I've got no time for research. And I can't do it on weekdays. And so I said, not to worry, we'll do the research. And we'll set it up so you can do it Saturdays. So the structure of the show is basically three 15 minute segments, short, short segments. Right. And he's really getting at the heart of what makes these folks tick as as individuals first as musicians second. And it's not the standard questions. I've interviewed a lot of people over the years and musicians always tell me, Oh, don't ask me the question, what are my influences? Because I get asked that by everyone kind of something different. Well, so he's come up with something different. Absolutely. I think his approach is really, it's just intriguing how he goes about it. And what he's able to, you know, pull forth from the musicians is it's pretty compelling stuff. Right. And actually, in the research process, we asked them over the phone, what their influences are. So we already have that information at a time, right? So he doesn't have to waste any, any time going over that stuff, he can get right to the topic. And he knows he's already studied this. So he knows the individual idiosyncrasies with the different artists. Right. So each of you, both of you have said to me on different occasions that your retirement is much more interesting and busy than you'd ever envisioned. Okay, so I'm guessing that has a lot to do with Davis media access because you're frequent visitors here. So I think, you know, the process of doing a show does take some time and effort. And I'm hoping you can each speak to that a little bit, as well as what you're getting out of that. Well, the reason I'm here a little bit more is because now that I'm retired, Jean asked me to leave the house. But the truth is this, I started in radio here at KDRT and radio and one hour show, it's demanding because you need to be here. But in terms of preparation, you have to do a little research on the artist. And you kind of have to prepare for what you're going to be playing. But I was always thinking in the back of my head, once I'm fully retired, I'm going to do something else here. And then when Sam came along, what I didn't realize when I jumped into the producing side was how much more time consuming television is compared to radio. It's all of a sudden just taken over at life of its own. And, you know, Sam was talking about the questions before. But the one thing I really like about listening lyrics, and it took him three months to pound this in my head, is exactly what you were saying, don't ask me who my influences were, ask why were the Beatles influential, you know, and get down to the bottom of it. And that's so yeah, time consuming, organizing with radio, you've got yourself with TV, you've got camera people, you've got the director, you've got the sound person, you've got a stage manager. It just goes on and on and rounding them all up and getting ready is a challenge. Right. Well, you knew my dad who did radio here for many years, and he loved to say, I have a face made for radio. Yeah, there are a lot of things with radio, you don't have to worry about when you come into the TV. Come in, you know, in your shorts and that. But of course, I still can't because I'm not on camera. You should see the way Sam comes dressed sometimes. But but so for us, since we're not on camera, that hasn't changed. Well, you brought up an interesting thing when you said the word producer, because I think a lot of people aren't clear. What does that mean? I think people know director, Diane's our director in the studio today. She's calling the shot. She's telling the crew what camera angles to get. She's working with Peter, our volunteer sound person, etc. But producer, what does that mean? Because I play that role a lot here at DMA. It's the person who who herds cats in a sense, a person who deals with, you know, all the little logistics that need to happen behind a show. And then I was Sam and I were saying the other day, once you get to show day as producer, you kind of need to get out of the way. Your work should be done by then and then you really need to turn it over to the director. But it's an interesting thing to use these terms because you they're the kind of it's a language you learn here doing local content production. And you know, so since you're having this interesting retirement, did you ever think you'd be a TV producer? No, I actually thought I'd be an amateur astronomer and a fish fisherman. And but but music has always been a part of my life. And so being in front of the public has been something I've been doing for years and years and years. Right. So we were running an open mic, which is kind of like the first step towards this kind of thing. But it's it's too much too much heavy work, you're moving speakers and things like that. So but this is this whole producing is not just a show out of but a series. Right. I mean, that's like, that's it's amazing. That's the only way that can that I can use to describe it. I have no idea the spreadsheets we have going in terms of all the people that are applying what their talent is what they want to talk about and trying to organize that. So the words getting out and people are coming to you. Especially, you know, you finish a production like when we finished episode one, you know, I was of two minds with that. In one aspect, I saw all the flaws in the way that thing was produced and edited and and everything about it. And then the other thing I couldn't believe we'd actually done it. And I couldn't believe that you know, my name was on the end of it. You sound like a producer. Yeah, right. It is a it's a process. And you'll find that I think with every episode you do to there's there's all this sort of Monday morning quarterbacking, you know, and you figure out, well, that worked really well. Let's do that again or let's not ever do that again. So so I'm hearing that it is a lot of work and there's a lot of intentionality, you know, that goes into it. What are you getting from it? I'll start with Peter. Well, all of my life I've been in in sales. That's my living. And I have always been kind of a right brain person. I have dabbled in the arts here and there. And all of a sudden, I've given the freedom to live in the right side of my brain. And this is just accommodating that. So that's what I'm getting out of it. I'm working with people that are creative, instead of just selling stuff. So I'm getting a huge personal satisfaction out of it. That's very cool. Yeah. How about you, Sam? It's kind of hard to describe because, you know, the end product of something like this is, is it took so much work to get it there. It's like you've just built a monument, captured something in time. It's like recording a whole record album. Okay. You know, you go through all the songs and you're doing all the mixing and all the with the artists and all of that stuff. And it's a lot of work. And then you get done. But then you hear it on the radio. And it's like, holy Toledo, did I do that? Did I really do that? You know, and it's like, so the reward for me is this this constant sort of, you know, awe that I'm in walking around saying, did I really do that? You really did that. Yeah, it's weird. Well, let's let's talk a little bit about artist connection. When it airs on DC TV and where you can find it online and social media and all that. Right. So it, it, we got it set up to debut on DC TV the first Tuesday of every month. Okay. At 9 o'clock, 9 o'clock. Yeah. Okay. 9 p.m. And it goes up on our, on both DMA's website and artists connections, YouTube, right, all at the same time. And then after that, it's aired quite a few times on, on DC TV throughout the week. I think it's four times a week that it's aired. And then it's, we do a new episode every month. And as those episodes get done, they go up on our, on our YouTube channel as well. Right. And we're also, I'm doing things like taking producers notes and putting them on the website. Peter's working on a documentary, the making of artist connection. And I think it's a very cool idea. And so that's, you know, that's going to be happening sometime soon. There's this, these days, there's this viral nature too that happens because of online presence and social media. And one thing I noticed with, you know, I talked about Rita Hosking earlier, Rita did a great job promoting, she really enjoyed the interview, was evident. And she did a great job promoting it through all of her networks. And in turn, she got exposure for this album. She was working on crowdfunding, and she just successfully reached that goal. Right. So it's a symbiotic relationship. It really is. And it really, really helps out, it helps out the local artists in that, in that, you know, the public gets to see a different side of them. And, and maybe appreciate them more, you know, and it helps out the community because they see these folks, and all they see of them is what is what happens on stage. Right. You know, and it, I mean, Rita's, all of those three people are just really nice people. Right. Your other guests for episode two included Justin Cox, who does a radio show at Cater. And he's a sweetheart, you know, and, and, and Jeff McMoyler, who's, you know, he's everybody's lifelong buddy, you know, just, just the nicest guy. He teaches high school, which I think is an amazing trick anyway. But, but, you know, Jeff's just, just so good. And, but all he, but all, all the public sees is his satirical song, maybe, or his, or his rendition of Malaguenia or something like that, you know, and they don't see what, what kind of a person he is. Yeah. And it's also a learning tool for, for these artists. We have, I have a little more history with listening lyrics, but it's amazing after each show, I post a picture of them, you know, on our webpage. I post a little video clip of them. And now, I mean, we post it, but it's up to artists to get the word out. And I've used that as a learning tool for artists, because I'm stunned at times where artists just don't do anything. And you just get a few downloads or likes, and the ones really pushing it all of a sudden soar in the hundreds. And I've gone back, especially to the younger kids, saying you need to push yourself if you're going to be in this business. And for them, it's, it's an eye-opener. This is how the game is played. This is how the game is played, absolutely. And so far, all the guests we've had on, on our show have really been, I wouldn't say the word pushing it, but making sure their base, their family, their fans, are aware of it. Sure. And then it goes viral from there. I've had more than one musician or performer over the years say to me, you know, the part I, I like least is the self-promotion. That's the hardest part for me. I've no problem with performing, but actually telling people about what I'm going to do and where I'm going to do it is much more challenging. Well, I think that, that comes a lot from the influences of the 50s and 60s where artists were sort of gathered in by record labels and just handled. And all you had to do is just do your art. And those were the expectations that, that all of us grew up with. You know, we were going to get discovered and we, we didn't have to do any kind of self-promotion because the label was going to handle all that. And the music industry has in fact, you know, evolved. Well, that, that could be a day-long conversation on its own, but you're right. And a lot of artists are more, I wouldn't say reclusive, but they're not used to selling. Yeah. And today you have to be that. So it helps. And I always like, you know, obviously running Davis Media Access, I think of us first and foremost as a service organization. We are of service and that what we do is community development. So I think you're both, you know, really shiny examples of, of, you know, just kind of corroborating that, that notion that you're providing a service away for people to plug in, away for people to learn, all the while learning as you go. I know, believe it or not, we're getting into our last couple of minutes. So I want to ask for any parting words of wisdom for someone who's thinking they might want to get involved here. You go first. There's lots of opportunities to get involved. You don't have to produce a series. I mean, that was a big job, right? You can operate a camera, which, which in and of itself, you learn a lot. And you learn how the studio operates. And they've got great teachers here. You can take it a little further and, you know, operate the sound board that trains you for not only broadcast, but you get to know your way around a recording studio doing things like that. Or you can take on the big job and produce a show. And these folks are here to provide assistance for you and resources for you. And you, you know, design it, use those resources and you build something that's amazing. Right. And it's, and it's yours too. That's an important point. And it's yours. Absolutely. Doesn't hold the copy right here. This is, this is your thing. That's right. And it's got to be non-commercial. It's got to meet some community, you know, purpose. But apart from that kind of the, you know, you can do a lot within that. And to give you a good example, Sam and I had lunch a couple of weeks ago and we ran into a waiter and I said, you look like a musician. And lo and behold he was. And he's studying how to film. And the first thing Sam and I did was, hey, here's Davis Media. We can hear and help you. And he really hadn't heard of us before. So we got to get the word out also. Yeah. Peter's really good at that, though. You just, Peter will talk to anybody about anything, anytime. We have that in common. Yeah. Well, I want to thank you both for spending a few minutes on the couch here, talking about your, your shows and your roles. And it's a delight to have you both around. And I look forward to lots of good things continuing to emerge. Very good. Thanks a lot. Thanks a lot. So we've been in the studio with Sam Hawk, who produces Artist Connection and Peter Pastor, who helps out in that venture and also produces listening lyrics and co-produces Live in the Lome on KDRT. Busy men here. Busy men. Busy women. Busy men and women. Busy women. Busy men and women who have great retirement. I'm Audemars Bay Reneau. You've been watching in the studio here on Davis Media Access. Don't forget to spread the word about everything good on Channel 15 and DCTV.DavidMedia.org and KDRT.org. Thanks for tuning in.