Digital portfolio of Jorden P. Hales

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JORDEN PATTRICK HALES

PROFILE Student journalist seeking to obtain employment in an enriching environment that will provide opportunities for intellectual, journalistic and professional growth.

WORK EXPERIENCE Contributing Intern, Unplugged Magazine, Sacramento, Calif. 2013-Present Working as unsta!ed contributor covering both local and national music scene. Also responsible transcription of audio interviews, clerical and administrative duties.

Rec Aide, City of Sacramento., Sacramento, Calif. 2012-Present Leader of recreational activities for grade school children during after school hours and summer camp program"s#. Homework assistance, serving of snacks, curriculum outline, supervision of recreational activities.

News Editor, American River Current, Sacramento, Calif. 2013-Present Working as news editor, reporter, podcast host. Beats include college faculty, men’s basketball, women’s volleyball, and student senate. Also responsible for editorial duties, story budgets and management of news section and additional reporting.

Warehouse/Logistics, N.W.N., Rancho Cordova, Calif. 2011-2012 (Seasonal) Worked as part of the logistics and implementation team for NWN’s western region Client Computing Lifecycle Practice. Duties Included; Baseline system setup, software image instillations, asset management, logistics.

Intern, 107.9 The End, Sacramento, Calif. 2008-2009 Worked as part of the Marketing and Events Sta!. Duties Included; O$ce coordination of major events, asset management, customer service, data entry, telephone support, web page maintenance.

EDUCATION Global Youth Charter High School, Antelope, Ca - 2008 American River College, Sacramento, Ca - Current Student

SKILLS • • • • •

Experience with Adobe Creative Suite "Photoshop & In Design#. Proficient in HTML; group management; public speaking; customer service. Studio/audio Engineering. Extensive experience with Windows and Apple Operating Systems and Applications. Proficient writer, editor.

Cell: 916%849%8483

Email: halespersonal@gmail..com

Web: issuu.com/pattpress

REFERENCES

REFERRALS Walter Hammerwold ! Advisor, American River Current "American River College#, 818!395!9559 Paula Travis ! Site Director, City of Sacramento, 916!675!2941 Kel Munger ! Sta$ Writer, Sacramento News & Review/Professor, American River College, 916!837!0625 Alisha Kirby ! Editor!in!Chief, Unplugged Magazine, 916!475!4415

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Cross-country coach Rick Anderson writes his team’s current running statistics on a whiteboard located in his office, which provides a visual motivation for the members of his squad. Anderson’s method of recording data is considered more straight-forward compared to other advanced statistics.

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No. 13 Lauren Kirshke and No. 11 Caiti Berrie block a spike at the net during a game against Santa Rosa Junior College on Oct. 9 2013.

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music, food, great atmosphere

We take a look at this year’s Launch event Story by Jorden hales // Photos by Allen Dubnikov Nearly 10,000 people filled a one-block radius and scurried for hours between stages during Sacramento’s second annual Launch Festival. The lineup featured 27 bands and three DJs, including headliners Girl Talk and Imagine Dragons. Dubbed a “celebration of creativity” by promoters, the city-central outdoor venue was filled with abstract art, mobile boutiques and custom clothiers. Though many of the bands brought their cult followings with them, discovery of new music seemed to be the pillar of the Launch experience for many in attendance. “I didn’t know anybody that was performing other than Girl Talk,” said Miguel Orduño, who made plans to attend Launch back in April when he returned to Sacramento from Coachella. “I went to get to know some indie bands. It’s perfect to get to know random bands in all different types of genres.” Performers were curious as well. The Sacramento-based Bell Boys were impressed with the out-oftowners on the lineup. “It’s humbling and encouraging to see [new artists],” said Erik Bell, the group’s guitarist and lead vocalist. “[Here] you get a bigger variety, you get a bunch of different genres in one day. It’s a very diverse crowd, so it all works.” Among the standouts was Doomtree, an indie hip-hop collective from Minneapolis. The sevenmember ensemble features five members as vocalists and live sounds from its two DJs/producers. The collective’s chemistry was palpable and helped to engage the crowd to a degree rarely seen from hiphop groups. “We never practice,” said P.O.S., one of Doomtree’s several vocalists who also did a solo performance at the festival. “We’ve been playing 10 and a half years, and goofing off with our friends pretty regularly for 10 and a half years, [chemistry] is going to tighten itself up.” Before Imagine Dragons closed out the festival on Sunday evening, DJ Shaun Lopez took the stage for a set that was one of the more memorable parts of the weekend. “I didn’t even look up until five songs in, but when I did, I was like, ‘[They’re] really feeling this shit,’” Lopez said of the crowd. Artists and fans all seemed to leave with a lasting impression and a plan to attend the event annually. “It’s hard to compare it [to other festivals] because it’s so [new],” Orduño said after the festival, “but it has the potential to be a [marquee] festival.”

16.unplugged.Oct.2013

Imagine Dragons’ lead singer Dan Reynolds performing at Launch on Sept. 8. Pittsburgh’s Gregg Gills of Girl Talk performing at Launch on Sept. 7.

Head over to SacUnplugged.com for more pictures from Launch!

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Burger Max constructs many different burgers, including the Super Burger that is topped with two big slices of crisp bacon and a whole fried egg.

Burger Max, located at 4708 Auburn Blvd, Sacramento, CA 95841 on Monday, April 29.

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Women’s volleyball wins final home match, advances to state its home crowd, scored eight unanswered points, tying the game at 23.

Jorden Hales, News Editor December 3, 2013 ! " The American River College women’s volleyball team defeated Fresno City College 3-2 (25-23, 19-25, 24-26, 25-16, 15-10) in the third and final round of the California Community College Athletic Association’s (CCCAA) Northern California regional playoff. With the victory, the team advanced to CCCAA’s state championship. ! After taking the highly competitive opening set, in which neither team lead by more than two points, ARC took a commanding six-point lead in the second. " Fresno responded with an 11-4 run, taking the lead and prompting ARC head coach Ashlie Frame to take a timeout that would do little to help the team’s cause. ! Fresno would even the match, and carry its momentum into the ensuing set leading by as many as eight before ARC, rallied by

! Fresno scored again, taking a one-point lead and looking to go up 2-1. On what looked to be the final play of the set, Fresno players threw their hands up in elation, allowing ARC a kick-over that tied the game at 24. ! Though Fresno would eventually win the set, sophomore middle hitter Nicole Hareland saw a bit of symbolism in prolonging what the opposition thought was already a victory. " “It is (a metaphor) for the whole (match) – even though we lost that (set) the momentum of us fighting for every point really helped in the next,” Hareland said. “It (got) us pumped up and (we said,) ‘We have a chance. We’re not giving up. This is our game.’” ! The poignant metaphor was inspiration enough for the Beavers, who met little resistance in sets four and five. ! Emotions ran high after the final point was scored. The team rushed the court, huddled, and staged a celebratory photo-op after clinching the victory. " “I cried. I’m so, so happy right now,” sophomore libero Sophi Lozano said amidst the festivities. “It’s like a dream because last year we kept saying, ‘We want to go to state.’ This

year we wanted it more. We had the experience (of losing) last year.” " Freshman outside hitter Erika Jones, who did not share the experience of falling short last season, stated she was “immensely proud” of her team’s determination and is already looking toward possible challenges of the state championship. " “We need to be mentally prepared now,” Jones said. “Our team’s never been to state (championships) and these teams have been to state for years now. And all those teams play in the sand 24/7. We don’t have that here in Nor Cal.” " ARC will now shift its focus and prepare for the state championship competition, scheduled to take place Saturday and Sunday at Foothill College in Los Altos Hills, Calif. The Beavers will be playing for the first state championship in the program’s history.

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ent reviews throughout the month!

King Krule “6 Feet Beneath the Moon”

the Civil Wars

Album Reviews

The Dangerous Summer

“the civil wars”

“Golden Record”

Not long ago, I reviewed the latest EP from Rejjie Snow and said that he was a part of a new generation of beat poets coming from the U.K. and Ireland. King Krule, from the U.K., is easily the most notable from the wave of this resurrected art. If this wave really begins to grow and becomes an actual movement, “6 Feet Beneath the Moon” will be seen as the start of it all. In 2011, Krule released the “King Krule EP,” which caused many blogs, publications, and websites to go insane. His intricate, blues-tinged guitar work and his deep, thickly accented voice seemed to resonate with many. “Beneath the Moon” was released on Aug. 24, on his 19th birthday. His age is something to take note of as his debut LP is refined and mature. The vocals blur the lines between rapping, spoken word, dark crooning, and traditional blues. The production is sleek, dark and not one part of a song is buried under something else. Everything is balanced while still being able to highlight what needs to stand out. Many of the tracks have been previously released but have been updated in some way that makes them better. Tracks like “Out Getting Ribs,” “Has This Hit?” and “Baby Blue” have been reworked to fit the sound that Krule has been going for. Everything Krule wants to do musically may seem like it’d be a rough fit, but he pulls it off better than anyone could have expected.

Discovering a new favorite is one of music’s most exquisite pleasures. Whether it’s a local group on the cusp of a breakthrough or an older one that you’ve never had the pleasure of hearing, new sounds are a visceral experience. That is the experience I’ve had with The Civil Wars. This relatively new group’s sophomore album is a collection of tracks unique to anything I’ve heard from this genre in long time. In fact, I would say it transcends genres. The a cappella opening immediately held my attention and was an appropriate beginning to such a lyrically rich project. It’s one of the most quotable albums in recent memory. I resisted the urge to craft status updates from the lyrics throughout the first listen, but as they have time to resonate and pop up in my shuffle, I’m sure I’ll cave sooner than later. Metaphors, adages, timely clichés, and just simple resounding statements that hit home make it a rhetorical masterpiece. As the album progressed, I found myself adding favorites to playlists and hitting the back button. There are gems sprinkled throughout that make it difficult to listen straight through. Everything fits together seamlessly—acoustic guitars, keys, their voices—every detail is crafted in perfect compliment to the others. The only disappointing thing about this album is that it may be the duo’s last. Joy Williams and John Paul White are in the midst of a feud and will not be touring to support the album.

I hate to say it, but I’m still on the fence about this record. I love The Dangerous Summer and, until now, everything they’ve released. For every great quality, there’s an aspect that brings “Golden Record” back down. For example, the record is as heartwrenchingly hopeful as vocalist/bassist AJ Perdomo can deliver. But how do “heartwrenching” and “hopeful” even come together? For these guys, quite well. Perdomo went with a raspier delivery through the entire album, which adds a significant urgency to songs like “Catholic Girls” and “Knives,” but takes away from songs that could have benefitted from cleaner vocals. They experiment with the idea briefly in both “Drowning” and “Anchor,” but for the most part the vocals feel redundant. Another double-edged quality are the lyrics. I believe that Mr. Perdomo is criminally underrated as a lyricist. It’s been documented just how much time and effort he’s put into writing for previous releases. However, this time around he mentioned free-styling lyrics during the writing process. It shows. There aren’t many songs that make you want to sing along or really even play enough to learn the lyrics. That being said, there are some great highlights on this album. “Miles Apart” is exactly the sort of raw love song I was hoping for when I heard of Perdomo’s nuptials, and Ben Cato has proven to be the perfect replacement for Tyler Minsberg on drums. This isn’t their best album, but you can’t shelve TDS quite yet.

By Daniel Romandia

By Jorden Hales

By Alisha Kirby

Sept.2013.unplugged.19

Album Reviews

Visit SacUnplugged.com for freque

Jay Z

Mayer Hawthorn

“Letters Home”

“Magna Carta... Holy Grail”

“Where Does This Door Go”

Defeater is a concept band that writes music narrating the life of an impoverished working class family in post-WWII New Jersey. The band’s previous releases have explored the stories of the two children of the family—the youngest and oldest brothers—and how each painted a picture of their father as an abusive alcoholic who gambled the family’s wages away. In “Letters Home,” the band delves into the events that drove the father to this dark place, including his service in the war and the loss of his brother. The album opens with “Bastards,” which is essentially the father’s suicide note before working it’s way back to the beginning of his emotional decline. As it builds into the following track, it becomes apparent that there won’t be a moment to catch your breath through the duration of the album. While the contribution from Blacklisted vocalist George Hirsch in “No Relief ” sails into the melodic aggression of “No Faith,” it’s easy to pick up on similarities to the band’s first album, “Travels.” This is a band significantly improving and honing in on their strengths. “Rabbit Foot” alone proves that, though the chills or the pit in your stomach that comes from hearing vocalist Derek Archambault deliver the line, “I gave away my faith when I gave my brother a coffin,” in “No Saviour” for the first time is a major highlight. “Letters Home” is Defeater’s most cohesive record to date. If you enjoy hardcore, this will be one of your favorites this year.

After vowing to “write the new rules” with the promotion and subsequent release of “Magna Carta...Holy Grail,” hip-hop mainstay Jay Z has simultaneously disappointed and delivered. His raspy voice and reference to both corporate culture and the urban drug trade are anything but new, and the album’s unique feel and implications, brought to life by production from Pharrell Williams and Timbaland (among others), were tangible. Lyrically, the project adheres absolutely to the principles of classic hip-hop. Infused with boisterous proclamations, flagrant disregard for conventional wisdom, and tone of appraisal rivaling that of the actual Magna Carta, the album projects to make a prophet of Jay Z in a manner reminiscent of his debut, “Reasonable Doubt.” The first track, “Holy Grail,” begins with vocals from Justin Timberlake over an ominous piano solo that gives the rapper’s first appearance the feel of an unveiling at a prestigious ceremony. Frank Ocean, Rick Ross, Nas, and Beyonce contribute briefly without being overshadowed by the strong impression of Hov’s best. The album’s only con is its length, with too many tracks near the end that don’t uphold the standard set by the first several. All in all, this is as complete of an album that can be purchased. Jay Z has added yet another volume to his extensive anthology. “Magna Carta...Holy Grail” does right by both hiphop and the world of art with perfect marriages of edgy production and lyrics that are sure to leave a lasting impression on listeners.

It’s not often that artists are so blunt about uncertainty in music. The meaning behind the title for Mayer Hawthorne’s new album, “Where Does This Door Go,” is obvious as Hawthorne has no idea where he’s headed with this release. Most people didn’t expect a Jewish kid from Ann Arbor, Michigan, to be the face of neo-soul and what is starting to be called PBR&B (an alternative R&B that hipsters apparently embrace). But those are labels that kind of diminish what Hawthorne has been doing for years now. He usually sings in a very high falsetto, as many did in Motown’s heyday, and is backed with ‘70s-inspired music that still has its own sense of modern production. However, there is a major difference in this new album. His inspiration isn’t so much Detroit soul, but the so-called “blue-eyed soul” like Hall & Oates and Steely Dan. It suits him just as well as the Motown-esque songs he released five years ago. Gaining success with a genre that hasn’t been all that popular for years can be scary. It means either you’re a gimmick with that one song that reminds people of “old school,” or that you are a pioneer in reviving music that has been lost on a generation. It’s all very uncertain. Hawthorne knows that more than anyone. If this album becomes the success many have speculated it would be, then Hawthorne is opening all new doors. He’ll have to figure out where they lead to in time.

By Alisha Kirby

By Jorden Hales

By Daniel Romandia

Defeater

18.unplugged.Aug.2013

Album Reviews

Dowsing

“I Don’t Even Care Anymore”

Visit SacUnplugged.com for freque

Earl Sweatshirt “Doris”

Franz Ferdinand “Right Thoughts, Right Words, Right Action”

It’s hard to explain why the new Dowsing record, “I Don’t Even Care Anymore,” is excellent. The lyrics aren’t life-altering. The band isn’t breaking new ground instrumentally or exploring new themes. The performances aren’t flawless, but that only adds to the overall feeling of the album. Dowsing has made fairly straight-forward Midwestern emo. The key is that everything is done just right. Lyrically, enough emotion is revealed to get the point across powerfully while not sounding cliché or whiny. The music drifts along, building and plummeting in every key moment. This album is too much of a good thing, which, as it turns out, is just the right amount. Each song propels the listener forward through the album, ending the entire listening experience so soon that it feels as if it was always a memory. “If I Fall Asleep the Cats Will Find Me” starts the album off, setting the tone and atmosphere for the rest of the album. The song “Meant to Shred” truly shows how much potential and songwriting talent this band has. It’s also far too short, forcing another press of the repeat button. “Still Don’t Care” and “Nothing to Give” are emotional weights, crushing down and unrelenting until the end of a heavy hitting album. Dowsing is making meaningful songs people truly care about, even if their album title suggests they don’t. And while we’re on the subject, the band needs some less depressing album titles. “It’s Still Pretty Terrible”? “It’s Just Going to Get Worse”? “I Don’t Even Care Anymore”? Come on guys, cheer up.

It’s finally here; the album the internet and white teenage dudes have been waiting for. Many people have heard Earl Sweatshirt’s new album by now, so all there is to talk about is whether or not it’s as good as everyone thought it would to be. Well, it’s about halfway there. “Doris” is an example that could be used in the study of hype and anticipation with music in the internet age. In no way is this album bad. There are some great songs on the record that will definitely end up on people’s “Best Songs of 2013” lists. Songs like “Burgundy,” “Hive” and “Molasses” come to mind. While they all sound different, Earl masters them with his apathetic, monotone flow and his complex lyrics. The faults in this album come from some of the guest spots. Domo Genesis is featured twice, and even that feels like it’s too much. And Mac Miller was a good idea until he tried to sound like an Odd Future member. On the other hand, Earl showed us that Frank Ocean can rap (“Sunday”), that Earl fits very well with the legendary RZA (“Molasses”), and that he and Tyler, The Creator still sound like brothers. People were expecting a classic album but, to be honest, nothing about “Doris” is classic. It has its definite moments where it shows that if Earl would be more consistent, he could eventually make a classic. It’s just the number of forgettable songs that keep this album from being great.

Standard. This would be the most poignant way to describe “Right Thoughts, Right Words, Right Action.” The album is safe, steady and consistent. While some of the metaphorical lyrics and tastefully crafted melodies make it an easy listen, there is nothing outstanding about it. If I had to draw a parallel, I would say this album is like an Academy Awardwinning film: it hits all the major “check points” that would make an album great, if greatness required zero artistic nuance. I had gotten all the way to track five before realizing that nothing had jumped out at me yet. It was only after I made a point to press rewind and peel back the layers that I was able to take brief interest in a simple, yet thoughtful, “fresh strawberries” metaphor literally halfway through the album. Just a few minutes later, I found myself thinking how perfect this album would be for an evening jogger. Its brief composition and metronome-like consistency through the first eight songs make this an ideal pairing. The final three tracks introduce the first change of pace. I must stress that this album is by no means “bad” or poorly executed. It is very methodical, to the point that it can only be listened to passively. “Right Thoughts, Right Words, Right Action” is clearly put together by quality musicians with a plan as deliberate as their title. If you’re looking for something melodic and easy to listen to, you will definitely find it with this.

By Josh Jurss

By Daniel Romandia

By Jorden Hales

18.unplugged.Sept.2013

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08.unplugged.Nov.2013

Reaching into the crate for an old goodie felt like reaching back in time. I’ve felt disconnected from my old favorites for a while now. But in that moment – shuffling through CD and programs – it was right in my face. The weight and historic impact, the gratuitous vulgarity and, most importantly, the person I was when I enjoyed it. For a moment I thought to myself, “Is this really a good idea?” As it turns out, it was one of the best I’ve had. My sister, Ryleigh, is about the age I was when I began rapping. While I had already loved West Coast “gangsta rap” for years, this was when I began dissecting it and understanding it thoroughly. It felt like a rite of passage, being consumed by my passion. Seeing her immersed in it validated everything I felt at the time.

“Minus all the gang violence I feel like (experiencing those) things would have been better.” she said after weeks of familiarizing herself with the culture, nearly as fascinated as I was years ago. “(Gang life) was part of them,” she continued. “Even if they didn’t get to make that choice, they accepted it and that’s pretty much what their music was about. I could see (it as if) they wrote in a diary, just ripped (pages) out and that was their song.” She credits the production for giving her an experience that she never had, the experience of actually “feeling” music. “I got a really good picture. I think what really helped was the (sound effects in the) background,” she said. “The kids playing, someone being shot, tires screeching, I could just picture it in my mind.” In sharing this era, I hoped for her to understand how I related to it. Though often thought of as boastful and pompous, gangsta rap was rich with insecurities. The insecurities of the artists and the people they represented were what made it. The most prominent feature of gangsta rap was one unanswered question: “Why am I stuck in this life, and why am I condemned for it?” “The songs made it sound like gang violence and cussing wasn’t a big deal, it was just a part of life. It probably didn’t help the killings die down, but I feel like it also helped some of the youth that were struggling, (making them think) ‘I shouldn’t be ashamed (of where I’m from)’ ... whether they wanted to join a gang or get out.” Ryleigh gave thought to this era’s social impact, concluding that it allowed a society at a crossroads to make moral amends. “The way I’ve seen it in history, if one group of people is poor or (others) think less of them, they sort of get pushed aside and ignored if not killed,” she reflected. “(Things) were still bad, but at least they couldn’t be ignored anymore.”

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08.unplugged.Dec.2013

No matter how horrific and traumatizing some experiences may be, they often mold the character of our world’s greatest artists. My sister Ryleigh recently developed a new appreciation for this fact, as she dove into the second era of music I wished to share: the early 2000s. As with the gangsta rap era, it was necessary to understand the state of the world to fully appreciate the music’s cultural significance. Clothed in a post-Clinton, pre9/11 complacence and a euphoric, absent-minded *NSYNC/Britney Spears bliss, Americans were generally at ease. This apparent obstacle did not delay the next figure I wished to share with my sister: Eminem, who by his own account, “came to the world at a time when it needed a villain.” A welcome reception was

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neither the norm or a necessity. “I was mad at first,” Ryleigh said of her experience with the controversial emcee’s work. “I was really put off by his music. I didn’t like it, I didn’t want to listen to it, but now I just feel bad for him and I really hope he’s gotten better.” Having been born in 1999, just weeks after Eminem’s first major release, Ryleigh had no previous experience with his work but was not surprised to find that her reaction was similar to that of the general public’s. Lance “DJ Elements” Soto, one of Northern California’s premier nightclub DJs, started his career around the time of Eminem’s debut and clearly remembers the industry’s initial response to the Detroit rapper. “He made a real big first impression. It’s kind of poppy but his lyrics

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made him (hip-hop),” said Soto. “He had the emcee flow, but he wrote those hooks the kids wanted to sing along to and their parents didn’t want them singing along to. The old DJs savor it.” Over time, Ryleigh came to appreciate the rapper’s disposition, as earlier generations did. “I think I sort of developed a soft spot for him. Even though I might not like everything he does, or agree with his lyrics, I can appreciate (his feelings),” she said. In addition to the stark contrast between himself and his “candy pop” counterparts, Eminem also demonstrated a quality that made him unique to his hip-hop predecessors. While the gangta rap era Ryleigh has become so fond of seemed to represent an entire culture, Eminem acted out of loneliness. She attributes her less favorable response to this apparent difference in sentiment. “They [‘90s gangsta rappers] sounded calm and at peace [with their misfortunes],” she said. “The vibe of their music didn’t give me a reason to feel uncomfortable. Eminem’s music sounded like all he was trying to do was make me feel uncomfortable.” As a preteen, I admired Eminem’s ability to represent on a grander scale the things he felt internally. I learned from his music that “the real Slim Shady” was truly no different from any person’s perceived shortcomings. Though Ryleigh and I were not able to share the same appreciation, she believes his career was timely and helped the industry maintain a sort of balance. “It could have gone straight to pop music and rap could have been (forgotten),” she said. “Because of him, it stayed in the picture. He kind of picked it up like a rolling wheel and kept pushing it along.”

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