7.20.2012

Baltimore Magazine: Robert McClintock vs. Artscape

[Image courtesy of RobertMcClintock.com]
Baltimore artist Robert McClintock—most famous for his portraits of dogs and local landmarks—won’t be at Artscape this weekend, and he’s encouraging others to skip the event, too. Through Twitter and e-mail blasts, the artist has suggested locals “opt out” of the art and music festival.

McClintock said the idea comes from his inability to pass the event’s juried application process last year, despite his participation from 2001 to 2010.

“Yes, I’m bitter that I didn’t get into Artscape,” said McClintock in a phone interview. “I’m a local artist promoting the city, and people look for me there.”

Artscape’s organizers aren’t worried about McClintock’s suggestion to skip the event. “The point of Artscape is to foster artists, and if that [campaign] helps him as an artist to sell art, then at the end of the day we wish him all the best,” said Tracy Baskerville, communications director at Baltimore Office of Promotion of the Arts.

McClintock didn’t apply this year, instead choosing to opt out of the festival. He feels Artscape is forgetting its roots in an effort to become nationally recognized. “They invite people from around the country to come here when I think it should be a Baltimore-based event supporting Baltimore artists,” he said.

Baskerville attributes the increasing number of regional and national artists to the event’s popularity. “As Artscape’s reputation has grown, more artists from around the nation want to participate,” said Bakersville of the specific markets McClintock’s work falls under. She pointed out that Artscape’s performing arts are still largely local groups.

McClintock’s offering an alternative to the event at his Fells Point gallery, where he’ll be giving away free signed and framed mini-prints (if you spend $45 first, according to the gallery’s Facebook page).

After getting some backlash from a customer, according to The Baltimore Sun, and some not-so-nice comments on Twitter, McClintock has softened his campaign.

“Not everybody in the world goes to Artscape,” he said “If you don’t want to watch the Super Bowl you can watch Gone with the Wind on another channel. It’s something else to do."

—This post was written by editorial summer intern Rebecca Kirkman
 
Read it at Baltimore magazine.

Baltimore Magazine: Can beer tasting at The Wine Market

When we think can beers, we usually think Natty Boh or Miller Lite. But there's more to cans than mass-produced light lagers, and we tried them ourselves last night at Wine Market Bistro's can beer tasting.
In a room nestled off of the Locust Point restaurant's main dining area, 13 canned beers sat in a line along a makeshift bar on one end of the room. With so many choices, we grabbed our tumblers and decided to work our way from left to right.

The event was casual, with no formal introduction of the beers, but we got a chance to chat with The Wine Market's owner, Chris Spann, and beer manager, Brendan Kirlin, with each refill.

We were first offered a generous three-ounce pour of Blanche de Bruxelles, a coriander and orange peel infused witbier from Belgium. The only imported beer, it gave a special authority to the idea of canned beer—if a Belgian brewery established in 1876 cans its beer, why not everyone?

One thing to note: Many craft beer enthusiasts dislike cans because of the aluminum taste drinking from the can adds to the beer's flavor. This was thoughtfully avoided because our samples were poured into glasses. And that’s what you should do anyway with a good beer—pour it into a glass.

We overheard a lot of home-brewing conversation from the crowd of about 50 people standing around tables, but not everyone is a beer expert, and the hosts were happy to explain the types of beers available. Small menus listing the cans, and tasting notes for each, were scattered on the tables with pens included so we could keep track of the beers.

There were a wide range of styles, from 21st Amendment's light and fruity wheat beer Hell or High Watermelon to Oskar Blues’s dark and chocolaty Scottish strong ale Old Chub. Of course, Resurrection, the local favorite from Brewer's Art, made the list as well.

The best part—because The Wine Market is part-bistro and part-shop—was grabbing a six-pack of our favorites to take home on the way out.

—Rebecca Kirkman, Baltimore magazine intern 
[Image by Rebecca Kirkman]

See the story in Baltimore magazine.

7.12.2012

Baltimore Magazine: Bachelor and Bachelorette casting comes to Locust Point

Last night, the ABC reality shows The Bachelor and The Bacheloretteheld an open casting call at The Greene Turtle in Locust Point. We sent one of our intrepid summer interns, Rebecca Kirkman, to cover the proceedings. This is her report: 
“I want to go all the way—his last rose,” says Jennifer Barnes, a young woman with tattoos and scarlet lipstick in a white bodycon dress. We’re standing about halfway up a winding line of glossy-lipped, shiny-haired girls which twists and turns through The Greene Turtle at McHenry Row in Locust Point, all vying for a spot on ABC’s reality dating juggernaut The Bachelor. Barnes fidgets a little with her purse and tells me how nervous she is. “I want to get a drink but I don’t want to lose my place in line,” she says. 
Overwhelmed waiters and bewildered patrons squeeze through a gap in the line, past a tan girl clutching a Bach-tini (cherry vodka, lemon-lime soda and a splash of grenadine) in one hand and a casting application in the other. It’s the first Baltimore casting call in The Bachelor history, and hundreds of Charm City singles showed up in everything from sexy cocktail dresses to jeans and T-shirts. After waiting for almost two hours, the love-seekers disappear in groups to be questioned on-camera about their hobbies and dating history. “I’m a huge Bachelor fan, like, obsessed” says Lisa Dannenberg, a blonde in a sundress, after her interview.
Outside girls sit and stand in clusters, checking their makeup and fanning themselves in the sticky 93-degree heat as they anxiously await their turns. Friends take shots at the bar to calm their nerves. Desperate not to seem desperate, everyone I talk to tries to downplay their presence—writing it off to nagging coworkers, living nearby, and even stumbling across the casting call on the way to get frozen yogurt. I overhear a young woman point to her friends and mischeviously say, “I tricked them into coming.”
The few guys in the crowd seem to be here more for the single girls than to find true love. One, with slickly parted hair and a pinstriped suit, yells to the bubbly, blonde bartender “I lied on my application!” Holding it up he reads “Do you drink alcoholic beverages? No!” And chuckles, “I hope I don’t get disqualified.”
No one has mentioned looking for love─It’s not even a question on the application. As she heads to her interview, a brunette teetering in sky-high heels dramatically flips her hair over her shoulder and proclaims to anyone listening,  “It’s time for my close up!”

Read it at Baltimore Magazine.

Baltimore Magazine: Drinks at Of Love and Regret

New gastropub Of Love and Regret, located in Brewer’s Hill, opened in March and is a collaboration between Stillwater Artinsal Ale’s Brian Strumke and Ted Stelzenmuller of Jack’s Bistro. We just had to try the winning combo of local beer and food powerhouses.
Located across the street from the Natty Boh Tower, the space once housed by Canton Station has an unassuming black door that leads into the pub’s long, narrow bar and dining room. Gleaming dark woods, brick walls, and tables lit by candles in mason jars contribute to the hip atmosphere—very Pacific Northwest. This place gets the vibe right without trying too hard.
A long chalkboard to one end of the room lists the 23 beers on tap, which include Stillwater Artisanal brews, imports, and other local beers like Sublimation by Brewer’s Art. Ranging from $7-9 for a 12-ounce poor, this place is on the higher end for Baltimore pubs, but the crowded bar proves patrons are happy to pay the price. Another note: We asked to sample one of the beers, but were told we could only purchase 6-ounce pours if we wanted to try them. Offering samples would be a great way for patrons to experiment before deciding on a particular brew.
But, Of Love and Regret’s knowledgeable bar and wait staff, all clad in black, did help us navigate the long tap list. The Baltimore-brewed Oliver’s Channel Crossing v5 was a refreshing U.K.- and Belgian-inspired golden mild ale served in a goblet. The stronger Emelisse Holland Oats, brewed in the Netherlands, was a smooth amber with hints of toasted oats and applestroop.
For $18, select picks off of the draft list are available to share in a 36-ounce pitcher. As our waitress delivered the carafe of locally brewed Cellar Door, a white sage infused wheat beer, she described it as “a step up from Blue Moon.” A complex and unique mix of spices, it was, as my friend put it, an “elevator ride” from the grocery store Belgian-style witbier, and the perfect summer drink.
We also tried a couple of the pub’s signature cocktails, our favorite being their rendition of a Boris Karloff cocktail (gin, elderflower liqueur, lime juice, simple syrup, and egg white) garnished with lime zest and black pepper. This gin fizz was executed perfectly, light and fruity with a foamy top.
Straying from drinks for a second, all of our food was delicious. Most unique, The Golden Burger, as the menu warns, actually is gold. Edible spray paint is used to achieve the effect, our waitress explained. (A full food review will appear in an upcoming issue).
We’ll be back soon to taste more of the constantly changing drafts, and maybe—if we dare—venture into the list of 30 bottles, which are separated into dry and crisp, sweet and sour, and strong and dark sections.
—Rebecca Kirkman, Baltimore magazine intern 
Read the piece at Baltimore Magazine.

7.10.2012

Urbanite Baltimore: Sounding Off

Baltimore instrumental band The Water on their new album, Scandals and Animals


Sitting side by side on barstools at Federal Hill's Idle Hour, Dan Cohan and James Klink collect a stack of Natty Boh bottle caps, adding new ones to the pile as they solve the puzzles together. One, with an image of an axe and a mug, stumps them. "At some bars they throw out the caps before they give you the beer," says Cohan, "but I like solving them." Taking disjointed pieces and putting them together as a whole makes puzzles challenging. But it's also what makes them fun to solve—you have to see the bigger picture as it's formed by all the parts. Cohan and Klink face the same challenge when they write music together.
Baltimore natives Cohan and Klink, both 29, make up The Water, a cinematic band that uses loops and extensive layering to create a rich, full sound despite only having two members. The band's first album, Scandals and Animals, was recorded at Baltimore's Mobtown Studios and released in January by Scenic Route Records.
Friends since kindergarten, Cohan and Klink have always lived within a mile of each other. In a high school band they began experimenting with piecing different parts together and layering sound. "We started being gizmo-centric, with all sorts of pedals," says Klink. During the past five years playing together as The Water, they have worked out the kinks and become comfortable with who they are as a two-piece, says Cohan.
click to enlargefeatureIMG_1450.jpg
    It shows in Scandals and Animals. The album's deliberately crafted melodies move from quiet lows to driving crescendos, building a wave of sound that arcs with the buildup of drums and power chords and crashes to a lull of quiet reverb guitar. The album lacks vocals, but the duo's emotional songwriting expresses different moods through the complex and overlapping tangles of rhythm and melody.
    "We basically play four people's worth of parts," says Klink, explaining how he creates the bass with the keyboard, loops it, and plays melody on guitar, while Cohan loops his drum beat and adds rhythm guitar. "We want to do things other people do but arrive at that destination in a cool way," says Cohan.
    Figuring out how to achieve a full-band sound with only two people has taken some time. But the evolution has improved their songwriting, says Alex Champagne of Scenic Route Records, who helped record Scandals and Animals. "They've really tightened their sound over the years," he says, noting The Water stays true to its roots through its growth.
    Mat Leffler-Schulman, who produced the album with Champagne at Mobtown Studios, agrees. "They've grown as a band. They are in this situation where they're doing instrumental music and telling a story, but telling a story with note intervals instead of words," he says. "They are so much more focused in their articulation in this record.
    "There's something so emotive about what they do. It looks like two dudes standing on stage and then boom, there's this gigantic sound," Leffler-Schulman continues. "If you don't feel something, you're lifeless and dead."
    For Cohan and Klink, recording Scandals and Animals in the studio was difficult. "It's really fucking hard. It's like the difference between acting on stage and acting in the movies," says Cohan. "You can't build momentum."
    click to enlargefeaturethewaterbw.jpg
      Champagne and Leffler-Schulman worked with the duo to record the album in a way that worked for them. The two played in the same room together, but their amps were isolated in separate rooms for recording. "They were really concerned about getting things done right," says Champagne. "If a loop got messed up it meant we had to start over again."
      Or, as Cohan puts it: "If I don't hit the pedal at the exact right moment, the song's fucked."
      By the time they finish their beers, Klink has figured out the bottle cap rebus that stumped them earlier. It's Natty Boh cap 198: "Don't act so smug." But that's not something the band needs to worry about. The Water isn't trying to get big; the duo just want to continue doing what they're doing.
      "I love playing music in front of people, whether it's at the Windup Space in front of fifteen or at the Ottobar in front of two hundred," says Cohan. "Maybe you get your drinks paid for, maybe you get a few bucks from door admission—it's not about that. For us, we enjoy playing shows around Baltimore and being a Baltimore band."
      See The Water July 22 at the Windup Space for a Scenic Route Records showcase with Joseph Mulhollen, The Manly Deeds (Dan Cohan's other band), and A Cat Called Cricket.

      Read at Urbanite.

      4.28.2012

      Urbanite Baltimore: Pop for the People

      Pop Guilt, the debut album of Baltimore’s Lands & Peoples, carves out its niche in experimental pop with its raw delivery of plucky guitar, clean reverb, and sprawling melodies. The album’s single, “Ghosts,” starts out subtly, pairing down-tempo drums with thick bass guitar. Harmonizing vocals layered over intricate, well-placed guitar licks brighten the song’s tone. An eccentric combination of tracks, Pop Guilt wanders from catchy riffs to moody lyric-less bursts, giving members Beauregard Cole and Caleb Moore a chance to execute their unconventional melodic ideas.

      Read more at Urbanite.

      4.10.2012

      Examiner.com: Baltimore's Beach House releases new single 'Myth' off upcoming album 'Bloom'


      Album art for "Bloom,"
      courtesy of Pitchfork.com

      Two years after the release of the highly-praised album "Teen Dream," Baltimore’s dream-pop duo Beach House have revealed the release date, album art, and single for their next album "Bloom."

      Following in the footsteps of "Teen Dream," the new single “Myth” showcases the familiarly haunting vocals of Victoria Legrand floating atop a pulsating organ beat and weaving with Alex Scally’s keyboard and rhythmic drums. 
      “If you build yourself a myth,
      and know just what to give
      what comes after this, momentary bliss,” sings Legrand.
      “...help me to make it.”
      Beginning with the raw percussion of a clinking cow bell and building upon it with throbbing organs, keyboard, and drums, “Myth” is nothing new (it sounds like it could be the lost 11th track off of "Teen Dream"), but it maintains the haunting, heartfelt feeling that is the band’s trademark sound.


      Continue reading on Examiner.com Baltimore's Beach House releases new single 'Myth' off upcoming album 'Bloom' - Baltimore Music | Examiner.com http://www.examiner.com/music-in-baltimore/baltimore-s-beach-house-releases-new-single-myth-off-upcoming-album-bloom#ixzz1rf3FuG5d

      3.06.2012

      L.A. Weekly: Cassette Tapes Are Back. Ask Your Mom to Mail Your Old Jambox.

      "I grew up collecting and listening to cassette tapes and records," said Phil Shaheen, drummer for Los Angeles indie band Tijuana Panthers. "I like the fact that cassettes are in again and that cool little labels are putting them out." The band released its album, Max Baker, as a limited-edition tape through Kill/Hurt, a Hollywood cassette-only label.

      It's true, cassettes seem a little ridiculous at first. They're bulky, you have to flip them in the middle of an album, and cassette players aren't widely available. But cassettes provide benefits digital media can't, and they're back.
      At 70 cents a tape, an artist can get small batches of music in the public's hands for less money than a CD or vinyl record. Michael McKinney, president of M2 Communications, a Pasadena duplication company, puts out between 6,000 and 10,000 tapes each month. Orders have picked up, mostly due to indie bands.

      Read  more on L.A. Weekly

      1.24.2012

      Q&A with Dublab's Mark "Frosty" McNeill

      Mark McNeill by dublabrat on Flickr
      Mark McNeill, co-founder of Los Angeles online radio station Dublab, chats about how he got his start in radio at the University of Southern California, his first experiences recording audio as a kid, his collection of unusual cassette tapes, and why he thinks cassettes are still around.

      Read the full article on Neon Tommy.

      1.09.2012

      Rewind to cassettes: the analog, low-fidelity, hands-on movement

      Tijuana Panthers' Half Baked cassette by Kill/Hurt 
      The sleeve artwork for the limited-edition cassette tape released by Los Angeles indie band Tijuana Panthers has black clip art of a panther's head, cowboy boots, and jumper cables over a picture of an orange tropical flower. The band name is scrolled in cursive along the top, and the album name, Max Baker, appears in block letters on the bottom corner. Opening the case, with a screech of the plastic hinge, reveals a gold cassette tape—the band's release on Kill/Hurt, a Hollywood cassette-only label.

      "I grew up collecting and listening to cassette tapes and records, because that's the format that was around," said Phil Shaheen, drummer for Tijuana Panthers. "I like the fact that cassettes are in again and that there are cool little labels putting them out."

      It’s true—cassettes seem a little ridiculous at first. They’re bulky, they require listeners to flip them in the middle of a track, and cassette players are no longer widely available. But in contrast with the easy accessibility of digital media, the intimate quality of the cassette outweighs its limitations. An increase of cassette record labels in Southern California and mixtape enthusiasm in the Bay Area and up the West Coast signal the medium's renewed relevance.

      Cassettes attract small indie bands with their cheap price. For 70 cents a tape, an artist can get small batches of music in the public's hands for less than on CDs or vinyl. Michael McKinney, president of M2 Communications, a Pasadena-based duplication company, reports his cassette output to be between 6,000 and 10,000 tapes each month. "Tape orders have definitely picked up from almost nothing in the last couple years, and it's been almost entirely indie bands," McKinney told the Los Angeles Times.

      Several record producers in Los Angeles provide cassette releases to interested bands. Chris Jahnle and his girlfriend Kat Bouza, founders of Hollywood's label Kill/Hurt, started the company dubbing small batches of noise-rock cassettes with giant grey duplicators purchased for $200 from eBay. Cassettes naturally have hiss, treble, and distortion—qualities that go along with the mood of garage, punk and other noisy genres, said Bouza.

      Not Not Fun, an Eagle Rock-based label founded by Britt Brown and his wife, Amanda Brown, specializes in cassette releases for noisy rock bands. They both loved cassettes since high school, so when they started the label it was never a question whether or not they would produce cassettes, said Britt Brown. The label completes about 20 cassette releases a year, charging the band $1,500 for 500 copies. Because Not Not Fun gives 20 percent of profits back to the band and doesn't require a contract, the Browns haven't had trouble attracting clients since the company started in 2003.

      Mark "Frosty" McNeill by dublabrat on Flickr
      For Mark McNeill, a self-proclaimed music nerd who co-founded the Los Angeles Internet radio station Dublab, the attainability of cassettes attracts artists. "I think that some of it is just that it's being rediscovered…but it's also affordable," said McNeill. "A lot of tape labels are pressing them at home one by one and it's instantly accessible and you can make it. I think that kinda low-entry barrier and ease of creation are great and make it desirable to make tapes."

      On the second Friday of each month, Dublab hosts Top Tape, a DJ night at Silverlake's Hyperion Tavern. The event features a tag-team rotation of tape-only DJs and the magnetic, low-fidelity sounds of cassette tapes. About 20 DJs show up each month, with enough time to spin three tapes each. "We had to go from five to three since a lot more DJs have been showing up," said McNeill of the event's growing popularity. DJs play anything from "brand new music straight out of the studio that they dub on a tape and bring down, to old cassettes they find in thrift stores," said McNeill. "A lot of the DJs that come down are buying cassettes for the purpose of bringing them down and playing them at Top Tape for an audience." The event, he said, "perpetuates a community that gets excited about it."

      McNeill feels the medium brings a sense of community among those enthusiastic enough to dig through resale shops and garage sales to find unique tapes and sounds to remix. "For someone who's on the hunt for exciting music, it's really interesting because when you're out there at a thrift store going through a pile of cassettes, you're going to find some home recording tapes—you find mind blowing stuff on straight-to-tape demos. It's a one-off private glimpse into a moment . . . it could be anything," said McNeill. "The search and the exploration can pay off in a big way."

      Walking past a Thai video store, McNeill spotted a stack of cassettes on the counter. Checking them out, he found they were talks on Buddhism in Thai. "I was hoping they would be music, but I'm going to record a Thai vinyl set straight onto the cassette," he said. McNeill has also played a set on Dublab with cassettes he scavenged from an Ethiopian market and created a DJ mix from tapes he bought on a trip to Cambodia. "It's not meant to be a gimmick, but it's a tool to exploring music that doesn't exist in other forms," said McNeill. "There's certain music that lends itself to cassette, whether because of economic reasons or because that's what was available."

      The members of the San Francisco Mixtape Society understand the community and handcrafted feeling of exchanging mixtapes. Every month, members transform The Make-Out Room, a bar in the Mission District, into a venue for exchanging mixes. "Basically it's like a secret Santa party but with mixtapes," said Annie Lin, the society's co-founder. Each member brings his own mix to trade, leaving with a new set of tracks.

      Although the club accepts submissions on CDs and USB drives as well, "you get a free beer if you bring cassette tapes," said Lin. The society will present a panel on the art of mixtapes at SXSW, a major music and technology festival in Austin, Texas in March 2012. "I think in the current digital age," said Lin, "people have a craving to get back to other people through music." With a mixtape, "it is one person who made it just for them, as opposed to throwing up a playlist on a music blog where millions of people can view it."

      In late October, the indie band Wilco announced the release of its new album, The Whole Love, in a limited-edition cassette on its own label, dBpm Records. Cassettes make economic sense for bands releasing an album in a few hundred copies, but the release by Wilco, a band with two Grammy awards, points to the format attracting artists for reasons other than cost. "I think it's because of the fact that they want to see and experiment with the whole medium," said Lin of the release. "The value in CDs has really gone down over the years, and there is a huge resurgence of alternate media, like vinyl for example. I think going to cassette is just an experiment with that." A cassette tape can create a more personal attachment to the music because it can’t easily be dumped into an MP3 player and the listener can’t skip around to different tracks. The album becomes a cohesive unit.

      "There's also something very interactive and fun about a tape," said Matt Carr, founder of the music blog Everybody Taste and Washington, D.C. record label Analog Edition. "You can literally see the magnetic tape travel around the spool, and when it gets stuck, you can fix it with a pencil," said Carr. "It's very analog, and now that the digital world has been conquered by the MP3…I think there's a lot of room in the world of music for physical, creative, and DIY forms of art." That return to do-it-yourself intimacy in spite of the digital era explains a famous band like Wilco’s choice to release a limited edition cassette.

      The surge of cassette use by DJs, by bands and for individual mixtapes is an experiment reinventing an old medium for today's music scene. As technology continues to change the way we share music, making digital recording increasingly impersonal, musical counterculture will return to media of the past. Who knows, in the future CDs could provide the same comfort and nostalgia cassettes do today. It's a strange thought, but the return to cassettes also sounded a little ridiculous at first.

      The unpaid internship: some call it a right of passage, but in most cases, it’s illegal

      Creative Commons
      During an unpaid internship at a youth football camp in the summer of 2011, Matt Leland, a senior Broadcast Journalism major at the University of Southern California, wasn't told he would be required to pay for his own transportation to the camp locations. This included flights to and from San Francisco to Colorado and San Diego, and a train to Los Angeles. Leland estimates spending over $1,000 in transportation costs during his internship.

      "The most ridiculous thing about the internship came at the conclusion of the Colorado camp," said Leland. A supervisor asked him to drive a large truck full of equipment from Colorado to San Francisco. "This meant canceling my already-paid-for flight, getting into a vehicle I had no idea how to drive, and spending the next two full days on the road with a lot of expensive equipment that I was suddenly responsible for," said Leland. "Luckily, I was able to find someone who actually had experience doing this before being roped too far into it. . .but I still think it's ridiculous that I was even asked, considering the circumstances and my lack of compensation."

      A national survey found almost 75 percent of college students take-on at least one internship during their time at four-year schools. The survey, conducted by Intern Bridge in 2010, included over 42,000 students at 400 universities. Of those interns, almost 20 percent reported they didn't get paid or receive school credit for working, making the work illegal.

      "I think it's a mixture of free labor and the desire to educate students," said Faith Xue, a senior Communication major at the University of Southern California, on the motivation for companies to hire interns. "I've had five internships and they've varied in terms of how much I feel like the company or boss actually cares about what I learn and [them] using me solely to do the work they don't want to do."

      Xue worked without pay or school credit for a surf and fashion magazine based in Santa Monica, Calif. during the summer of 2011. "I expected to gain experience learning the ins and outs of what it takes to produce a magazine and hopefully exercise some reporting and writing skills," she said. The internship touched on this, but mostly involved menial, day-to-day tasks to assist her manager. "I was asked by one of my bosses to research cleaning companies in the area," said Xue. "A week later, she asked me if I could clean, dust and Swiffer the entire office space…completely disregarding the fact that I had emailed her cleaning company options a week before. She asked me to 'especially clean the bathroom, because it's terrible in there.'"

      "Two weeks later, she asked me if I could clean the bathroom again, because I was 'so good at it last time.'  So for the second time, I was on my hands and knees scrubbing the floor and toilet of this magazine's bathroom," said Xue.

      To be considered legal, an unpaid internship must comply with the Fair Labor Standards Act (FLSA). The act spells out six qualifications, summarized below, allowing a company to hire "trainees" that do not qualify as employees.

      The Supreme Court deems an internship meeting all of these qualifications legal:

      • The training is similar to education received in a vocational school and is for the benefit of the student.
      • The trainees work with a close supervisor and do not take the place of paid employees.
      • The employer doesn’t receive any direct advantage from the work, and sometimes “his operations may even be impeded” by providing the internship.
      • The trainee is not entitled to a job at the end of the period and understands he will not receive payment.


      Although many unpaid internships don't follow these regulations, students continue to accept them due to an extreme pressure to gain experience, boost résumés, or make connections.

      A senior Cinema-Television Production major at the University of Southern California, who asked to remain anonymous, interns for a prominent Los Angeles writer and director’s production company. “Between me and his assistant, we pick up his kids from school, we take them to their sports lessons, their after-school activities… we tell his kids when to do their homework. I know their schedule better than my own at this point,” he said.

      Running an errand—a trip to the vet with his boss’s dog—the intern had to spend $170 of his own money to pay the fee. “Usually the companies are good about reimbursing…but it’s always awkward asking and I find that I’m too focused on the job I’m doing to really keep a good track of all my own receipts, so I’m not usually able to get reimbursed,” he said.

      "In the film industry you’re expected to be someone’s bitch for years, even after you graduate. But I’ve had really good experiences... and overall it’s been worth it,” he said.

      A survey conducted by the National Association of Colleges and Employers found that over 76 percent of companies reported relevant work experience was the critical factor in making hires. Often, adding internships to résumés is the only compensation students receive for their work.

      "[Being] an intern is almost like a rite of passage, but a very important one. Sometimes they are given daunting tasks but everyone has had to do it. It is almost like a way of paying your dues," said Meredith Strober, who has seen both sides of the experience as a former intern in the entertainment industry and a former manager for a Discovery Communications' internship program.

      "I think students get internships so they have better chances of receiving a job after graduation. Employers like to see that a recent graduate has experience in the real world. It is also a great way for college students with limited connections in their industries to get a foot in the door," said Strober.

      Nearly 20 percent of large for-profit companies, defined as those with more than 5,000 employees, have unpaid internships, according to Intern Bridge. This doesn’t include the massive programs run by nonprofits, government offices, and small for-profit companies.

      With 4,200 employees, Discovery Communications—the parent company of 13 U.S. networks including Discovery Channel, Animal Planet, and TLC—operates an extensive internship program in eight locations nationwide. "There were several departments that had interns in the L.A. office, such as production, development, education, ad sales, etc.," said Strober, estimating about 20 interns cycled through the Los Angeles office every semester.

      The company, like many others, requires that students receive school credit as compensation. For many students in summer internships, this means paying money to enroll in an internship course at an academic institution if they are not taking summer school. At the University of Southern California, students must enroll in a class of 2-4 units to receive credit. At $1,420 per unit, this means between $2,840 and $5,680 of a student's own money in order to receive credit and abide by the FLSA.

      Academic advisors recommend taking an internship course at a community college to avoid the hefty price tag of USC tuition. A course at Los Angeles City College costs $226 per unit for out-of-state and $36 for in-state students. "Even though it's probably not transferable, it will be a lot less expensive," said an undergraduate academic advisor at USC.

      In an effort to make a good impression on employers, students make sacrifices to make the most out of their internships. "I was basically his assistant—I would schedule all of his meetings, doing his personal assistant stuff all the time, from home when I wake up and sending emails during class," said the Cinema-Production major of his two-day-a-week internship for the CEO of a prominent production company. "It's always worth it, you have to work your ass off for these places and I love doing that because if you show them that you care, they’ll care about you too."