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Tag: ptraylor@denverpost.com

  • Through the Lens: Scramble Campbell is Red Rocks’ unofficial artist-in-residence

    Through the Lens: Scramble Campbell is Red Rocks’ unofficial artist-in-residence

    Editor’s note: An untold number of unheralded artists live in Colorado, those creators who can’t (or don’t want to) get into galleries and rely on word of mouth, luck or social media to make a living. You’ve likely seen them on Instagram, at festivals or at small-town art fairs. This occasional series, Through the Lens, will introduce you to some of these artists.

    The last time you saw a concert at Red Rocks Amphitheatre, there’s a good chance that live-music artist Keith “Scramble” Campbell was there, painting a 3-by-4-foot abstract acrylic artwork of the very band you came to see.

    A fixture at the venue, Campbell has created more than 630 live paintings since his debut there in 2000, when he painted the band Widespread Panic. Immersed in the rhythm of the music, the artist moves with the beat, using his paintbrush like an instrument to capture the vibrant spirit and energy of the performance onto his canvas.

    Inspired from a young age by New York graffiti artists Keith Haring and Jean-Michel Basquiat, as well as the Spanish surrealist Salvador Dalí, he found his calling in emulating American speed painter Denny Dent, known for creating large-scale, 8-foot canvases of musicians in just 10 minutes, often at the Cherry Creek Arts Festival. Discovering live music painting, he says, transformed his life and solidified his path as an artist.

    “It seems easier to tell you which artists I haven’t painted versus the ones that I have,” he said recently. “I’ve painted over 1,000 live shows and 4,000 canvases in my career. It is a lifetime of going to shows all over the world. It isn’t just Red Rocks. If it’s live music, I will paint it.”

    Q: Where does your name come from?

    A: I was a speed roller skater in the 1970s and ’80s. I had a friend who called me Scramble because of the way I scrambled around the rink. Early on, I was heavily influenced by artists Andy Warhol, Bob Ross, LeRoy Neiman and Dalí. When I decided to make art my career, I felt like all of the influences from these artists were like an alphabet soup of names, a scramble of influences on me. I decided that Scramble would be a fitting name for me. (I also felt that it sounded a lot more creative than Keith and it rhymed with Campbell.)

    Q: Could you give us a brief history of how you became an artist?

    A: When I was in the seventh grade, I wanted to quit school because I knew I wanted to be an artist. My mother luckily convinced me it was wise to stay in school.

    In the late ’80s, New York City was deep in the rave culture and the graffiti scene with rising artists like Haring, Warhol and Basquiat.  They showed their work through nightclubs and public art. They were doing paintings on walls, in the subways and on the streets directly bringing art to the people. I was entranced by their work.

    In 1991, I answered an ad looking for a visual artist to paint live during a music festival. The man who placed the ad was Perry Farrell, of Jane’s Addiction. The music festival was Lollapalooza.

    When I got the job, it felt like the beginning of my career. I had had so many rejections over the years of trying to get into galleries and art shows. It was when I made the crossover from the art world into the music world that I really discovered my path as an artist.

    Live-music painter Keith “Scramble” Campbell looks through some of his archives in his studio at his home in Wheat Ridge on July 24, 2024. (Photo by Helen H. Richardson/The Denver Post)

    Throughout the ’90s, I did music festivals such as the New Orleans Jazz Festival, Lollapalooza, the HOARD festival, Bonnaroo, Woodstock ’94, the Lilith Fair and even the 1996 Summer Olympics in Atlanta. I have painted Widespread Panic 170 times.

    Q: What kind of artist are you?

    A: At heart, I am really a musician with a paintbrush. My instruments are my canvases, paintbrushes and paints.

    Acrylic paints are the medium of choice for live-music artist Keith “Scramble” Campbell. Here, he paints during a Tedeschi Trucks Band show at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)

    I like to think of myself as a conduit of music, transcribing their energy and their music into a dance on canvas.

    As a live artist, my paintings reflect the concert. I let the music and the environment dictate how I paint. If it’s windy and the music is hardcore, my paintings will reflect that. I’ll paint fast and furiously, the work looking abstract and impressionistic. I dance and move with the music as I paint. If there is a slower song in between, that is the time I take to fill in the details. The musicians, the weather, the people all play a role in the painting I create. I am trying to tell a story of that night. If it rains or is windy, I add that in my paintings. If there is a rainbow I will put that in there.  I am capturing the entire night into one canvas.

    Q: What kind of music do you like to paint to, and do you specifically stay within a specific genre?

    A: I don’t stick to any one genre. I have painted over 1,000 different bands and 4,000 canvases that include jam bands like Widespread Panic and Leftover Salmon to up-and-coming Christian rock bands. Next month, I’ll be painting King Gizzard and the Lizard Wizard, an Australian rock band. I’ve had the opportunity to paint jazz legends Fats Domino, B.B. King, Chuck Berry, Little Richard and Jerry Lee Lewis. I’ve painted Pete Seeger, Bob Dylan, Prince and other legends like Diana Ross, Melissa Etheridge, Carlos Santana, Blues Traveler, Lady Gaga with Tony Bennett, Johnny Winter and Tom Petty.

    It seems easier to tell you which artists I haven’t painted versus the ones that I have.

    Live music artist Keith “Scramble” Campbell, right, gets inundated with requests for selfies with fans while he paints during a recent Tedeschi Trucks Band show at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)

    Q: How did you end up becoming what seems like the artist-in-residence at Red Rocks?

    A: After a show in Florida, Todd Nance, the drummer for Widespread Panic, traded a summer tour pass for a painting I had done of the band. I ended up at my first Red Rocks show where the band played in June 2000. It was love at first sight when I did that show.

    Since then, I have done over 630 paintings at Red Rocks. I buy my own tickets and pay for every single concert that I go to. Red Rocks does not pay me to be there but they do allow me the space in which to paint.

    Live music artist Keith “Scramble” Campbell starts painting Margo Price, the warm-up act to Tedeschi Trucks Band at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)

    Q: Do you remember the first piece of art you ever got paid for?

    A: It was 1987 at one of my first group shows at a shopping mall where I sold a drawing of Joey Ramone. It was a studio piece before I was a live-music artist. I guess I have always been a music artist. even from the start.

    Live music artist Keith “Scramble” Campbell paints musician Margo Price, the warm-up act to Tedeschi Trucks Band, as she performs at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)

    Q: Where can we see your art?

    A: On my website (scramblecampbell.com), but I invite people to come see me live at Row 23 at Red Rocks. I also have small paintings, postcards, magnets and other items for sale at the Red Rocks Trading Post.

    Q: Do you have a favorite art piece?

    A: I did a painting of Lou Reed in 1998 in Bethel, N.Y., on the original Woodstock grounds for the 29th anniversary of the original Woodstock. I got to talk to him and meet him afterwards and he signed the back of my painting. There are also paintings I’ve done of legendary musicians, like B.B. King and Fats Domino, who have since died. All of these paintings I love and will never sell.

    Q: What memorable responses have you had to your work?

    A: I showed David Crosby a painting I had just done of him and he said, “Not bad for speed painting.” Another time when I showed my painting to James Brown, he said, “Son, I’d like to thank you for coming out and painting my portrait.” He signed the entire back of the painting and said “I feel good. James Brown.”

    Live music artist Keith “Scramble” Campbell paints during the Tedeschi Trucks Band performance at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)
    Live music artist Keith “Scramble” Campbell paints during the Tedeschi Trucks Band show at Red Rocks in Morrison on July 26, 2024. (Photo by Helen H. Richardson/The Denver Post)

    Helen H. Richardson

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  • After universal preschool’s rocky start in Colorado, “things are much better” in year two — though challenges remain

    After universal preschool’s rocky start in Colorado, “things are much better” in year two — though challenges remain

    As Colorado’s universal preschool program moves into its second school year this month, officials are hoping to leave its rocky rollout in the rearview mirror.

    By the end of July, more than 31,000 4-year-olds matched with state-funded preschool providers for the coming year, according to the most recent data for the core program from the Colorado Department of Early Childhood. Most will receive up to 15 hours of free classtime per week, though about 11,100 of them — about 3,000 more than last year — are expected to qualify for 30 hours each week, after state officials expanded eligibility criteria for the extra class time.

    The number of providers participating in the program — in-home day cares, private practices, religious schools and public schools — has grown by about 150, to more than 2,000 statewide for this school year, Universal Preschool Program Director Dawn Odean said.

    Taken together, that data points to the year-two stabilization of a program whose inaugural year, hiccups and all, was akin to “building the plane as we were flying it,” Odean said.

    Colorado’s program was officially born in April 2022, when Gov. Jared Polis signed the bill to create it and the new Colorado Department of Early Childhood. The program was set for a fall 2023 launch. That left about 16 months to stand up the department, bring about 1,800 participating providers into the new system and sign up tens of thousands of families.

    Officials also had to find and fill the gaps between concept and reality — including budget crunches caused by a participation rate about 20% higher than expected.

    But entering year two of the $344 million program, Odean and local coordinating organizations are hopeful the initial struggles were growing pains associated with its launch. Department officials expect to meet or surpass last year’s sign-up numbers soon, and they hope to see enrollment increase by up to 5%.

    “In a nutshell, I’ll tell you things are much better,” said Elsa Holguín, president and CEO of the Denver Preschool Program. It’s one of the local coordinating organizations, or LCOs, that act as a link between the state department and on-the-ground providers. “Things have gotten better for the families, things have improved for the child care providers and things have improved for the LCOs.”

    But, she added, there’s always room for refinement.

    “Are we where we need to be? No. We still have some work to do across the spectrum,” Holguín said.

    The rollout of year two is still underway, with parents now able to walk through local providers’ doors to sign up for free preschool, space permitting, rather than being required to apply online. The full enrollment figures for this year won’t be available until the fall.

    Aleia Medina, 5, second from right, and classmates attend a morning class with Rosario Ortiz at the Early Excellence Program of Denver on Tuesday, Aug. 6, 2024. (Photo by Hyoung Chang/The Denver Post)

    Adapting to last year’s high enrollment

    Ahead of last year’s launch, expectations for the first year began shifting about as soon as public planning for it began.

    A promise of 10 hours a week of free classtime for all preschoolers turned into 15, with some students qualifying for double that time — considered full-day schooling — based on family circumstances. But months later, officials raised the threshold to qualify for 30 hours as overall enrollment rates shot up about 20% higher than expected, leaving some families feeling like the rug was yanked out from under them.

    Initially, the state had planned to offer extra time to children deemed at risk if they qualified under an eligibility category — by having an individualized education plan, being a dual-language learner, coming from a low-income family or being in foster care.

    When demand outpaced expectations, state officials changed the criteria to add base household income limits, at a middle-class level, as an additional qualification. Students still had to qualify under at least one other factor.

    Meanwhile, providers and families were chafing at a confusing enrollment process that drew critical attention from state lawmakers.

    But officials point to a number of under-the-hood changes since then to smooth out operations.

    Voters in November approved a ballot measure last fall that allowed the state to keep $23.7 million in excess tobacco tax proceeds that help pay for the program. Officials expanded the criteria for 30 hours of free classtime to include all families who are at or below the federal poverty line, expanding access to some 3,000 more children. And the state streamlined enrollment processes to smooth out some of those first-year wrinkles.

    “We’re ecstatic with year one as far as the number of children served and the number of providers participating — but (we) certainly knew that we stood up the program, and the process to enroll and register, in a fairly compressed timeline, which created some challenges,” said Odean, the state’s preschool program director, in an interview this week.

    She also acknowledged the legal battles that played out in the first year.

    A group of school districts had sued over the rollout, claiming that it hurt students with special needs and left school districts in a lurch. A judge ruled in July that the districts lacked standing to sue, while also acknowledging the “headaches” they faced, according to Chalkbeat.

    In a separate January lawsuit, two Catholic schools sued over a nondiscrimination clause for preschool providers. That suit was largely rejected, but not before the state removed the nondiscrimination clause. About 40 religious schools are registered as universal preschool providers in the state this school year.

    Odean said she couldn’t comment on the particulars of the lawsuits, but she appreciated the conversations they spurred about how to make sure families get the preschool they want — even if she wished they didn’t take the form of litigation.

    Hunter Fridley, 4, counts the number of classmates during a morning class with Rosario Ortiz at the Early Excellence Program of Denver on Tuesday, Aug. 6, 2024. (Photo by Hyoung Chang/The Denver Post)
    Hunter Fridley, 4, counts the number of classmates during a morning class with Rosario Ortiz at the Early Excellence Program of Denver on Tuesday, Aug. 6, 2024. (Photo by Hyoung Chang/The Denver Post)

    Private providers’ low enrollments “concerning”

    When it came to preparing for school this year, Holguín, the Denver Preschool Program’s CEO, said preregistration for families and other changes to enrollment, in particular, “changed our world” by making it easier to connect them with preschool providers.

    Diane Smith, director of the Douglas County Early Childhood Council, another LCO, likewise said the state’s program is better positioned this year “in many ways” — though it’s still too early to make a definitive call.

    She still identified a number of focus areas for the future, including a desire for more lead time between announced changes to the program and when they’re implemented, along with more predictable, consistent funding for providers. And, of course, the unending work of making sure every family that wants to participate knows about the program and how to enroll in it.

    In short, the first-year growing pains haven’t quite waned, Smith said, even as she excitedly reports that more providers have signed up to provide universal preschool in her area.

    “Some people are bigger worriers than I am,” Smith said. “I’m the type who says ‘Yes, this is a little bit of a challenge, but I think intentions are always good.’ We’re looking to move forward and we have.”

    Dawn Alexander, executive director of the Early Childhood Education Association of Colorado, which advocates for private preschool providers, warned that some of her members were starting to fret about “concerning” low early enrollment numbers — though she, too, cautioned that it was too early to raise a red flag.

    Many families seem to be choosing school districts’ programs for their 4-year-olds, Alexander said, meaning that private preschools lose out on those enrollments. The older, less care-intensive preschool children help round out the rosters of many facilities that also provide day care for infants and toddlers, she said. Losing those populations can put their entire business at risk.

    Nick Coltrain

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  • As wildfires sweep through the Front Range, residents ponder whether to stay or go

    As wildfires sweep through the Front Range, residents ponder whether to stay or go

    As wildfires burned thousands of acres across the Front Range on Wednesday, some residents heeded early morning calls to leave while others opted to stay put on land that already required extra self-sufficiency.

    At the Dakota Ridge High School, the evacuation site for the Quarry fire burning near Deer Creek Canyon in Jefferson County, John Banks coughed in the parking lot as smoke from the fire threatening his neighborhood hung heavily in the air.

    Banks and his wife, Diane, fled the fire early Wednesday after a 1:30 a.m. phone call ordered them to evacuate.

    The couple slept in their car overnight with their rescue cat, Mea, and the few items they scooped from their home after the evacuation call: medications, some clothes, John’s oxygen tanks and cancer medications, and Mea’s food and litter.

    They left everything else behind in the home where they’ve lived for 34 years.

    “These are just things,” said Banks, 78.

    He paused, emotion creeping into his voice.

    “If you lose things, you still have your friends, your family.”

    The couple found a hotel to stay in for the next night and planned to spend Wednesday going to pre-scheduled doctor appointments.

    “Life throws spitballs at you,” John Banks said. “But you keep going.”

    When the couple arrived at the evacuation center at Dakota Ridge High School at 3 a.m. Wednesday, they were one of the first people to arrive.

    Bruce Finley, Elise Schmelzer

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  • PHOTOS: Colorado wildfires burn across Front Range

    PHOTOS: Colorado wildfires burn across Front Range

Helen H. Richardson, Zachary Spindler-Krage, Hyoung Chang, Eric Lutzens

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  • Renck: Russell Wilson went from “Let’s Ride” to “Last Ride” with Broncos, revealing dangers of desperation

    Renck: Russell Wilson went from “Let’s Ride” to “Last Ride” with Broncos, revealing dangers of desperation

    From “Let’s Ride” to “Last Ride” in two years.

    Broncos coach Sean Payton filed for divorce from quarterback Russell Wilson on Monday. The only thing to figure out now is who gets custody of Thunder.

    I was enjoying my return to The Denver Post, stomach full of lunch and face sore from laughs. Then the phone pinged. Any time there is an alert in early March about an NFL team, it means you’re not going to be home for dinner.

    Wilson arrived in Denver in March 2022 determined to make history. This is not what he had in mind. The Broncos will take on an $85 million salary cap hit, divided over two seasons. No team has absorbed this much money for a mistake. As in, ever.

    When the Broncos acquired Wilson, he was viewed as a savior — a former Super Bowl champion capable of returning Denver to relevance. Somehow, inexplicably, he made it worse. He won 11 games for roughly $124 million, a return-on-investment cringe not seen since the Rockies shipped off pitcher Mike Hampton in 2002.

    It was not all Wilson’s fault, though his decision to reinvent himself as a pocket passer in 2022 under clown show coach Nathaniel Hackett and consistent failings in the red zone this past season left his fingerprints at the scene.

    No one quite knows how the Broncos became a quarterback nadir, replacing the Cleveland Browns. Peyton Manning retired, walking into a life of commercials and coaching youth football, and there became a sobering new reality. The Broncos did not know how to find a replacement. John Elway had as much to do with it as anybody when he whiffed on Paxton Lynch, leading to long-armed reaches into the island of misfit toys that included Joe Flacco and Case Keenum. When general manager George Paton took over in 2021, he inherited the mess at the league’s most important position. Watching the Broncos spiral out of playoff contention in the final month, he surveyed the AFC landscape and determined a franchise quarterback was a must.

    Tired of shopping for a couch on Craigslist, Paton wandered into IKEA and wasn’t going to take no for an answer. He traded four draft picks (two first-rounders, two second-rounders) and three starters (quarterback Drew Lock, tight end Noah Fant and defensive end Shelby Harris) to Seattle in exchange for Wilson.

    The trade now serves as a cautionary tale of desperation. The Broncos gave up everything and ceded all power to Wilson in the relationship. Getting a revised contract was always part of the deal to waive his no-trade clause, though he will never play a down on his five-year, $242.5 million extension.

    Wilson was given the green light to bring his entourage into the building and function as a pseudo-coach.

    It was an epic failure. With Hackett complicit, Wilson sacrificed a season trying to prove he could run an offense that was designed for Aaron Rodgers, the Broncos’ original 2022 target before he received a new contract from the Green Bay Packers.

    At one point in 2022, nobody was neutral in Broncos Country about Wilson. They disliked him. Or hated him.

    When the Broncos hired Payton 13 months ago, he made it clear he was not married to the quarterback. He would give it a season. It only took 15 games and he went to Jarrett. Stidham, that is. He became the 13th starter since Super Bowl 50 and was as underwhelming as those before him.

    It is important to remember Payton was not brought here to fix Wilson. He was brought here to fix the Broncos. That could not happen, he decided, with Wilson. The Broncos offense stank in the red zone and specifically in goal-to-goal situations. While Payton was rather ordinary on game day in his return after a one-year hiatus, he laid the blame on Wilson.

    Russ went off script. He failed to call plays quickly enough. He forgot to send players in motion.

    Payton, however, did the impossible and made Wilson a sympathetic figure when he benched him as it leaked out that the Broncos asked Wilson to adjust his contract during the bye week last October. Wilson’s $37 million in base salary in 2025 would have become guaranteed if he had remained on the roster past March 17. Denver wanted to move the date back. Wilson balked and explained in December that it was then that a benching was first broached. I don’t blame the Broncos for asking for relief, nor do I blame Wilson for refusing. The relationship was fraying at the seams.

    When the season ended, Wilson held a morsel of hope that things could work out as the team publicly kept the door slightly ajar.

    Wilson reached out to me last week, saying he “forever wished it was going (to happen) in Denver. I really wanted to win there.” His first year was a lost season for several reasons, including injuries — hamstring, shoulder, concussion. But he believed he played well last season, posting 26 touchdowns and eight interceptions. He was “grateful for long-lasting relationships,” but acknowledged it was time to move on from a “sad and disappointing” ending.

    No one will ever question Wilson’s work ethic or passion. He was better, but not in the eyes of the one person who mattered.

    Payton wants to run his offense — steeped in timing, execution and the ball coming out from the pocket. Scribbling outside the lines — Wilson’s strength — is not sustainable for the coach.

    Denver Broncos head coach Sean Payton, center, stands between Denver Broncos quarterback Russell Wilson (3), left, and Denver Broncos quarterback Jarrett Stidham (4), right, as the team comes out of the visiting tunnel before the game at Allegiant Stadium in Las Vegas, Nevada on Jan. 7, 2024. The Las Vegas Raiders took on Denver Broncos during week 18 of NFL season. (Photo by RJ Sangosti/The Denver Post)

    Troy Renck

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