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"content": "\u003cp>For twenty years, Joan Jeanrenaud was the cellist with the San Francisco based, avant-garde Kronos Quartet. She and Kronos toured the world, working with and playing music composed by artists as diverse as Steve Reich, John Zorn and Frank Zappa.\u003c/p>\n\u003cp>But in 1998, Jeanrenaud was forced to step away from Kronos and its grueling schedule when she was diagnosed with Multiple Sclerosis. It was a painful decision and led to a new direction in life that the cellist had never imagined.\u003c/p>\n\u003cp>This past weekend, Jeanrenaud performed live with the Kronos Quartet, at UC Berkeley’s Cal Performances, for the first time since she left the group eleven years ago. In the days leading up to the performance, KQED’s \u003ca href=\"http://www.californiareport.org/healthdialogues/\">Health Dialogues\u003c/a> spoke with Jeanrenaud about what her life has been like since she was diagnosed with MS.\u003c/p>\n\u003cp>As it turns out, it hasn’t been a very boring eleven years. Since leaving Kronos, Jeanrenaud has focused more on improvisation and composition. In 2008, she earned her first solo Grammy nomination for her album, \u003cb>Strange Toys\u003c/b>. Her follow-up is due out in early 2010. Jeanrenaud has already released an animated video for one of the tracks, perhaps a first in the classical music world.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=Qlh5MKiZ5Sc&hl=en_US&fs=1&]\u003c/p>\n\u003cp>Meanwhile, Jeanrenaud treats her MS with physical therapy and lifestyle guidance from a Tibetan doctor. From the beginning, she decided to avoid traditional western medicine. Instead, she struck a balance between creative progress and physical decline, which seems to be working just fine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In preparing some end-of-the-year features that will run over the next week, we were once again struck by how many Bay Area bands made a significant impact on indie music this year. We were pleased to sit down with some of the Bay Area’s best this year for interviews on our podcast, and have collected music from 10 of our favorite interviewed bands for this recap episode. If you like what you hear, check out our podcast episodes spotlighting each of these bands.\u003c/p>\n\u003cp>About the bands:\u003c/p>\n\u003cp>Thao with The Get Down Stay Down: “Cool Yourself” [from \u003cb>Know Better Learn Faster\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=26431\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The new album seizes upon the trio’s live energy as they explore a number of musical styles. Like before, Nguyen’s vocal and lyrical charisma are a dominant force throughout, as Thao explores the end of a relationship with wit and thoughtfulness.\u003c/p>\n\u003cp>Leopold and his Fiction: “Ain’t No Surprise” [from \u003cb>Ain’t No Surprise\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24044\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What we said:\u003cbr>It’s no easy feat that the group has accomplished, turning its melting pot of influences into songs that, for all the talk of “vintage,” feel both innovative and exciting.\u003c/p>\n\u003cp>Thee Oh Sees: “Meat Step Lightly” [from \u003cb>Help\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25041\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Seriously, do we need to introduce this band to you? Through a relentless performance schedule and some excellent recordings, it’s tough not to consider Thee Oh Sees one of the top rock bands in the Bay Area.\u003c/p>\n\u003cp>Sleepy Sun: “Lord” [from \u003cb>Embrace\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=26786\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Embrace has both an immediate and a lasting appeal. Whether you’re drawn first to the charismatic vocal hooks or potent electric guitars, the album strikes, to our ears, a great balance between melodic rock and psych experimentation.\u003c/p>\n\u003cp>Vetiver: “More of This” [from \u003cb>Tight Knit\u003c/b>]. \u003ca href=\"http://www.thebaybridged.com/2009/04/07/episode-158-vetiver/\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Cabic and Monahan have developed a folk-rock sound balancing relatively understated melodies with gorgeous layered production…[C]ritics have praised the band’s ability to transform well-worn classic folk and rock sounds into something both familiar and modern.\u003c/p>\n\u003cp>Garrett Pierce: “Can I Stop Breathing?” [from \u003cb>All Masks\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24434\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>For all of the collaboration involved in each of his records, however, the strongest impression All Masks leaves with the listener is that Garrett’s talents as a performer and a songwriter are undeniable.\u003c/p>\n\u003cp>Odawas: “Swan Song of the Humpback Angler” [from \u003cb>The Blue Depths\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24741\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The band’s unique sound results from shared interests and divided roles. Both Tapscott and Edwards have a love of film soundtracks and electronic compositions, and they harness the grandeur of these styles to maximize the emotional impact of what remain, at their core, rock songs.\u003c/p>\n\u003cp>Rubies: “Stand in a Line” [from \u003cb>Explode from the Center\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25073\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The melange has a distinctively cosmopolitan, modern feel to it, and it seems quite understandable that Rubies are already an international hit even as they introduce themselves to stateside audiences with their debut full length.\u003c/p>\n\u003cp>Wallpaper.: “I Got Soul, I’m So Wasted” [from \u003cb>Doodoo Face\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25459\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Over time, though, Wallpaper.’s sound has grown more focused and more organic, tapping into Frederic’s unironic love for R&B and giving birth to his alter ego Ricky Reed?Reed may be the talented vocalist and funmaker, but it’s Eric whose the genius songwriter/producer behind it all.\u003c/p>\n\u003cp>Sholi: “Tourniquet” [from \u003cb>Sholi\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24118\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What we said:\u003cbr>What impressed us most on this second go-around is the sense that all of their time and effort has really paid off, helping the trio to forge a really strong idea about their music — what it means, how it should sound, how it feels. How many groups can create a fully fleshed out aesthetic this enjoyable on their first album?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In preparing some end-of-the-year features that will run over the next week, we were once again struck by how many Bay Area bands made a significant impact on indie music this year. We were pleased to sit down with some of the Bay Area’s best this year for interviews on our podcast, and have collected music from 10 of our favorite interviewed bands for this recap episode. If you like what you hear, check out our podcast episodes spotlighting each of these bands.\u003c/p>\n\u003cp>About the bands:\u003c/p>\n\u003cp>Thao with The Get Down Stay Down: “Cool Yourself” [from \u003cb>Know Better Learn Faster\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=26431\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The new album seizes upon the trio’s live energy as they explore a number of musical styles. Like before, Nguyen’s vocal and lyrical charisma are a dominant force throughout, as Thao explores the end of a relationship with wit and thoughtfulness.\u003c/p>\n\u003cp>Leopold and his Fiction: “Ain’t No Surprise” [from \u003cb>Ain’t No Surprise\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24044\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What we said:\u003cbr>It’s no easy feat that the group has accomplished, turning its melting pot of influences into songs that, for all the talk of “vintage,” feel both innovative and exciting.\u003c/p>\n\u003cp>Thee Oh Sees: “Meat Step Lightly” [from \u003cb>Help\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25041\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Seriously, do we need to introduce this band to you? Through a relentless performance schedule and some excellent recordings, it’s tough not to consider Thee Oh Sees one of the top rock bands in the Bay Area.\u003c/p>\n\u003cp>Sleepy Sun: “Lord” [from \u003cb>Embrace\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=26786\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Embrace has both an immediate and a lasting appeal. Whether you’re drawn first to the charismatic vocal hooks or potent electric guitars, the album strikes, to our ears, a great balance between melodic rock and psych experimentation.\u003c/p>\n\u003cp>Vetiver: “More of This” [from \u003cb>Tight Knit\u003c/b>]. \u003ca href=\"http://www.thebaybridged.com/2009/04/07/episode-158-vetiver/\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Cabic and Monahan have developed a folk-rock sound balancing relatively understated melodies with gorgeous layered production…[C]ritics have praised the band’s ability to transform well-worn classic folk and rock sounds into something both familiar and modern.\u003c/p>\n\u003cp>Garrett Pierce: “Can I Stop Breathing?” [from \u003cb>All Masks\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24434\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>For all of the collaboration involved in each of his records, however, the strongest impression All Masks leaves with the listener is that Garrett’s talents as a performer and a songwriter are undeniable.\u003c/p>\n\u003cp>Odawas: “Swan Song of the Humpback Angler” [from \u003cb>The Blue Depths\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24741\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The band’s unique sound results from shared interests and divided roles. Both Tapscott and Edwards have a love of film soundtracks and electronic compositions, and they harness the grandeur of these styles to maximize the emotional impact of what remain, at their core, rock songs.\u003c/p>\n\u003cp>Rubies: “Stand in a Line” [from \u003cb>Explode from the Center\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25073\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>The melange has a distinctively cosmopolitan, modern feel to it, and it seems quite understandable that Rubies are already an international hit even as they introduce themselves to stateside audiences with their debut full length.\u003c/p>\n\u003cp>Wallpaper.: “I Got Soul, I’m So Wasted” [from \u003cb>Doodoo Face\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=25459\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>What we said:\u003cbr>Over time, though, Wallpaper.’s sound has grown more focused and more organic, tapping into Frederic’s unironic love for R&B and giving birth to his alter ego Ricky Reed?Reed may be the talented vocalist and funmaker, but it’s Eric whose the genius songwriter/producer behind it all.\u003c/p>\n\u003cp>Sholi: “Tourniquet” [from \u003cb>Sholi\u003c/b>]. \u003ca href=\"http://www.kqed.org/arts/programs/baybridged/episode.jsp?essid=24118\">Listen to the interview.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What we said:\u003cbr>What impressed us most on this second go-around is the sense that all of their time and effort has really paid off, helping the trio to forge a really strong idea about their music — what it means, how it should sound, how it feels. How many groups can create a fully fleshed out aesthetic this enjoyable on their first album?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you can read, you can understand many contemporary artworks. Though it takes talent to successfully pull it off, incorporating text into a piece of art creates accessibility for any literate viewer. Some find it difficult to connect with today’s art, but if there are legible words on a canvas, an instant association takes place. Whether or not every nuance of an artist’s intention is understood is insignificant — when text is present, the artwork literally speaks to the viewer and validates their point of view. This is the beauty of art-words. Though an art school professor once warned me that artists should have a “damn good reason” to include text in an artwork, it is an effective and often hilarious method for conveying one’s message.\u003c/p>\n\u003cp>Michael Louis Young’s work attracted me because he fits into this wordy family of artists; he likes to paint letters. He is currently showing five prints, five paintings, and two sculptures of boats at Forthrite Print Shop in Oakland. His paintings incorporate popular quotes accompanied by familiar iconography — little houses and little modes of transportation — and his exhibition can best be described as a lighthearted portrait of destruction.\u003c/p>\n\u003cp>In the largest painting, a blimp spews fire from its backside, crashing and burning with the words “Never Say Die” painted in the background. In another painting, a lone arm that appears to be attached to a drowning person reaches out from beneath a dark, ominous ocean holding a sign painted with the words, “Better late than never.” In most of Young’s paintings, irony plus failure equals funny.\u003c/p>\n\u003cp>A rowboat sculpture titled \u003cb>Sinking, Thinking\u003c/b> sits on the floor of the gallery. Made mostly of wood, the boat appears to have sprung a leak and the cardboard lake beneath it seems to be winning the battle. Parts of the boat are painted with a cartoon-like wood grain pattern. The rim of the boat is white, but wherever there is a chip or crack in the wood, Young painted in the stylized wood-grain finish. He created a perfectly accurate wooden boat painted to look like… a wooden boat. The sculpture is preposterously lovable and at “$1,000 or best offer,” the price can’t be beat.\u003c/p>\n\u003cp>It seems to me that Michael Louis Young wants to transport us to a simpler time in his humble, sinking boat. One painting of wooden letters on a grassy hillside made me think that perhaps the artist is trying to reiterate that even though the world is full of disappointment and tragedy, “Life Goes On.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cb>You are the Music, While the Music Lasts\u003c/b> is on view through December 30th, 2009.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/life-goes-on.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can read, you can understand many contemporary artworks. Though it takes talent to successfully pull it off, incorporating text into a piece of art creates accessibility for any literate viewer. Some find it difficult to connect with today’s art, but if there are legible words on a canvas, an instant association takes place. Whether or not every nuance of an artist’s intention is understood is insignificant — when text is present, the artwork literally speaks to the viewer and validates their point of view. This is the beauty of art-words. Though an art school professor once warned me that artists should have a “damn good reason” to include text in an artwork, it is an effective and often hilarious method for conveying one’s message.\u003c/p>\n\u003cp>Michael Louis Young’s work attracted me because he fits into this wordy family of artists; he likes to paint letters. He is currently showing five prints, five paintings, and two sculptures of boats at Forthrite Print Shop in Oakland. His paintings incorporate popular quotes accompanied by familiar iconography — little houses and little modes of transportation — and his exhibition can best be described as a lighthearted portrait of destruction.\u003c/p>\n\u003cp>In the largest painting, a blimp spews fire from its backside, crashing and burning with the words “Never Say Die” painted in the background. In another painting, a lone arm that appears to be attached to a drowning person reaches out from beneath a dark, ominous ocean holding a sign painted with the words, “Better late than never.” In most of Young’s paintings, irony plus failure equals funny.\u003c/p>\n\u003cp>A rowboat sculpture titled \u003cb>Sinking, Thinking\u003c/b> sits on the floor of the gallery. Made mostly of wood, the boat appears to have sprung a leak and the cardboard lake beneath it seems to be winning the battle. Parts of the boat are painted with a cartoon-like wood grain pattern. The rim of the boat is white, but wherever there is a chip or crack in the wood, Young painted in the stylized wood-grain finish. He created a perfectly accurate wooden boat painted to look like… a wooden boat. The sculpture is preposterously lovable and at “$1,000 or best offer,” the price can’t be beat.\u003c/p>\n\u003cp>It seems to me that Michael Louis Young wants to transport us to a simpler time in his humble, sinking boat. One painting of wooden letters on a grassy hillside made me think that perhaps the artist is trying to reiterate that even though the world is full of disappointment and tragedy, “Life Goes On.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When a Canadian indie outfit is touring the U.S. to promote a record called \u003cb>Hometowns\u003c/b>, the temptation to turn to matters geographical is almost overwhelming. But \u003ca href=\"http://www.theraa.com/index.html\">The Rural Alberta Advantage\u003c/a>‘s folk-tinged debut can also be viewed from a more scientific perspective. As the plural in the title implies, this record is concerned with both place \u003ci>and\u003c/i> time, and the two don’t always interact in a straightforward fashion. Like Einstein said, time can stretch or contract depending on where you are and what you’re doing, and all distance is relative. Of course, he was interested only in the laws of the physical universe, whereas these songs aim to examine how movement interacts with our inner, emotional lives.\u003c/p>\n\u003cp>The one constant according to The Rural Alberta Advantage is that hometowns are places to leave rather than return to. Some of their songs are written from the point of view of the person who has escaped but can’t shake off the past; in others, the perspective shifts to the one left behind in abandoned stasis after events have overtaken them.\u003c/p>\n\u003cp>The first departure arrives at the start of the album’s opening track, “The Ballad of RAA”: “We invariably left the prairies, in my heart.” They continue throughout. “Don’t Haunt This Place” is about an ex-lover who is trying to move on but finds himself anchored by daily reminders of the recent past: “I see your keys hanging in the same place, they haven’t moved for a month or even a day.” Sadness turns to anger on “The Dethbridge in Lethbridge” with a snarl of, “I left your heartbeat in this town, I left your heartbeat in the ground.” Happy homecomings don’t seem to be an option.\u003c/p>\n\u003cp>Frontman Nils Edenloff’s voice is responsible for a great deal of the album’s emotional weight: keening in the upper registers, punky and biting when angry, and wearily melancholic when softened and low. His nasal twang may not suit all tastes and it does occasionally threaten to wear out its welcome, despite the album’s brevity (its 13 tracks flit past in less than 38 minutes). But there are also no shortage of highlights to recommend, with many of the album’s best tracks, such as “Don’t Haunt This Place” and “Frank, AB,” featuring the balancing influence of keyboard player Amy Cole’s backing vocals, her higher voice encouraging Edenloff’s toward the mellower lower registers. The drumming switches gears from metronomic to restless from track to track, but all the while it maintains a sense of movement, of driving forward. Meanwhile, melodies sketched out in minor keys and sung in mostly plaintive tones suggest an inescapable longing for other places or times.\u003c/p>\n\u003cp>The album’s dominant theme — of homes being left behind — is one that will be familiar to many in the Bay Area. This is a place filled, after all, with more uprooted incomers than most, which makes this week’s show in San Francisco a perfect opportunity to give the curious science of the Rural Alberta Advantage further study.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Rural Alberta Advantage play Bottom of the Hill in San Francisco TONIGHT, Wednesday, December 16, 2009. For tickets and information, visit \u003ca href=\"http://www.bottomofthehill.com/\">bottomofthehill.com\u003c/a>. \u003cb>Hometowns\u003c/b> is out now on \u003ca href=\"http://saddle-creek.com/home.html\">Saddle Creek\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When a Canadian indie outfit is touring the U.S. to promote a record called \u003cb>Hometowns\u003c/b>, the temptation to turn to matters geographical is almost overwhelming. But \u003ca href=\"http://www.theraa.com/index.html\">The Rural Alberta Advantage\u003c/a>‘s folk-tinged debut can also be viewed from a more scientific perspective. As the plural in the title implies, this record is concerned with both place \u003ci>and\u003c/i> time, and the two don’t always interact in a straightforward fashion. Like Einstein said, time can stretch or contract depending on where you are and what you’re doing, and all distance is relative. Of course, he was interested only in the laws of the physical universe, whereas these songs aim to examine how movement interacts with our inner, emotional lives.\u003c/p>\n\u003cp>The one constant according to The Rural Alberta Advantage is that hometowns are places to leave rather than return to. Some of their songs are written from the point of view of the person who has escaped but can’t shake off the past; in others, the perspective shifts to the one left behind in abandoned stasis after events have overtaken them.\u003c/p>\n\u003cp>The first departure arrives at the start of the album’s opening track, “The Ballad of RAA”: “We invariably left the prairies, in my heart.” They continue throughout. “Don’t Haunt This Place” is about an ex-lover who is trying to move on but finds himself anchored by daily reminders of the recent past: “I see your keys hanging in the same place, they haven’t moved for a month or even a day.” Sadness turns to anger on “The Dethbridge in Lethbridge” with a snarl of, “I left your heartbeat in this town, I left your heartbeat in the ground.” Happy homecomings don’t seem to be an option.\u003c/p>\n\u003cp>Frontman Nils Edenloff’s voice is responsible for a great deal of the album’s emotional weight: keening in the upper registers, punky and biting when angry, and wearily melancholic when softened and low. His nasal twang may not suit all tastes and it does occasionally threaten to wear out its welcome, despite the album’s brevity (its 13 tracks flit past in less than 38 minutes). But there are also no shortage of highlights to recommend, with many of the album’s best tracks, such as “Don’t Haunt This Place” and “Frank, AB,” featuring the balancing influence of keyboard player Amy Cole’s backing vocals, her higher voice encouraging Edenloff’s toward the mellower lower registers. The drumming switches gears from metronomic to restless from track to track, but all the while it maintains a sense of movement, of driving forward. Meanwhile, melodies sketched out in minor keys and sung in mostly plaintive tones suggest an inescapable longing for other places or times.\u003c/p>\n\u003cp>The album’s dominant theme — of homes being left behind — is one that will be familiar to many in the Bay Area. This is a place filled, after all, with more uprooted incomers than most, which makes this week’s show in San Francisco a perfect opportunity to give the curious science of the Rural Alberta Advantage further study.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Rural Alberta Advantage play Bottom of the Hill in San Francisco TONIGHT, Wednesday, December 16, 2009. For tickets and information, visit \u003ca href=\"http://www.bottomofthehill.com/\">bottomofthehill.com\u003c/a>. \u003cb>Hometowns\u003c/b> is out now on \u003ca href=\"http://saddle-creek.com/home.html\">Saddle Creek\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Appropriately enough, our last band profile of 2009 features Sleepy Sun, a San Francisco psych-rock band that made a big impact this year with the release of their debut album, \u003cb>Embrace\u003c/b>. Sleepy Sun formed in Santa Cruz, a community with a strong pedigree for contemporary psych (e.g., Comets on Fire, Mammatus), before relocating to SF and attracting the attention of the All Tomorrows’ Parties-affiliated label ATP Recordings. The band supported \u003cb>Embrace\u003c/b> with tours across the US and Europe, somehow finding time to work on new recordings as well.\u003c/p>\n\u003cp>\u003cb>Embrace\u003c/b> has both an immediate and a lasting appeal. Whether you’re drawn first to the charismatic vocal hooks or potent electric guitars, the album strikes, to our ears, a great balance between melodic rock and psych experimentation. Perhaps surprisingly, the balance appears to have emerged less from any preconceived plan than from the intuition of a group of talented performers whose musicianship is evident in their fiery live shows. We can’t wait to find out how this intuition plays out on Sleepy Sun’s new recordings.\u003c/p>\n\u003cp>We sat down with Bret and Evan a little while back to discuss the band’s latest recordings, their extensive touring schedule, and their Santa Cruz roots. We’ve also included three great songs from \u003cb>Embrace\u003c/b> in the episode.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Appropriately enough, our last band profile of 2009 features Sleepy Sun, a San Francisco psych-rock band that made a big impact this year with the release of their debut album, \u003cb>Embrace\u003c/b>. Sleepy Sun formed in Santa Cruz, a community with a strong pedigree for contemporary psych (e.g., Comets on Fire, Mammatus), before relocating to SF and attracting the attention of the All Tomorrows’ Parties-affiliated label ATP Recordings. The band supported \u003cb>Embrace\u003c/b> with tours across the US and Europe, somehow finding time to work on new recordings as well.\u003c/p>\n\u003cp>\u003cb>Embrace\u003c/b> has both an immediate and a lasting appeal. Whether you’re drawn first to the charismatic vocal hooks or potent electric guitars, the album strikes, to our ears, a great balance between melodic rock and psych experimentation. Perhaps surprisingly, the balance appears to have emerged less from any preconceived plan than from the intuition of a group of talented performers whose musicianship is evident in their fiery live shows. We can’t wait to find out how this intuition plays out on Sleepy Sun’s new recordings.\u003c/p>\n\u003cp>We sat down with Bret and Evan a little while back to discuss the band’s latest recordings, their extensive touring schedule, and their Santa Cruz roots. We’ve also included three great songs from \u003cb>Embrace\u003c/b> in the episode.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>So you’ve done the Sing-along “Messiah,” you’re not quite ready to go caroling in the streets, and you want a jolt of holiday spirit you can take your family (or a date) to that’s fun, classy AND inclusive? Then head on over to the beautiful Paramount Theater in Oakland for the most joyous, raise-the-roof celebration of all the winter holidays, the Oakland East Bay Symphony’s \u003cb>Let Us Break Bread Together\u003c/b> concert on Sunday, December 13.\u003c/p>\n\u003cp>When Michael Morgan took over the Oakland East Bay Symphony 20 years ago, it was his mission not only to revive a community treasure that had gone bankrupt, but to make sure it didn’t happen again by making the Paramount the place to be on concert nights for all of Oakland. This meant reaching out to members of the community who might never have been to a symphony concert before, or had never even thought about going, and then helping them feel welcome once they got there. This is something that Michael is very, very good at, and he’s proven it in the Symphony’s success over the last two decades.\u003c/p>\n\u003cp>This is the 18th year that Morgan and the Symphony have celebrated the holidays with their \u003cb>Let Us Break Bread Together\u003c/b> concert, and it’s one of the highlights of the holiday season in the East Bay. It’s a simple concept — embrace the whole community by adding African-American, Jewish and Eastern Orthodox music to the usual “classical” holiday fare, and then stepping back and letting the audience take over when they realize how much fun they’re having with the whole, eclectic mix. This year’s guests include the \u003ca href=\"http://www.oigc.org\">Oakland Interfaith Gospel Choir\u003c/a>, the awesome klezmer band \u003ca href=\"http://kugelplex.com/home.html\">Kugelplex\u003c/a>, women’s vocal ensemble \u003ca href=\"http://www.kitka.org>Kitka%E2%80%9D</a>,%20and%20the%20renowned%20<a%20href=\" http:>Mt. Eden High School Concert Choir\u003c/a>. Even Scrooge will be dancing in the aisles — and my family and I will be there with him! \u003cb>Let Us Break Bread Together\u003c/b> at 4pm, Sunday, December 13, 2009 at the Paramount Theater in Oakland. For \u003ca href=\"http://oebs.org/page/dec.htm\">tickets and information\u003c/a> visit oebs.org.\u003c/p>\n\u003cp>And if you want to keep that multi-culti-with-a-twist holiday feeling after the concert, check out some of my favorite non-traditional classical holiday CDs:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Mozart.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">In 1986, when “classical crossover” was still a nebulous (and usually not-very-well-executed concept), record producer Warren Schatz put the Hampton String Quartet together with some tasty arrangements of holiday pop tunes, and created a best-seller, called \u003cb>What if Mozart Wrote “Have Yourself a Merry Little Christmas?”\u003c/b> What made the tunes work was that they weren’t just elevator-music covers of the songs, they were all actually arranged in the styles of composers like Mozart, Beethoven, Tchaikovsky and Grieg. This year, Schatz re-arranged the tunes for string orchestra, re-titling it \u003cb>What if Mozart Wrote “White Christmas?”\u003c/b> and added a couple of new tunes that weren’t on the first disc. Both albums are a blast — but why does Beethoven look so much like John Belushi?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nutcracker.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">Another brilliant concept: connect Tchaikovsky’s soulful and rocking ballet music with the soulful and rocking sounds of klezmer. And does it ever work! Shirim is a smokin’ klezmer band from Boston that has been giving concerts on December 25th for years, with the \u003cb>Klezmer Nutcracker\u003c/b> as a highlight. “The Dance of the Latkes Queens?” “Waltz of the Ruggelah?” “Kozatsky ’til You Dropsky?” You’ll laugh, you’ll cry, you’ll plotz. (And by the way, check out Kugelplex’s version of \u003ca href=\"http://www.youtube.com/watch?v=RWjcOxt9WyM&eurl=http://charminghostess.us/\">“Rudolph the Red-Nosed Reindeer.”\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/messiah.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\"> If there had been radios in 1741, Handels’ “Messiah” would have been on top of the charts. So it makes sense that \u003cb>Handel’s Messiah: A Soulful Celebration\u003c/b> would be conceived to fit right into the “Quiet Storm” format that was just becoming popular. With folks like Al Jarreau, Patti Austin and Stevie Wonder taking part, it settles right into a smooth jazz groove, retaining just enough Handel to make things interesting. Don’t miss the big smooth jazz/gospel jam on the “Hallelujah” chorus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chungking.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">\u003cb>A Chung King Christmas\u003c/b> is flat-out my favorite goofball Christmas album ever. It’s already a bizarre idea — popular Christmas songs played by a traditional Chinese band — and the arrangements range from the inspired to the apocalyptically cheesy (you haven’t truly lived until you’ve heard the er-hu-with-wedding-band version of “I Saw Mommy Kissing Santa Claus”), but it does prove that — one way or another — Christmas really does make the whole world go ’round.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you’ve done the Sing-along “Messiah,” you’re not quite ready to go caroling in the streets, and you want a jolt of holiday spirit you can take your family (or a date) to that’s fun, classy AND inclusive? Then head on over to the beautiful Paramount Theater in Oakland for the most joyous, raise-the-roof celebration of all the winter holidays, the Oakland East Bay Symphony’s \u003cb>Let Us Break Bread Together\u003c/b> concert on Sunday, December 13.\u003c/p>\n\u003cp>When Michael Morgan took over the Oakland East Bay Symphony 20 years ago, it was his mission not only to revive a community treasure that had gone bankrupt, but to make sure it didn’t happen again by making the Paramount the place to be on concert nights for all of Oakland. This meant reaching out to members of the community who might never have been to a symphony concert before, or had never even thought about going, and then helping them feel welcome once they got there. This is something that Michael is very, very good at, and he’s proven it in the Symphony’s success over the last two decades.\u003c/p>\n\u003cp>This is the 18th year that Morgan and the Symphony have celebrated the holidays with their \u003cb>Let Us Break Bread Together\u003c/b> concert, and it’s one of the highlights of the holiday season in the East Bay. It’s a simple concept — embrace the whole community by adding African-American, Jewish and Eastern Orthodox music to the usual “classical” holiday fare, and then stepping back and letting the audience take over when they realize how much fun they’re having with the whole, eclectic mix. This year’s guests include the \u003ca href=\"http://www.oigc.org\">Oakland Interfaith Gospel Choir\u003c/a>, the awesome klezmer band \u003ca href=\"http://kugelplex.com/home.html\">Kugelplex\u003c/a>, women’s vocal ensemble \u003ca href=\"http://www.kitka.org>Kitka%E2%80%9D</a>,%20and%20the%20renowned%20<a%20href=\" http:>Mt. Eden High School Concert Choir\u003c/a>. Even Scrooge will be dancing in the aisles — and my family and I will be there with him! \u003cb>Let Us Break Bread Together\u003c/b> at 4pm, Sunday, December 13, 2009 at the Paramount Theater in Oakland. For \u003ca href=\"http://oebs.org/page/dec.htm\">tickets and information\u003c/a> visit oebs.org.\u003c/p>\n\u003cp>And if you want to keep that multi-culti-with-a-twist holiday feeling after the concert, check out some of my favorite non-traditional classical holiday CDs:\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/Mozart.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">In 1986, when “classical crossover” was still a nebulous (and usually not-very-well-executed concept), record producer Warren Schatz put the Hampton String Quartet together with some tasty arrangements of holiday pop tunes, and created a best-seller, called \u003cb>What if Mozart Wrote “Have Yourself a Merry Little Christmas?”\u003c/b> What made the tunes work was that they weren’t just elevator-music covers of the songs, they were all actually arranged in the styles of composers like Mozart, Beethoven, Tchaikovsky and Grieg. This year, Schatz re-arranged the tunes for string orchestra, re-titling it \u003cb>What if Mozart Wrote “White Christmas?”\u003c/b> and added a couple of new tunes that weren’t on the first disc. Both albums are a blast — but why does Beethoven look so much like John Belushi?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nutcracker.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">Another brilliant concept: connect Tchaikovsky’s soulful and rocking ballet music with the soulful and rocking sounds of klezmer. And does it ever work! Shirim is a smokin’ klezmer band from Boston that has been giving concerts on December 25th for years, with the \u003cb>Klezmer Nutcracker\u003c/b> as a highlight. “The Dance of the Latkes Queens?” “Waltz of the Ruggelah?” “Kozatsky ’til You Dropsky?” You’ll laugh, you’ll cry, you’ll plotz. (And by the way, check out Kugelplex’s version of \u003ca href=\"http://www.youtube.com/watch?v=RWjcOxt9WyM&eurl=http://charminghostess.us/\">“Rudolph the Red-Nosed Reindeer.”\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/messiah.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\"> If there had been radios in 1741, Handels’ “Messiah” would have been on top of the charts. So it makes sense that \u003cb>Handel’s Messiah: A Soulful Celebration\u003c/b> would be conceived to fit right into the “Quiet Storm” format that was just becoming popular. With folks like Al Jarreau, Patti Austin and Stevie Wonder taking part, it settles right into a smooth jazz groove, retaining just enough Handel to make things interesting. Don’t miss the big smooth jazz/gospel jam on the “Hallelujah” chorus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chungking.jpg\" style=\"margin-bottom: 10px; float: left; margin-right: 10px;\">\u003cb>A Chung King Christmas\u003c/b> is flat-out my favorite goofball Christmas album ever. It’s already a bizarre idea — popular Christmas songs played by a traditional Chinese band — and the arrangements range from the inspired to the apocalyptically cheesy (you haven’t truly lived until you’ve heard the er-hu-with-wedding-band version of “I Saw Mommy Kissing Santa Claus”), but it does prove that — one way or another — Christmas really does make the whole world go ’round.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>December is the slowest month of the year for shows, with clubs closing their doors for private events and holidays and many bands not looking to traverse the country in the winter. That said, there are still plenty of good shows, like the following:\u003c/p>\n\u003cp>I mentioned Oakland band \u003ca href=\"http://www.myspace.com/manmiracle\">Man/Miracle\u003c/a>‘s CD release party in passing last month, but didn’t give the guys the acknowledgment they deserve. The frenzied indie rock on \u003cb>The Shape of Things\u003c/b> — and singer Dylan Travis’s voice in particular — brings to mind Talking Heads in the album’s funkier songs, and Clap Your Hands Say Yeah in the darker and more experimental ones. Neither reference, however, overwhelms the music itself, which crackles with the energy of a young band already realizing its potential on its first full length. The band’s free show at Oakland’s \u003ca href=\"http://uptownnightclub.com/\">The Uptown\u003c/a> on Friday, December 18th also features fellow East Bayers \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> and \u003ca href=\"http://www.myspace.com/panchosan\">Pancho-san\u003c/a> (led by ex-Rogue Wave member Patrick Abernathy), along with SLO’s \u003ca href=\"http://www.myspace.com/sparrowsgate\">Sparrows Gate\u003c/a>.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=osqVavRf89k&hl=en_US&fs=1&rel=0]\u003c/p>\n\u003cp>With Two Gallants on hiatus, Adam Stephens and Tyson Vogel have been exploring individual projects, with \u003ca href=\"http://www.myspace.com/adamstephensmusic\">Adam Stephens and the Finite Plain\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a> respectively. Stephens and his band have been playing around for a little while now, and finally headed down to Los Angeles in September to record an album with producer Joe Chiccarelli (The Shins, The White Stripes). Stephens is an expert at heartfelt melodic songwriting; the songs take on an even greater emotional gravity with Jen Grady’s swooning cello. Catch the band on Wednesday, December 16th at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> with the equally terrific SF/Sacramento band \u003ca href=\"http://myspace.com/twosheds\">Two Sheds\u003c/a> and \u003ca href=\"http://www.myspace.com/honeysanfrancisco\">Honey\u003c/a>, a local psych-influenced folk-rock band whose MySpace songs suggest it’d be well worth a timely arrival.\u003c/p>\n\u003cp>In October, Chicago band \u003ca href=\"http://califonemusic.com/\">Califone\u003c/a> released \u003cb>All My Friends Are Funeral Singers\u003c/b> to the same strong critical reaction that has accompanied each of their last several releases. The band is supporting the album with an ambitious West Coast tour with two performances at each show. At the \u003ca href=\"http://www.musichallsf.com/\">Great American Music Hall\u003c/a> on December 7th, they’ll play a live accompaniment to All My Friends Are Funeral Singers the \u003ci>movie\u003c/i> — written and directed by frontman Tim Rutili — followed by a traditional live performance. Well, traditional for Califone — the group uses ambient textures and experimental touches to make very forward-thinking folk-rock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to these three shows, there are plenty of great holiday-themed local events coming up. Of particular note: \u003ca href=\"http://sonicliving.com/rumble25\">The Rumble\u003c/a>‘s free Holiday Electro Dance Party at \u003ca href=\"http://www.harlotsf.com\">Harlot\u003c/a> on December 9th (with a bevy of local DJs); \u003ca href=\"http://seaweedsway.blogspot.com/\">The Seaweed Sway\u003c/a>‘s holiday show at the \u003ca href=\"http://www.makeoutroom.com\">Make-Out Room\u003c/a> on December 20th (featuring \u003ca href=\"http://myspace.com/kaceyjohansing\">Kacey Johansing\u003c/a> and \u003ca href=\"http://myspace.com/garrettpierce\">Garrett Pierce\u003c/a>); and the SMiLE! Christmas Extravaganza at \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> on December 21st (with \u003ca href=\"http://www.myspace.com/bartdavenport\">Bart Davenport\u003c/a> and Persephone’s Bees). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>December is the slowest month of the year for shows, with clubs closing their doors for private events and holidays and many bands not looking to traverse the country in the winter. That said, there are still plenty of good shows, like the following:\u003c/p>\n\u003cp>I mentioned Oakland band \u003ca href=\"http://www.myspace.com/manmiracle\">Man/Miracle\u003c/a>‘s CD release party in passing last month, but didn’t give the guys the acknowledgment they deserve. The frenzied indie rock on \u003cb>The Shape of Things\u003c/b> — and singer Dylan Travis’s voice in particular — brings to mind Talking Heads in the album’s funkier songs, and Clap Your Hands Say Yeah in the darker and more experimental ones. Neither reference, however, overwhelms the music itself, which crackles with the energy of a young band already realizing its potential on its first full length. The band’s free show at Oakland’s \u003ca href=\"http://uptownnightclub.com/\">The Uptown\u003c/a> on Friday, December 18th also features fellow East Bayers \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> and \u003ca href=\"http://www.myspace.com/panchosan\">Pancho-san\u003c/a> (led by ex-Rogue Wave member Patrick Abernathy), along with SLO’s \u003ca href=\"http://www.myspace.com/sparrowsgate\">Sparrows Gate\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/osqVavRf89k'\n title='//www.youtube.com/embed/osqVavRf89k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With Two Gallants on hiatus, Adam Stephens and Tyson Vogel have been exploring individual projects, with \u003ca href=\"http://www.myspace.com/adamstephensmusic\">Adam Stephens and the Finite Plain\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a> respectively. Stephens and his band have been playing around for a little while now, and finally headed down to Los Angeles in September to record an album with producer Joe Chiccarelli (The Shins, The White Stripes). Stephens is an expert at heartfelt melodic songwriting; the songs take on an even greater emotional gravity with Jen Grady’s swooning cello. Catch the band on Wednesday, December 16th at the \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> with the equally terrific SF/Sacramento band \u003ca href=\"http://myspace.com/twosheds\">Two Sheds\u003c/a> and \u003ca href=\"http://www.myspace.com/honeysanfrancisco\">Honey\u003c/a>, a local psych-influenced folk-rock band whose MySpace songs suggest it’d be well worth a timely arrival.\u003c/p>\n\u003cp>In October, Chicago band \u003ca href=\"http://califonemusic.com/\">Califone\u003c/a> released \u003cb>All My Friends Are Funeral Singers\u003c/b> to the same strong critical reaction that has accompanied each of their last several releases. The band is supporting the album with an ambitious West Coast tour with two performances at each show. At the \u003ca href=\"http://www.musichallsf.com/\">Great American Music Hall\u003c/a> on December 7th, they’ll play a live accompaniment to All My Friends Are Funeral Singers the \u003ci>movie\u003c/i> — written and directed by frontman Tim Rutili — followed by a traditional live performance. Well, traditional for Califone — the group uses ambient textures and experimental touches to make very forward-thinking folk-rock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to these three shows, there are plenty of great holiday-themed local events coming up. Of particular note: \u003ca href=\"http://sonicliving.com/rumble25\">The Rumble\u003c/a>‘s free Holiday Electro Dance Party at \u003ca href=\"http://www.harlotsf.com\">Harlot\u003c/a> on December 9th (with a bevy of local DJs); \u003ca href=\"http://seaweedsway.blogspot.com/\">The Seaweed Sway\u003c/a>‘s holiday show at the \u003ca href=\"http://www.makeoutroom.com\">Make-Out Room\u003c/a> on December 20th (featuring \u003ca href=\"http://myspace.com/kaceyjohansing\">Kacey Johansing\u003c/a> and \u003ca href=\"http://myspace.com/garrettpierce\">Garrett Pierce\u003c/a>); and the SMiLE! Christmas Extravaganza at \u003ca href=\"http://theknockoutsf.com/\">The Knockout\u003c/a> on December 21st (with \u003ca href=\"http://www.myspace.com/bartdavenport\">Bart Davenport\u003c/a> and Persephone’s Bees). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ellen Fullman is not just a composer. She’s also a performer, installation artist, choreographer, instrument-maker, and music theorist. Lest that list sound too academic, let me add that the compositions she writes for the instrument she invented, the \u003ca href=\"http://www.ellenfullman.com/\">Long String Instrument\u003c/a>, are eerily lovely and airily enveloping, like a blanket made of stars.\u003c/p>\n\u003cp>Fullman has been developing ways to play and ways to tweak her Long String Instrument since 1981. It’s stage-sized, a collection of finely-tuned bronze strings stretched across a room at waist-height. Fullman and other musicians walk alongside the strings, running their hands down them to create chords and rich overtones that dissolve into each other as the musicians move through the instrument. The result is a choreographed performance of slow, textured songs that reverberate through the room.\u003c/p>\n\u003cp>Trained in North Indian singing, Fullman draws warm, droning tones out of the strings. She also cites her childhood in Memphis, listening to the Delta blues, as an influence, and you can hear it in the simple melodies that peek out through the overtones. Her compositions are full of slow changes and weaving chords, low rumbles and light hums. The overall effect feels bigger than the room. Fullman has said she wants her music to be “as elemental as the weather.”\u003c/p>\n\u003cp>Ellen Fullman wraps up a month-long residency at the Berkeley Art Museum with a performance Friday, December 4, 2009. She’ll be playing previously recorded pieces, including a solo with video projections, so the audience can see up-close what she’s doing while she plays. The concert is part of the Berkeley Art Museum’s Friday night \u003ca href=\"http://www.bampfa.berkeley.edu/events/general/late\">L@TE\u003c/a> series; the galleries are open late and the museum brings in DJs, a bar, and hosts various performances and events.\u003c/p>\n\u003cp>Ellen Fullman performs on December 4, 2009 at the Berkeley Art Museum. For \u003ca href=\"http://www.bampfa.berkeley.edu/events/general/late/ellen_fullman\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ellen Fullman is not just a composer. She’s also a performer, installation artist, choreographer, instrument-maker, and music theorist. Lest that list sound too academic, let me add that the compositions she writes for the instrument she invented, the \u003ca href=\"http://www.ellenfullman.com/\">Long String Instrument\u003c/a>, are eerily lovely and airily enveloping, like a blanket made of stars.\u003c/p>\n\u003cp>Fullman has been developing ways to play and ways to tweak her Long String Instrument since 1981. It’s stage-sized, a collection of finely-tuned bronze strings stretched across a room at waist-height. Fullman and other musicians walk alongside the strings, running their hands down them to create chords and rich overtones that dissolve into each other as the musicians move through the instrument. The result is a choreographed performance of slow, textured songs that reverberate through the room.\u003c/p>\n\u003cp>Trained in North Indian singing, Fullman draws warm, droning tones out of the strings. She also cites her childhood in Memphis, listening to the Delta blues, as an influence, and you can hear it in the simple melodies that peek out through the overtones. Her compositions are full of slow changes and weaving chords, low rumbles and light hums. The overall effect feels bigger than the room. Fullman has said she wants her music to be “as elemental as the weather.”\u003c/p>\n\u003cp>Ellen Fullman wraps up a month-long residency at the Berkeley Art Museum with a performance Friday, December 4, 2009. She’ll be playing previously recorded pieces, including a solo with video projections, so the audience can see up-close what she’s doing while she plays. The concert is part of the Berkeley Art Museum’s Friday night \u003ca href=\"http://www.bampfa.berkeley.edu/events/general/late\">L@TE\u003c/a> series; the galleries are open late and the museum brings in DJs, a bar, and hosts various performances and events.\u003c/p>\n\u003cp>Ellen Fullman performs on December 4, 2009 at the Berkeley Art Museum. For \u003ca href=\"http://www.bampfa.berkeley.edu/events/general/late/ellen_fullman\">tickets and information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Whether one is looking for an opportunity to dance off a holiday dinner, or just an excuse to leave an awkward family gathering, there are a surprisingly large number of good concerts in SF over the Thanksgiving weekend. Here are just a few of the weekend’s offerings:\u003c/p>\n\u003cp>Over at Cafe Du Nord on Friday, November 27, you can catch \u003ca href=\"http://shelbyashpresents.net/turkeyTrot/turkeyTrot.html\">Turkey Trot 2009\u003c/a>, the tenth installment of this annual Americana showcase. It’s a purely local affair, featuring the bluegrass-inflected sounds of \u003ca href=\"http://www.pineboxboys.com/\">The Pine Box Boys\u003c/a>, \u003ca href=\"http://www.earlbrothers.com/\">The Earl Brothers\u003c/a>, and \u003ca href=\"http://www.mightycrows.com/\">The Mighty Crows\u003c/a> alongside the country-rock of \u003ca href=\"http://www.myspace.com/thetrainwreckriders\">Trainwreck Riders\u003c/a>. The Riders grew up in the city, their early performances at house parties and BART stations. That DIY sensibility carries over into their music, which often bubbles with the enthusiasm of punk. Still, the group’s got plenty of melodic twang, as evidenced on their 2009 album \u003cb>The Perch\u003c/b>, and standout track \u003ca href=\"http://www.alive-totalenergy.com/x/mp3/chug.php\">“Chug Along”\u003c/a>.\u003c/p>\n\u003cp>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aa7FyA2nI9U&hl=en_US&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aa7FyA2nI9U&hl=en_US&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.myspace.com/davesmallen\">Dave Smallen\u003c/a> celebrates the release of \u003cb>Everything Changes & Nothing Changes\u003c/b> on Friday, November 27 at Bottom of the Hill. Smallen’s what you would call a survivor of the major label system; his band Street to Nowhere released an album on Capitol Records before disbanding. Now he’s recording under his own name and adopting a novel release strategy. This year, the singer-songwriter \u003ca href=\"http://davesmallen.bandcamp.com/\">released a new song\u003c/a> on the first of every month; it’s those songs that now see release in album form. Fellow locals \u003ca href=\"http://www.myspace.com/thesoftwhitesixties\">The Soft White Sixties\u003c/a> and \u003ca href=\"http://www.myspace.com/litebriteband\">Lite Brite\u003c/a> join Smallen at Friday’s show.\u003c/p>\n\u003cp>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=6537742&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=ffffff&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=6537742&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=ffffff&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are plenty of great local artists performing, to be sure, but the holiday weekend also features two rare SF performances by experimental electronic duo \u003ca href=\"http://www.myspace.com/thebooksmusicpage\">The Books\u003c/a> at the Noe Valley Ministry on Friday and Saturday, November 27-28. After releasing several critically-acclaimed albums of textured compositions created from acoustic instruments, voices and chopped-up found samples, the group took a lengthy hiatus. Now, they’re touring again, with the expectation of a new album in 2010 — the first since 2005’s \u003cb>Lost and Safe\u003c/b>. If their cover of Nick Drake’s “Cello Song” on the \u003cb>Dark Was The Night\u003c/b> compilation is any indication, there’s a lot to be excited about from the group’s forthcoming work.\u003c/p>\n\u003cp>\u003cobject height=\"225px\" width=\"400px\" type=\"application/x-shockwave-flash\" data=\"http://virb.com/external/video/27422/V0NwpaF2OMhfd9fjlimS33h1QYy68C5T\">\u003cparam name=\"movie\" value=\"http://virb.com/external/video/27422/V0NwpaF2OMhfd9fjlimS33h1QYy68C5T\">\u003cparam name=\"quality\" value=\"best\">\u003cparam name=\"wmode\" value=\"transparent\">\u003cparam name=\"salign\" value=\"tl\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003c/object>\u003c/p>\n\u003cp>Also Thanksgiving weekend:\u003c/p>\n\u003cp>Local rock-pop band \u003ca href=\"http://myspace.com/dizzyballoon\">Dizzy Balloon\u003c/a> hold their second annual “Thanksgiving Extravaganza” at the Rickshaw Stop on Saturday, November 28. The show doubles as a release party for the new album from \u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/theferociousfew\">The Ferocious Few\u003c/a> are one of the most exciting live bands performing in the Bay Area, and the duo have been known to set up shop on street corners around the city. This weekend, the band’s taking its hooky garage rock into a couple of venues, with shows at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, November 27 and \u003ca href=\"http://www.cafedunord.com\">Cafe Du Nord\u003c/a> on Sunday, November 29.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether one is looking for an opportunity to dance off a holiday dinner, or just an excuse to leave an awkward family gathering, there are a surprisingly large number of good concerts in SF over the Thanksgiving weekend. Here are just a few of the weekend’s offerings:\u003c/p>\n\u003cp>Over at Cafe Du Nord on Friday, November 27, you can catch \u003ca href=\"http://shelbyashpresents.net/turkeyTrot/turkeyTrot.html\">Turkey Trot 2009\u003c/a>, the tenth installment of this annual Americana showcase. It’s a purely local affair, featuring the bluegrass-inflected sounds of \u003ca href=\"http://www.pineboxboys.com/\">The Pine Box Boys\u003c/a>, \u003ca href=\"http://www.earlbrothers.com/\">The Earl Brothers\u003c/a>, and \u003ca href=\"http://www.mightycrows.com/\">The Mighty Crows\u003c/a> alongside the country-rock of \u003ca href=\"http://www.myspace.com/thetrainwreckriders\">Trainwreck Riders\u003c/a>. The Riders grew up in the city, their early performances at house parties and BART stations. That DIY sensibility carries over into their music, which often bubbles with the enthusiasm of punk. Still, the group’s got plenty of melodic twang, as evidenced on their 2009 album \u003cb>The Perch\u003c/b>, and standout track \u003ca href=\"http://www.alive-totalenergy.com/x/mp3/chug.php\">“Chug Along”\u003c/a>.\u003c/p>\n\u003cp>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aa7FyA2nI9U&hl=en_US&fs=1&rel=0\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aa7FyA2nI9U&hl=en_US&fs=1&rel=0\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.myspace.com/davesmallen\">Dave Smallen\u003c/a> celebrates the release of \u003cb>Everything Changes & Nothing Changes\u003c/b> on Friday, November 27 at Bottom of the Hill. Smallen’s what you would call a survivor of the major label system; his band Street to Nowhere released an album on Capitol Records before disbanding. Now he’s recording under his own name and adopting a novel release strategy. This year, the singer-songwriter \u003ca href=\"http://davesmallen.bandcamp.com/\">released a new song\u003c/a> on the first of every month; it’s those songs that now see release in album form. Fellow locals \u003ca href=\"http://www.myspace.com/thesoftwhitesixties\">The Soft White Sixties\u003c/a> and \u003ca href=\"http://www.myspace.com/litebriteband\">Lite Brite\u003c/a> join Smallen at Friday’s show.\u003c/p>\n\u003cp>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=6537742&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=ffffff&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=6537742&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=ffffff&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are plenty of great local artists performing, to be sure, but the holiday weekend also features two rare SF performances by experimental electronic duo \u003ca href=\"http://www.myspace.com/thebooksmusicpage\">The Books\u003c/a> at the Noe Valley Ministry on Friday and Saturday, November 27-28. After releasing several critically-acclaimed albums of textured compositions created from acoustic instruments, voices and chopped-up found samples, the group took a lengthy hiatus. Now, they’re touring again, with the expectation of a new album in 2010 — the first since 2005’s \u003cb>Lost and Safe\u003c/b>. If their cover of Nick Drake’s “Cello Song” on the \u003cb>Dark Was The Night\u003c/b> compilation is any indication, there’s a lot to be excited about from the group’s forthcoming work.\u003c/p>\n\u003cp>\u003cobject height=\"225px\" width=\"400px\" type=\"application/x-shockwave-flash\" data=\"http://virb.com/external/video/27422/V0NwpaF2OMhfd9fjlimS33h1QYy68C5T\">\u003cparam name=\"movie\" value=\"http://virb.com/external/video/27422/V0NwpaF2OMhfd9fjlimS33h1QYy68C5T\">\u003cparam name=\"quality\" value=\"best\">\u003cparam name=\"wmode\" value=\"transparent\">\u003cparam name=\"salign\" value=\"tl\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003c/object>\u003c/p>\n\u003cp>Also Thanksgiving weekend:\u003c/p>\n\u003cp>Local rock-pop band \u003ca href=\"http://myspace.com/dizzyballoon\">Dizzy Balloon\u003c/a> hold their second annual “Thanksgiving Extravaganza” at the Rickshaw Stop on Saturday, November 28. The show doubles as a release party for the new album from \u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/theferociousfew\">The Ferocious Few\u003c/a> are one of the most exciting live bands performing in the Bay Area, and the duo have been known to set up shop on street corners around the city. This weekend, the band’s taking its hooky garage rock into a couple of venues, with shows at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on Friday, November 27 and \u003ca href=\"http://www.cafedunord.com\">Cafe Du Nord\u003c/a> on Sunday, November 29.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are plenty of great shows in the Bay Area in November, including some welcome returns by touring bands. Here are a few picks for great shows in the coming month:\u003c/p>\n\u003cp>Despite all of the success that Canadian indie bands have had over the past decade (alphabetically, that list goes from Arcade Fire through Wolf Parade), I’m baffled that \u003ca href=\"http://www.thehiddencameras.com/\">The Hidden Cameras\u003c/a> remain so under-the-radar. Leader Joel Gibb and his rotating cast of contributors are known for bright, baroque instrumentation, but have dialed down those sounds on the recently released \u003cstrong>Origin:Orphan\u003c/strong>, which trades more strongly in electronic sounds and heavier tones. Gibb has always weaved more serious lyrical themes into his songs, but this is maybe the first time that the music’s caught up, and it’s a welcome new chapter for this extremely talented group. The Hidden Cameras have been known for some theatrical live shows, so it’ll be interesting to see how the new material is conveyed when the band performs at \u003ca href=\"http://www.bottomofthehill.com\">Bottom of the Hill\u003c/a> on Thursday, November 19th. They’ll be joined by singer-songwriter (and sometimes Hidden Camera) \u003ca href=\"http://www.myspace.com/gentlemanreg\">Gentleman Reg\u003c/a> and local electro-country-rock band \u003ca href=\"http://www.myspace.com/wintersfallmusic\">Winter’s Fall\u003c/a>.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=wk4NR7oVNLw&color1=0xb1b1b1&color2=0xcfcfcf&hl=en&feature=player_embedded&fs=1]\u003c/p>\n\u003cp>Other shows of note:\u003c/p>\n\u003cp>– Several local bands celebrate CD releases this month: \u003ca href=\"http://www.myspace.com/temponotempo\">Tempo No Tempo\u003c/a> on November 4th at the \u003ca href=\"http://www.rickshawstop.com\">Rickshaw Stop\u003c/a>, \u003ca href=\"http://www.myspace.com/manmiracle\">Man/Miracle\u003c/a> on November 14th at the \u003ca href=\"http://www.lobotgallery.com\">LoBot Gallery\u003c/a>, \u003ca href=\"http://www.myspace.com/birdsbatteries\">Birds and Batteries\u003c/a> on November 8th at \u003ca href=\"http://www.cafedunord.com\">Cafe Du Nord\u003c/a> (in a show presented by The Bay Bridged), and \u003ca href=\"http://www.myspace.com/orthewhale\">Or, the Whale\u003c/a>, on November 14th and also at \u003ca href=\"http://www.cafedunord.com\">Cafe Du Nord\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>– Local indie rock-pop band \u003ca href=\"http://www.myspace.com/actionslacks\">Actionslacks\u003c/a> play their only 2009 show at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on November 18th to celebrate their fifteenth anniversary as a band. The band is taking requests from their back catalog for the show, and are currently plotting a new EP for 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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