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"content": "\u003cp>For a guy who’s had more than his fair share of success in Hollywood, David Mamet sure is grumpy with the industry that’s feathered his nest. In 2007, with a couple dozen screenwriting and/or directing credits under his belt, Mamet wrote a book called \u003cb>Bambi vs. Godzilla\u003c/b>. The conclusion of this collection of clever and acerbic essays was, essentially, that just about everyone in the movie business is a destructive force of nature, and the world would be a good deal better off if the lot of them were lined up against a wall and shot.\u003c/p>\n\u003cp>This was entertaining, if old, news in 2007, which makes the current production of Mamet’s 1988 three-act, three-person play about Hollywood, \u003cb>Speed-the-Plow\u003c/b>, now through January 24 at the Pear Avenue Theatre in Mountain View, feel a bit like a trip in the Wayback Machine. Even before HBO’s \u003cb>Entourage\u003c/b> and a pair of films about Hollywood by Mamet himself (\u003cb>Wag the Dog\u003c/b>, 1997, and \u003cb>State and Main\u003c/b>, 2000), most of us were overly familiar with Tinseltown’s reputation for duplicity and slime. There was Robert Altman’s movie \u003cb>The Player\u003c/b> (1992); Sam Shepard’s play \u003cb>True West\u003c/b> (1980), which the director of this production, Ray Renati, also directed at the Pear a couple of seasons ago; Budd Schulberg’s novel \u003cb>What Makes Sammy Run?\u003c/b> (1941); and countless razor-sharp barbs by Ben Hecht, the first screenwriter to win an Academy Award (1927).\u003c/p>\n\u003cp>Given all this history, I’d like to think that \u003cb>Speed-the-Plow\u003c/b> is more than yet another tale of the insincerity of Hollywood types. It must also be a parable about people in any walk of life struggling with their desire to do good work as economic forces conspire to turn them into whores, right? Wrong. \u003cb>Speed-the-Plow\u003c/b> features lots of terrific writing, and this production is well directed and contains a trio of fine performances, but the play itself is first and last a vehicle for Mamet’s love-hate relationship with Hollywood, an infantile obsession he has done little to disguise.\u003c/p>\n\u003cp>When we first meet recently named production head Bobby Gould (Paul Loomis) and his loyal henchman Charlie Fox (Jake Vincent), the two men are heaping fawning and fake praise on one another. They delight in their reputations as men who have made careers out of their ability to bend over in exchange for wheelbarrows of cash. In one memorable scene, we squirm at their vulgarity, primarily because it’s uttered so shamelessly in the presence of a young office temp named Karen (Sarah Griner). Despite her lack of dialogue in the scene, this is a strong entrance for Griner, who stands uncomfortably but professionally at attention, coffee tray in hand, as her older, male superiors verbally wrestle over bragging rights to the title of Hollywood’s biggest prostitute.\u003c/p>\n\u003cp>Fox has dropped in to check out his mentor’s new digs, as well as to dump a sure-fire hit in his lap. Both men can practically taste the box office receipts, and Fox, the more financially desperate of the two, begins carving up the corpse before it’s even cold. This is a good gambit on Mamet’s part — by focusing on Fox’s preoccupation with money and power, we momentarily forget that money and power are precisely the definitions of success in Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At first, we are meant to think that Karen, with all her innocent questions about why everything in Hollywood has to be garbage, is the guileless muse that Gould may have been looking for all his life. Fortunately Vincent’s ruthless Fox brings the inexplicably vulnerable Gould to his senses before Karen can turn him to the dark side, which in this case means green-lighting an overwrought novel filled with idiotic premises that anyone with half a brain can see will tank. Fox is the hero because he’s true to himself and his swampy milieu, which, as Mamet and those who came before him have repeatedly pointed out, ain’t saying much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Speed-The-Plow\u003c/b> runs through January 24, 2010 at the Pear Avenue Theatre in Mountain View. For \u003ca href=\"http://thepear.org/speedtheplow.htm\">tickets and information\u003c/a>, visit thepear.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a guy who’s had more than his fair share of success in Hollywood, David Mamet sure is grumpy with the industry that’s feathered his nest. In 2007, with a couple dozen screenwriting and/or directing credits under his belt, Mamet wrote a book called \u003cb>Bambi vs. Godzilla\u003c/b>. The conclusion of this collection of clever and acerbic essays was, essentially, that just about everyone in the movie business is a destructive force of nature, and the world would be a good deal better off if the lot of them were lined up against a wall and shot.\u003c/p>\n\u003cp>This was entertaining, if old, news in 2007, which makes the current production of Mamet’s 1988 three-act, three-person play about Hollywood, \u003cb>Speed-the-Plow\u003c/b>, now through January 24 at the Pear Avenue Theatre in Mountain View, feel a bit like a trip in the Wayback Machine. Even before HBO’s \u003cb>Entourage\u003c/b> and a pair of films about Hollywood by Mamet himself (\u003cb>Wag the Dog\u003c/b>, 1997, and \u003cb>State and Main\u003c/b>, 2000), most of us were overly familiar with Tinseltown’s reputation for duplicity and slime. There was Robert Altman’s movie \u003cb>The Player\u003c/b> (1992); Sam Shepard’s play \u003cb>True West\u003c/b> (1980), which the director of this production, Ray Renati, also directed at the Pear a couple of seasons ago; Budd Schulberg’s novel \u003cb>What Makes Sammy Run?\u003c/b> (1941); and countless razor-sharp barbs by Ben Hecht, the first screenwriter to win an Academy Award (1927).\u003c/p>\n\u003cp>Given all this history, I’d like to think that \u003cb>Speed-the-Plow\u003c/b> is more than yet another tale of the insincerity of Hollywood types. It must also be a parable about people in any walk of life struggling with their desire to do good work as economic forces conspire to turn them into whores, right? Wrong. \u003cb>Speed-the-Plow\u003c/b> features lots of terrific writing, and this production is well directed and contains a trio of fine performances, but the play itself is first and last a vehicle for Mamet’s love-hate relationship with Hollywood, an infantile obsession he has done little to disguise.\u003c/p>\n\u003cp>When we first meet recently named production head Bobby Gould (Paul Loomis) and his loyal henchman Charlie Fox (Jake Vincent), the two men are heaping fawning and fake praise on one another. They delight in their reputations as men who have made careers out of their ability to bend over in exchange for wheelbarrows of cash. In one memorable scene, we squirm at their vulgarity, primarily because it’s uttered so shamelessly in the presence of a young office temp named Karen (Sarah Griner). Despite her lack of dialogue in the scene, this is a strong entrance for Griner, who stands uncomfortably but professionally at attention, coffee tray in hand, as her older, male superiors verbally wrestle over bragging rights to the title of Hollywood’s biggest prostitute.\u003c/p>\n\u003cp>Fox has dropped in to check out his mentor’s new digs, as well as to dump a sure-fire hit in his lap. Both men can practically taste the box office receipts, and Fox, the more financially desperate of the two, begins carving up the corpse before it’s even cold. This is a good gambit on Mamet’s part — by focusing on Fox’s preoccupation with money and power, we momentarily forget that money and power are precisely the definitions of success in Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At first, we are meant to think that Karen, with all her innocent questions about why everything in Hollywood has to be garbage, is the guileless muse that Gould may have been looking for all his life. Fortunately Vincent’s ruthless Fox brings the inexplicably vulnerable Gould to his senses before Karen can turn him to the dark side, which in this case means green-lighting an overwrought novel filled with idiotic premises that anyone with half a brain can see will tank. Fox is the hero because he’s true to himself and his swampy milieu, which, as Mamet and those who came before him have repeatedly pointed out, ain’t saying much.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Speed-The-Plow\u003c/b> runs through January 24, 2010 at the Pear Avenue Theatre in Mountain View. For \u003ca href=\"http://thepear.org/speedtheplow.htm\">tickets and information\u003c/a>, visit thepear.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So you overdid it during the holidays. You’ve resolved to subsist on a diet of raw vegetables and fruit smoothies for the month of January (and possibly February too). Right now, you probably want to do nothing more active than retreat to the sanctuary of your sofa and watch reruns of \u003cb>Scrubs\u003c/b>. But let’s face facts: you can only find solace in Zach Braff’s puppy-dog eyes for so long. Eventually, you’re going to have to leave the house. So why not get your year off to a proper start by braving the arctic chill of our northern California winter and going to see \u003ca href=\"http://www.lymbycsystym.com\">Lymbyc System\u003c/a> play the Cafe du Nord?\u003c/p>\n\u003cp>Sure it sounds scary, but this is the best time of year to go see live music. Venues are quieter, seats are more plentiful, and bar queues are shorter (while we’re at it, you can forget that New Year’s resolution about not drinking too: one or two medicinal pints of Guinness will help, trust me). And don’t be put off by that name: Lymbyc Systym. It may only be one ümlaut short of honorary \u003ca href=\"http://farm4.static.flickr.com/3320/3197182266_a4e1f2a35f_b.jpg\">heavy metal status\u003c/a>, but you can rest assured that brothers Jared and Michael Bell won’t assault your fragile senses by screeching and screaming about Satan. Why? Well, there are three reasons:\u003c/p>\n\u003cp>\u003cb>1.\u003c/b> They aren’t a heavy metal band.\u003cbr>\u003cb>2.\u003c/b> They’re more of a snuggly quilt band. \u003cbr>\u003cb>3.\u003c/b> Their music is instrumental.\u003c/p>\n\u003cp>OK, so “snuggly” is maybe overdoing it a bit. Genre-wise, the duo’s most recent album \u003cb>Shutter Release\u003c/b> fits into a slot somewhere between post-rock and electronica, but it draws on the softer edges of both, mixing warm acoustic guitars and strings with subtle, organic samples. Tracks such as “Interiors,” “Bedroom Anthem,” and “Late Night Classic” largely live up to their benign titles, with layers of sound that pull off the enviable trick of sounding both fuzzy and clear at the same time. But, as their awkward, consonant-laden name suggests, Lymbyc Systym aren’t all pillows and sugary tea. Discordant notes leak in around the edges, feedback lurks in the distance, and tracks that start out cute and quiet (“Contemporary Art,” for example) sometimes take surprisingly noisy turns. It’s a bit like discovering your grandmother has laced her cucumber sandwiches with jalapenño peppers: unexpected yes, but not necessarily unpleasant.\u003c/p>\n\u003cp>All this, together with Lymbyc Systym’s status as an instrumental electronic outfit, might lead some people to throw around careless words like “experimental” or “difficult.” But that would be doing the band (and us) a disservice. The end results are inviting and intimate rather than alienating. Even the more tumultuous passages never leave sight of melody or structure, or descend into white noise freakouts. Which isn’t to say that the Lymbyc Systym live experience is guaranteed to be free of its minor challenges. But when your only alternative is another night of channel surfing from the couch, what have you got to lose?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lymbyc Systym play Cafe du Nord in San Francisco on Saturday, January 9, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a>, visit cafedunord.com. \u003cb>Shutter Release\u003c/b> is out now on \u003ca href=\"http://www.mushrecords.com/release/166\">Mush Records\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you overdid it during the holidays. You’ve resolved to subsist on a diet of raw vegetables and fruit smoothies for the month of January (and possibly February too). Right now, you probably want to do nothing more active than retreat to the sanctuary of your sofa and watch reruns of \u003cb>Scrubs\u003c/b>. But let’s face facts: you can only find solace in Zach Braff’s puppy-dog eyes for so long. Eventually, you’re going to have to leave the house. So why not get your year off to a proper start by braving the arctic chill of our northern California winter and going to see \u003ca href=\"http://www.lymbycsystym.com\">Lymbyc System\u003c/a> play the Cafe du Nord?\u003c/p>\n\u003cp>Sure it sounds scary, but this is the best time of year to go see live music. Venues are quieter, seats are more plentiful, and bar queues are shorter (while we’re at it, you can forget that New Year’s resolution about not drinking too: one or two medicinal pints of Guinness will help, trust me). And don’t be put off by that name: Lymbyc Systym. It may only be one ümlaut short of honorary \u003ca href=\"http://farm4.static.flickr.com/3320/3197182266_a4e1f2a35f_b.jpg\">heavy metal status\u003c/a>, but you can rest assured that brothers Jared and Michael Bell won’t assault your fragile senses by screeching and screaming about Satan. Why? Well, there are three reasons:\u003c/p>\n\u003cp>\u003cb>1.\u003c/b> They aren’t a heavy metal band.\u003cbr>\u003cb>2.\u003c/b> They’re more of a snuggly quilt band. \u003cbr>\u003cb>3.\u003c/b> Their music is instrumental.\u003c/p>\n\u003cp>OK, so “snuggly” is maybe overdoing it a bit. Genre-wise, the duo’s most recent album \u003cb>Shutter Release\u003c/b> fits into a slot somewhere between post-rock and electronica, but it draws on the softer edges of both, mixing warm acoustic guitars and strings with subtle, organic samples. Tracks such as “Interiors,” “Bedroom Anthem,” and “Late Night Classic” largely live up to their benign titles, with layers of sound that pull off the enviable trick of sounding both fuzzy and clear at the same time. But, as their awkward, consonant-laden name suggests, Lymbyc Systym aren’t all pillows and sugary tea. Discordant notes leak in around the edges, feedback lurks in the distance, and tracks that start out cute and quiet (“Contemporary Art,” for example) sometimes take surprisingly noisy turns. It’s a bit like discovering your grandmother has laced her cucumber sandwiches with jalapenño peppers: unexpected yes, but not necessarily unpleasant.\u003c/p>\n\u003cp>All this, together with Lymbyc Systym’s status as an instrumental electronic outfit, might lead some people to throw around careless words like “experimental” or “difficult.” But that would be doing the band (and us) a disservice. The end results are inviting and intimate rather than alienating. Even the more tumultuous passages never leave sight of melody or structure, or descend into white noise freakouts. Which isn’t to say that the Lymbyc Systym live experience is guaranteed to be free of its minor challenges. But when your only alternative is another night of channel surfing from the couch, what have you got to lose?\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>Lymbyc Systym play Cafe du Nord in San Francisco on Saturday, January 9, 2010. For \u003ca href=\"http://www.cafedunord.com/\">tickets and information\u003c/a>, visit cafedunord.com. \u003cb>Shutter Release\u003c/b> is out now on \u003ca href=\"http://www.mushrecords.com/release/166\">Mush Records\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a relatively quiet December, January brings a wide variety of quality events to the City. Some picks below:\u003c/p>\n\u003cp>\u003cb>January 8:\u003c/b> The term “lo-fi” gets tossed around to label a lot of music these days, even though it (often inaccurately) describes a production aesthetic more than any particular sound. Three young SF bands under the lo-fi umbrella join together for a show at Hemlock Tavern on Friday, January 8th. \u003ca href=\"http://www.myspace.com/youngprisms\">Young Prisms\u003c/a> are a quintet that released their debut 12″ EP last year on \u003ca href=\"http://www.mexicansummer.com/\">Mexican Summer\u003c/a>, coating West Coast pop in a reverb-induced haze. Labelmates \u003ca href=\"http://www.myspace.com/weekendmusic\">Weekend\u003c/a> craft noisy, winding songs that are both abrasive and ear-catching. \u003ca href=\"http://www.myspace.com/dominantlegsmusic\">Dominant Legs\u003c/a> recently toured with \u003ca href=\"http://www.myspace.com/girls\">Girls\u003c/a> and bandmember Ryan Lynch now splits his time between the two projects. Recent demos from Dominant Legs showcase a Brit-influenced strain of otherworldly pop.\u003c/p>\n\u003cp>\u003cb>January 20:\u003c/b> \u003ca href=\"http://www.myspace.com/theyummyfurgroup\">The Yummy Fur\u003c/a> may be best known for once including Franz Ferdinand’s Alex Kapranos and Paul Thomson, but the Scottish group’s mid-90s tenure spawned a durable cult following. It’s difficult not to liken the band to The Fall, particularly given John McKeown’s wordy shout-singing, but stateside audiences will be able to judge for themselves on the reunited group’s upcoming US tour (their first), which coincides with the January release of a “best of” compilation on \u003ca href=\"http://www.whatsyourrupture.com/\">What’s Your Rupture\u003c/a>. The US trip includes a January 20th stop at Cafe Du Nord with two great Bay Area bands, \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> and \u003ca href=\"http://www.myspace.com/sonnythesunsets\">Sonny and the Sunsets\u003c/a>, opening the show. Both released strong debut full lengths last year; while the eponymous \u003cb>The Mantles\u003c/b> spotlights one of the Bay’s best garage pop bands, the Sunsets’ \u003cb>Tomorrow is Alright\u003c/b> has an eye toward primitive rock and roll and an offbeat sensibility.\u003c/p>\n\u003cp>\u003cb>January 29:\u003c/b> San Francisco’s \u003ca href=\"http://www.myspace.com/citay07\">Citay\u003c/a> transform classic rock and psychedelic sounds into compositions of sweeping ambition. Bandleader Ezra Feinberg began Citay as a studio project (with producer Tim Green), but the band benefits from a plethora of talented musicians. \u003cb>Dream Get Together\u003c/b> is their third album of original material, out January 10th on \u003ca href=\"http://www.deadoceans.com/\">Dead Oceans\u003c/a>. With killer guitar leads abounding, the new album won’t be terribly shocking to Citay fans, but it definitely feels like the group is pushing to reach new anthemic heights. Citay joins \u003ca href=\"http://www.myspace.com/thefruitbats\">The Fruit Bats\u003c/a> and \u003ca href=\"http://www.myspace.com/extraclassicband\">Extra Classic\u003c/a> at Slim’s on January 29th.\u003c/p>\n\u003cp>Also worth seeking out:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mostly non-musical, but \u003ca href=\"http://www.sfsketchfest.com/\">SF Sketchfest\u003c/a> starts January 14th and continues through February 2. Plenty of great Bay Area acts go toe to toe with a bunch of excellent LA/NY comedians.\u003c/p>\n\u003cp>Atlanta’s \u003ca href=\"http://www.myspace.com/theblacklips\">The Black Lips\u003c/a> bring their frenzied psych-punk to the Great American Music Hall on January 21st, with two of the Bay’s catchiest garage punkers in tow. Show up early to see \u003ca href=\"http://www.myspace.com/nobunnylovesyou\">Nobunny\u003c/a> and the Ramones-influenced \u003ca href=\"http://www.myspace.com/personalandthepizzas\">Personal and the Pizzas\u003c/a>.\u003c/p>\n\u003cp>Electro-pop duo \u003ca href=\"http://www.myspace.com/silverswansofficial\">Silver Swans\u003c/a> celebrate the release of their debut album at Cafe Du Nord on January 28th.\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a relatively quiet December, January brings a wide variety of quality events to the City. Some picks below:\u003c/p>\n\u003cp>\u003cb>January 8:\u003c/b> The term “lo-fi” gets tossed around to label a lot of music these days, even though it (often inaccurately) describes a production aesthetic more than any particular sound. Three young SF bands under the lo-fi umbrella join together for a show at Hemlock Tavern on Friday, January 8th. \u003ca href=\"http://www.myspace.com/youngprisms\">Young Prisms\u003c/a> are a quintet that released their debut 12″ EP last year on \u003ca href=\"http://www.mexicansummer.com/\">Mexican Summer\u003c/a>, coating West Coast pop in a reverb-induced haze. Labelmates \u003ca href=\"http://www.myspace.com/weekendmusic\">Weekend\u003c/a> craft noisy, winding songs that are both abrasive and ear-catching. \u003ca href=\"http://www.myspace.com/dominantlegsmusic\">Dominant Legs\u003c/a> recently toured with \u003ca href=\"http://www.myspace.com/girls\">Girls\u003c/a> and bandmember Ryan Lynch now splits his time between the two projects. Recent demos from Dominant Legs showcase a Brit-influenced strain of otherworldly pop.\u003c/p>\n\u003cp>\u003cb>January 20:\u003c/b> \u003ca href=\"http://www.myspace.com/theyummyfurgroup\">The Yummy Fur\u003c/a> may be best known for once including Franz Ferdinand’s Alex Kapranos and Paul Thomson, but the Scottish group’s mid-90s tenure spawned a durable cult following. It’s difficult not to liken the band to The Fall, particularly given John McKeown’s wordy shout-singing, but stateside audiences will be able to judge for themselves on the reunited group’s upcoming US tour (their first), which coincides with the January release of a “best of” compilation on \u003ca href=\"http://www.whatsyourrupture.com/\">What’s Your Rupture\u003c/a>. The US trip includes a January 20th stop at Cafe Du Nord with two great Bay Area bands, \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> and \u003ca href=\"http://www.myspace.com/sonnythesunsets\">Sonny and the Sunsets\u003c/a>, opening the show. Both released strong debut full lengths last year; while the eponymous \u003cb>The Mantles\u003c/b> spotlights one of the Bay’s best garage pop bands, the Sunsets’ \u003cb>Tomorrow is Alright\u003c/b> has an eye toward primitive rock and roll and an offbeat sensibility.\u003c/p>\n\u003cp>\u003cb>January 29:\u003c/b> San Francisco’s \u003ca href=\"http://www.myspace.com/citay07\">Citay\u003c/a> transform classic rock and psychedelic sounds into compositions of sweeping ambition. Bandleader Ezra Feinberg began Citay as a studio project (with producer Tim Green), but the band benefits from a plethora of talented musicians. \u003cb>Dream Get Together\u003c/b> is their third album of original material, out January 10th on \u003ca href=\"http://www.deadoceans.com/\">Dead Oceans\u003c/a>. With killer guitar leads abounding, the new album won’t be terribly shocking to Citay fans, but it definitely feels like the group is pushing to reach new anthemic heights. Citay joins \u003ca href=\"http://www.myspace.com/thefruitbats\">The Fruit Bats\u003c/a> and \u003ca href=\"http://www.myspace.com/extraclassicband\">Extra Classic\u003c/a> at Slim’s on January 29th.\u003c/p>\n\u003cp>Also worth seeking out:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mostly non-musical, but \u003ca href=\"http://www.sfsketchfest.com/\">SF Sketchfest\u003c/a> starts January 14th and continues through February 2. Plenty of great Bay Area acts go toe to toe with a bunch of excellent LA/NY comedians.\u003c/p>\n\u003cp>Atlanta’s \u003ca href=\"http://www.myspace.com/theblacklips\">The Black Lips\u003c/a> bring their frenzied psych-punk to the Great American Music Hall on January 21st, with two of the Bay’s catchiest garage punkers in tow. Show up early to see \u003ca href=\"http://www.myspace.com/nobunnylovesyou\">Nobunny\u003c/a> and the Ramones-influenced \u003ca href=\"http://www.myspace.com/personalandthepizzas\">Personal and the Pizzas\u003c/a>.\u003c/p>\n\u003cp>Electro-pop duo \u003ca href=\"http://www.myspace.com/silverswansofficial\">Silver Swans\u003c/a> celebrate the release of their debut album at Cafe Du Nord on January 28th.\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Listening to Brian Eno almost never makes me laugh. It’s not that I don’t like his music. I love it. But he doesn’t compose funny songs (well, some are sort of funny, but not laugh out loud funny). Thanks to the Exploratorium, I’ve been laughing along with Brian Eno all weekend. As part of its 40th anniversary celebration, the Exploratorium is releasing a series of podcasts — one a month through November 2010 — of interviews from the ’80s and the early-’90s, conducted in front of an audience, with visionary musicians and composers. The podcast is comprised of selected episodes from the \u003cb>Speaking of Music\u003c/b> series, which was produced by KPFA from 1983 to 1992 and co-produced by the Exploratorium.\u003c/p>\n\u003cp>During his interview Eno tells a story I’d thought was apocryphal: He invented ambient music when he was, in his words, “knocked down by a taxi.” He ended up in the hospital, and when a friend came to visit him, he asked her to put on a record. She put harp music on the record player and left. But one of the speakers was on the fritz, it was raining outside, and he could only partially hear the music. He thought it was beautiful. When he left the hospital he began composing \u003cb>Music for Airports\u003c/b>. He says the music makes you “not care if you die… it doesn’t really matter that much anyway.” Eno’s not depressed, just very very droll.\u003c/p>\n\u003cp>Eno brought records to the interview so he could share music that inspired him. I don’t know what the audience was expecting. I guess I was expecting John Cage or something, but then the dulcet tones of Gene Chandler cranked up and the audience burst into applause for “\u003ca href=\"http://popup.lala.com/popup/937030227622648430\">Duke of Earl\u003c/a>,” then \u003ca href=\"http://popup.lala.com/popup/937030236600009317\">Ernie K-Doe\u003c/a> and \u003ca href=\"http://popup.lala.com/popup/937030249061115704\">Little Richard\u003c/a>, who Eno says is unrivaled in his capacity to blend insanity and tenderness. That’s the general tone of the interview. Eno is generous in sharing his thought process and ideas, quick to make a joke and keep the audience entertained, and utterly down to earth.\u003c/p>\n\u003cp>A lot of the credit goes to the man conducting the interview: Charles Amirkhanian. He’s the founder of the San Francisco-based record label \u003ca href=\"http://www.otherminds.org/\">Other Minds\u003c/a> and the Other Minds Music Festival. In his conversations with Eno, Laurie Anderson, and Philip Glass, he encourages a relaxed, chatty atmosphere, where Anderson shares the fact that in many of her past lives she was a rabbi, and Glass describes first encountering Indian music, when no one knew what a sitar looked like because, he says, the Beatles hadn’t been to India yet. While the conversations delve deep, these podcasts aren’t just for the aficionado. Amirkhanian introduces music by the composers and has them explain what’s going on in the songs, why they wrote them, what they’re for. With archived conversations with John Cage, Trimpin, and Astor Piazolla coming up, these podcasts provide a year’s worth of thinking on avant-garde music, world music, and pop.\u003c/p>\n\u003cp>The Exploratorium is releasing one podcast a month through November, 2010. \u003ca href=\"http://www.exploratorium.edu/40th/podcasts.php\">Download the six released so far\u003c/a> at exploratorium.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Listening to Brian Eno almost never makes me laugh. It’s not that I don’t like his music. I love it. But he doesn’t compose funny songs (well, some are sort of funny, but not laugh out loud funny). Thanks to the Exploratorium, I’ve been laughing along with Brian Eno all weekend. As part of its 40th anniversary celebration, the Exploratorium is releasing a series of podcasts — one a month through November 2010 — of interviews from the ’80s and the early-’90s, conducted in front of an audience, with visionary musicians and composers. The podcast is comprised of selected episodes from the \u003cb>Speaking of Music\u003c/b> series, which was produced by KPFA from 1983 to 1992 and co-produced by the Exploratorium.\u003c/p>\n\u003cp>During his interview Eno tells a story I’d thought was apocryphal: He invented ambient music when he was, in his words, “knocked down by a taxi.” He ended up in the hospital, and when a friend came to visit him, he asked her to put on a record. She put harp music on the record player and left. But one of the speakers was on the fritz, it was raining outside, and he could only partially hear the music. He thought it was beautiful. When he left the hospital he began composing \u003cb>Music for Airports\u003c/b>. He says the music makes you “not care if you die… it doesn’t really matter that much anyway.” Eno’s not depressed, just very very droll.\u003c/p>\n\u003cp>Eno brought records to the interview so he could share music that inspired him. I don’t know what the audience was expecting. I guess I was expecting John Cage or something, but then the dulcet tones of Gene Chandler cranked up and the audience burst into applause for “\u003ca href=\"http://popup.lala.com/popup/937030227622648430\">Duke of Earl\u003c/a>,” then \u003ca href=\"http://popup.lala.com/popup/937030236600009317\">Ernie K-Doe\u003c/a> and \u003ca href=\"http://popup.lala.com/popup/937030249061115704\">Little Richard\u003c/a>, who Eno says is unrivaled in his capacity to blend insanity and tenderness. That’s the general tone of the interview. Eno is generous in sharing his thought process and ideas, quick to make a joke and keep the audience entertained, and utterly down to earth.\u003c/p>\n\u003cp>A lot of the credit goes to the man conducting the interview: Charles Amirkhanian. He’s the founder of the San Francisco-based record label \u003ca href=\"http://www.otherminds.org/\">Other Minds\u003c/a> and the Other Minds Music Festival. In his conversations with Eno, Laurie Anderson, and Philip Glass, he encourages a relaxed, chatty atmosphere, where Anderson shares the fact that in many of her past lives she was a rabbi, and Glass describes first encountering Indian music, when no one knew what a sitar looked like because, he says, the Beatles hadn’t been to India yet. While the conversations delve deep, these podcasts aren’t just for the aficionado. Amirkhanian introduces music by the composers and has them explain what’s going on in the songs, why they wrote them, what they’re for. With archived conversations with John Cage, Trimpin, and Astor Piazolla coming up, these podcasts provide a year’s worth of thinking on avant-garde music, world music, and pop.\u003c/p>\n\u003cp>The Exploratorium is releasing one podcast a month through November, 2010. \u003ca href=\"http://www.exploratorium.edu/40th/podcasts.php\">Download the six released so far\u003c/a> at exploratorium.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Year's Eve Picks",
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"content": "\u003cp>Looking for New Year’s Eve plans? Here are some great options at (mostly) reasonable prices:\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a> headline a New Year’s Eve show at Bottom of the Hill, which is probably the last chance to see the band in a venue that intimate. The Beatlesque indie pop-rock of \u003cb>Talking Through Tin Cans\u003c/b> got the group national attention, but it’s the March release of their sophomore album \u003cb>Big Echo\u003c/b> on Rough Trade that should launch them to the next level. Bandleader Chris Chu co-produced the new record with Grizzly Bear’s Chris Taylor and recent live performances have suggested that the record will find the Benders pushing in more experimental pop directions. \u003ca href=\"http://www.myspace.com/miniaturetigers\">Miniature Tigers\u003c/a> and SF’s \u003ca href=\"http://www.myspace.com/abthesea\">A B & The Sea\u003c/a> round out the popcentric NYE bill.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> is hosting \u003cb>Disco 2010\u003c/b>, with performances by \u003ca href=\"http://www.myspace.com/italiansdoitbetterrecords\">Italians Do It Better\u003c/a> bands \u003ca href=\"http://myspace.com/glasscandy\">Glass Candy\u003c/a> and \u003ca href=\"http://myspace.com/primitivedesire\">Desire\u003c/a>. Desire is frequently billed as a Chromatics side project, which is good news for fans of the “disco noir” band, which went dormant (but not dead?) after releasing the sublime album \u003cb>Nite Drive\u003c/b>. Desire’s debut album \u003cb>II\u003c/b> reunites Chromatics Johnny Jewel (also of Glass Candy) and Nat Walker, with a new female vocalist in Megan Louise. The new band feels like it picks up where the former left off, creating lush, emotional dance pop.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://hemlocktavern.com/\">Hemlock Tavern\u003c/a>‘s small stage can look full with a trio, so the six-person lineups of \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a> and \u003ca href=\"http://www.myspace.com/battlehooch\">Battlehooch\u003c/a> will need to tread carefully on New Year’s Eve. Both bands, though, seem to have figured out how to balance many members and many influences. Maus Haus (who, in full disclosure, is managed by Bay Bridged General Manager Christian Cunningham) use electronic sounds to create proggy art-pop, and the band promises to follow 2008’s \u003cb>Lark Marvels\u003c/b> with a new 7″ in early 2010. Battlehooch’s 2009 album \u003cb>Piecechow\u003c/b> is catchier than free jazz, but offers its own frenzied squeal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"440\" height=\"248\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"440\" height=\"248\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Other New Year’s Eve options include:\u003c/p>\n\u003cp>LA punk legends \u003ca href=\"http://www.xtheband.com/\">X\u003c/a> bring SF indie rockers \u003ca href=\"http://www.myspace.com/heavenlystates\">The Heavenly States\u003c/a> to \u003ca href=\"http://slims-sf.com/\">Slim’s\u003c/a> on December 30th and 31st. The group is celebrating “Merry X-Mas” (pun clearly intended) with the NorCal dates; in the holiday spirit, they recently released covers of “Santa Claus Is Coming To Town” and “Jingle Bells.”\u003c/p>\n\u003cp>Big venue NYE comedy show sounds like a bad idea in principle, so it wouldn’t be worth mentioning if the lineup at \u003cb>Comedy Countdown 2009\u003c/b> at the \u003ca href=\"http://www.palaceoffinearts.org\">Palace of Fine Arts\u003c/a> wasn’t so top notch. The show features a ton of great names, but I’ll highlight \u003ca href=\"http://www.myspace.com/johnmulaney\">John Mulaney\u003c/a>, who writes for Saturday Night Live and released one of the year’s funniest albums in \u003cb>The Top Part\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridge.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for New Year’s Eve plans? Here are some great options at (mostly) reasonable prices:\u003c/p>\n\u003cp>Berkeley’s \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a> headline a New Year’s Eve show at Bottom of the Hill, which is probably the last chance to see the band in a venue that intimate. The Beatlesque indie pop-rock of \u003cb>Talking Through Tin Cans\u003c/b> got the group national attention, but it’s the March release of their sophomore album \u003cb>Big Echo\u003c/b> on Rough Trade that should launch them to the next level. Bandleader Chris Chu co-produced the new record with Grizzly Bear’s Chris Taylor and recent live performances have suggested that the record will find the Benders pushing in more experimental pop directions. \u003ca href=\"http://www.myspace.com/miniaturetigers\">Miniature Tigers\u003c/a> and SF’s \u003ca href=\"http://www.myspace.com/abthesea\">A B & The Sea\u003c/a> round out the popcentric NYE bill.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"425\" height=\"344\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/aXzr9t4nZXY&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"425\" height=\"344\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://rickshawstop.com/\">Rickshaw Stop\u003c/a> is hosting \u003cb>Disco 2010\u003c/b>, with performances by \u003ca href=\"http://www.myspace.com/italiansdoitbetterrecords\">Italians Do It Better\u003c/a> bands \u003ca href=\"http://myspace.com/glasscandy\">Glass Candy\u003c/a> and \u003ca href=\"http://myspace.com/primitivedesire\">Desire\u003c/a>. Desire is frequently billed as a Chromatics side project, which is good news for fans of the “disco noir” band, which went dormant (but not dead?) after releasing the sublime album \u003cb>Nite Drive\u003c/b>. Desire’s debut album \u003cb>II\u003c/b> reunites Chromatics Johnny Jewel (also of Glass Candy) and Nat Walker, with a new female vocalist in Megan Louise. The new band feels like it picks up where the former left off, creating lush, emotional dance pop.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"480\" height=\"295\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/BNVnkijU4XM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"480\" height=\"295\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>The \u003ca href=\"http://hemlocktavern.com/\">Hemlock Tavern\u003c/a>‘s small stage can look full with a trio, so the six-person lineups of \u003ca href=\"http://www.myspace.com/maushausmusic\">Maus Haus\u003c/a> and \u003ca href=\"http://www.myspace.com/battlehooch\">Battlehooch\u003c/a> will need to tread carefully on New Year’s Eve. Both bands, though, seem to have figured out how to balance many members and many influences. Maus Haus (who, in full disclosure, is managed by Bay Bridged General Manager Christian Cunningham) use electronic sounds to create proggy art-pop, and the band promises to follow 2008’s \u003cb>Lark Marvels\u003c/b> with a new 7″ in early 2010. Battlehooch’s 2009 album \u003cb>Piecechow\u003c/b> is catchier than free jazz, but offers its own frenzied squeal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"440\" height=\"248\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=5600758&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=FF7700&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"440\" height=\"248\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Other New Year’s Eve options include:\u003c/p>\n\u003cp>LA punk legends \u003ca href=\"http://www.xtheband.com/\">X\u003c/a> bring SF indie rockers \u003ca href=\"http://www.myspace.com/heavenlystates\">The Heavenly States\u003c/a> to \u003ca href=\"http://slims-sf.com/\">Slim’s\u003c/a> on December 30th and 31st. The group is celebrating “Merry X-Mas” (pun clearly intended) with the NorCal dates; in the holiday spirit, they recently released covers of “Santa Claus Is Coming To Town” and “Jingle Bells.”\u003c/p>\n\u003cp>Big venue NYE comedy show sounds like a bad idea in principle, so it wouldn’t be worth mentioning if the lineup at \u003cb>Comedy Countdown 2009\u003c/b> at the \u003ca href=\"http://www.palaceoffinearts.org\">Palace of Fine Arts\u003c/a> wasn’t so top notch. The show features a ton of great names, but I’ll highlight \u003ca href=\"http://www.myspace.com/johnmulaney\">John Mulaney\u003c/a>, who writes for Saturday Night Live and released one of the year’s funniest albums in \u003cb>The Top Part\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridge.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As yet another year stumbles drunkenly to a close in a similar fashion to one of Lady Gaga’s weird death dances, it’s time to take a look back at some of the highest highs and lowest lows from the world of music in 2009.\u003c/p>\n\u003cp>\u003cb>Most Obviously Self-Sabotaging Band Name:\u003c/b>King Kong Ding Dong\u003c/p>\n\u003cp>A surprisingly hotly-contested category this year, with the willfully obnoxious F*@# Buttons putting up a brave fight to claim top honors. But, while the FBs backup their R-rated name with some suitably demanding tunes, post-rockers King Kong Ding Dong pipped them at the post because their well-hung moniker bears little obvious relation to their music. Do they sound weird, offbeat, and arty? Yes. Do they sound like a very large monkey penis? Well, no. But both bands, despite their obvious weaknesses in the branding department, produced some excellent work in ’09: KKDD’s album \u003cb>Youth Culture Index\u003c/b> is available for \u003ca href=\"http://www.kingkongdingdong.net/music\">free download\u003c/a>, and you can hear tracks from the F*@# Buttons’ blistering \u003cb>Tarot Sport\u003c/b> on their \u003ca href=\"http://www.myspace.com/fuckbuttons\">MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Killjoys of the Year:\u003c/b>California Department of Alcoholic Beverage Control\u003c/p>\n\u003cp>Yes, these over-bureaucratic penpushers have been \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=24961\">discussed here before\u003c/a>, but their irrational campaign to close down some of San Francisco’s finest music venues ain’t over yet. Find out more at \u003ca href=\"http://www.stopthewaronfun.org/\">Stop the War on Fun\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Best Album that Should Have Sucked but Didn’t:\u003c/b>Karen O and the Kids, \u003cb>Where the Wild Things Are Motion Picture Soundtrack\u003c/b> \u003c/p>\n\u003cp>The soundtrack to \u003cb>Where the Wild Things Are\u003c/b> could so easily have been a disaster. It did, after all, break one of the Fundamental Rules of Rock: no singing kids. Sure, there are a few noteworthy tunes in pop history featuring children’s choirs, but these are the exceptions. More often the introduction of cherubic voices is a cue to pass the sick bucket. This album, however, pulls off the enviable trick of being both childlike \u003ci>and\u003c/i> charming, rather like the movie it accompanies.\u003c/p>\n\u003cp>\u003cb>Special “The Music Industry Is Killing Music” Award for Encouraging the Illegal Downloading of Music:\u003c/b>EMI \u003c/p>\n\u003cp>It was all set to be one of the best albums of the year: a collaboration between Sparklehorse, Danger Mouse, and David Lynch called \u003cb>Dark Night of the Soul\u003c/b> featuring more ubercool guest musicians than the Antarctic Symphony Orchestra’s entire winter season. But then EMI saddled up its stroppy horse and rode into town to block the release, muttering darkly about an old contract it claimed to have with Danger Mouse (a dispute that, of course, has \u003ci>absolutely nothing at all\u003c/i> to do with \u003ca href=\"http://en.wikipedia.org/wiki/The_Grey_Album\">DM’s past run-in with the label\u003c/a> over the use of Beatles samples on the \u003cb>Grey Album\u003c/b>). The result? The album was released anyway, but with a blank CD-R where the music should be, and a few more music fans were taught how easy it is to illegally download music for free. Good job, EMI. Listen to the album via an \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=104129585\">NPR stream\u003c/a>, or find out how to \u003ca href=\"http://www.panix.com/~ruari/dnots.html\">get hold of the MP3s\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Biggest, Silliest, Deluxest, Specialest, Most Limited Box Set:\u003c/b>Pixies, \u003cb>Minotaur\u003c/b> \u003c/p>\n\u003cp>This is turning into a more bloated category every holiday season as more ageing acts try to wring extra Christmas cash from their back catalog. But the reformed Pixies Inc. beat all comers in 2009 with their \u003ca href=\"http://www.4ad.com/pixies/news/~boxset/\">\u003cb>Minotaur\u003c/b>\u003c/a> odyssey of excess. This $175 “deluxe” package contains all of the band’s albums on gold-plated CDs \u003ci>and\u003c/i> combination DVD/Blu-Ray discs, plus a bunch of videos and a luxurious book. But wait! The even more lavish “limited edition” version adds vinyl copies of the albums, a bigger book, artwork, an endangered animal or two, and at least one severed body part from a member of the band, creating a container two feet tall and 25lbs in weight, all for the bargain price of $495. Rumors that the band’s seminal album \u003cb>Doolittle\u003c/b> has also been renamed \u003cb>Doolarge\u003c/b> in honor of the new release remain unconfirmed.\u003c/p>\n\u003cp>\u003cb>Hat of the Year:\u003c/b>Aretha Franklin\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aretha.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Our memories of inauguration day may be fading a little now that the political realities of Obama’s presidency occupy our attention, but we shouldn’t forget what happened that cold day back in January. History was made, and Aretha’s passionate, stirring \u003ca href=\"http://www.youtube.com/watch?v=a7c2lC9JlJo\">rendition of “My Country, ‘Tis of Thee”\u003c/a> was one of the ceremony’s highlights. Her appearance was also a timely reminder that, even though anyone can become President, it takes true royalty to carry off glittering headwear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your most memorable musical moments of 2009? Join the discussion in the comments section below.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Best Album that Should Have Sucked but Didn’t:\u003c/b>Karen O and the Kids, \u003cb>Where the Wild Things Are Motion Picture Soundtrack\u003c/b> \u003c/p>\n\u003cp>The soundtrack to \u003cb>Where the Wild Things Are\u003c/b> could so easily have been a disaster. It did, after all, break one of the Fundamental Rules of Rock: no singing kids. Sure, there are a few noteworthy tunes in pop history featuring children’s choirs, but these are the exceptions. More often the introduction of cherubic voices is a cue to pass the sick bucket. This album, however, pulls off the enviable trick of being both childlike \u003ci>and\u003c/i> charming, rather like the movie it accompanies.\u003c/p>\n\u003cp>\u003cb>Special “The Music Industry Is Killing Music” Award for Encouraging the Illegal Downloading of Music:\u003c/b>EMI \u003c/p>\n\u003cp>It was all set to be one of the best albums of the year: a collaboration between Sparklehorse, Danger Mouse, and David Lynch called \u003cb>Dark Night of the Soul\u003c/b> featuring more ubercool guest musicians than the Antarctic Symphony Orchestra’s entire winter season. But then EMI saddled up its stroppy horse and rode into town to block the release, muttering darkly about an old contract it claimed to have with Danger Mouse (a dispute that, of course, has \u003ci>absolutely nothing at all\u003c/i> to do with \u003ca href=\"http://en.wikipedia.org/wiki/The_Grey_Album\">DM’s past run-in with the label\u003c/a> over the use of Beatles samples on the \u003cb>Grey Album\u003c/b>). The result? The album was released anyway, but with a blank CD-R where the music should be, and a few more music fans were taught how easy it is to illegally download music for free. Good job, EMI. Listen to the album via an \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=104129585\">NPR stream\u003c/a>, or find out how to \u003ca href=\"http://www.panix.com/~ruari/dnots.html\">get hold of the MP3s\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Biggest, Silliest, Deluxest, Specialest, Most Limited Box Set:\u003c/b>Pixies, \u003cb>Minotaur\u003c/b> \u003c/p>\n\u003cp>This is turning into a more bloated category every holiday season as more ageing acts try to wring extra Christmas cash from their back catalog. But the reformed Pixies Inc. beat all comers in 2009 with their \u003ca href=\"http://www.4ad.com/pixies/news/~boxset/\">\u003cb>Minotaur\u003c/b>\u003c/a> odyssey of excess. This $175 “deluxe” package contains all of the band’s albums on gold-plated CDs \u003ci>and\u003c/i> combination DVD/Blu-Ray discs, plus a bunch of videos and a luxurious book. But wait! The even more lavish “limited edition” version adds vinyl copies of the albums, a bigger book, artwork, an endangered animal or two, and at least one severed body part from a member of the band, creating a container two feet tall and 25lbs in weight, all for the bargain price of $495. Rumors that the band’s seminal album \u003cb>Doolittle\u003c/b> has also been renamed \u003cb>Doolarge\u003c/b> in honor of the new release remain unconfirmed.\u003c/p>\n\u003cp>\u003cb>Hat of the Year:\u003c/b>Aretha Franklin\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/aretha.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Our memories of inauguration day may be fading a little now that the political realities of Obama’s presidency occupy our attention, but we shouldn’t forget what happened that cold day back in January. History was made, and Aretha’s passionate, stirring \u003ca href=\"http://www.youtube.com/watch?v=a7c2lC9JlJo\">rendition of “My Country, ‘Tis of Thee”\u003c/a> was one of the ceremony’s highlights. Her appearance was also a timely reminder that, even though anyone can become President, it takes true royalty to carry off glittering headwear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What were your most memorable musical moments of 2009? Join the discussion in the comments section below.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/Qlh5MKiZ5Sc'\n title='//www.youtube.com/embed/Qlh5MKiZ5Sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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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": "\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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"radiolab": {
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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