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"content": "\u003cp>After an opening weekend of performances in Oakland, the Thirteenth Annual Mission Creek Music And Arts Festival (“MCMF”) kicks off in full today with a variety of performances throughout City venues and performance spaces over the next eleven days. Although it began as a single day concert featuring eight bands, Mission Creek has grown over the years to include interdisciplinary performance arts showcases, a mini-fest focusing on music from throughout the Americas, and a film series, in addition to concerts with some of the Bay Area’s best bands.\u003c/p>\n\u003cp>For people interested in the local arts, the festival includes a diverse array of offerings attributable to Mission Creek’s DIY, volunteer-driven programming. The downside of this model might be that year to year you never know quite what you’re going to get, but this unpredictability also remains one of the fest’s unique charms. This year’s MCMF is packed full of exciting concerts, with some lineups definitely worth your concert dollar.\u003c/p>\n\u003cp>One of the highest profile shows at MCMF actually won’t require a dollar at all. Saturday, July 18th, the Fest holds an afternoon-into-the-evening free show at the Jerry Garcia Amphitheater in McLaren Park. Los Angeles psych trio Dead Meadow headline the show, but there are plenty of great locals on the bill, including Sub Pop singer-songwriter-producer Kelley Stoltz, garage-pop luminaries Persephone’s Bees, and electro-folk-pop band Rubies. The event runs from 11am to 8pm, but be sure to get there on the early side to catch two of my favorites, Birds & Batteries and Leopold and His Fiction. Birds & Batteries mixes a strong electronic experimentalism into their take on American rock, while Leopold plays blues-rock with an intensity that makes for great live performances.\u003c/p>\n\u003cp>More appropriate for a drunken evening than a breezy afternoon, Thee Oh Sees headline another great Mission Creek event on Thursday, July 16th at the Eagle Tavern. The SF quartet are hands down one of the best live bands in the Bay Area, delivering raucous, catchy sets of garage rock that remain fresh and entrancing, even after you’ve seen them three times in two weeks (which I did earlier this year). The band’s latest record, \u003cb>Help\u003c/b>, was released earlier this year on In the Red Records, and is highly recommended. Bandleader John Dwyer also co-founded Castle Face Records to champion bands he believes in, and he’s put out full lengths from several awesome local acts, including psych-pop band The Fresh and Onlys and one-man-band-turned-bandleader Ty Segall. Both join Thee Oh Sees at Thursday’s show and have high-profile releases coming out on the influential Woodsist and Goner labels respectively.\u003c/p>\n\u003cp>Picking a few shows to highlight out of a diverse 50-plus event lineup necessarily feels like a highly subjective and myopic endeavor, incapable of even touching on the whole gamut of MCMF offerings. Perhaps it’s best to end with an affirmation that if you look closely enough, there’s probably something at this year’s Mission Creek that’s up your alley. By offering samples of the Bay Area’s many indie microclimates, the festival has already succeeded in bringing a sense of common identity to an otherwise diffuse music and performance scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Mission Creek Music and Arts Festival runs July 15 – 24, 2009 at various San Francisco locations. For \u003ca href=\"http://www.mcmf.org/\">more information\u003c/a> visit mcmf.org.\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": "\u003cp>When President Thomas Jefferson passed over 15 million big ones to the French government in return for the vast Louisiana Territory in 1803, he probably did not have swinging guitarists on his mind. But a little over 200 years later, the trio that makes up New West — Brady Cohan, Perry Smith and John Storie — have launched their own Lewis and Clark Expedition into the unknown realms of musical possibilities. (I’ll let the three of them Rochambeau over who is Sacagawea in this scenario). \u003c/p>\n\u003cp>First there is the unorthodox instrumentation; multiple guitar groups are almost unheard of outside of the classical world. Then there is the choice of material. Yes, this group of jazz guitarists owes a great deal to their predecessors within the idiom, but listen only a few seconds into their new album, \u003cb>Sleeping Lady\u003c/b>, and you’ll find that the music is as much James Taylor and Radiohead as it is Wes Montgomery and Pat Metheny.\u003c/p>\n\u003cp>\u003cb>Sleeping Lady\u003c/b> is an all-acoustic venture, signaling a trajectory for the group that leads away from harmonized bebop heads and towards the full arrangements of folk and jazz-infused chamber music that have become the group’s bread and butter. Whether it’s the driving 7/4 groove of “Crooked Railroad,” which conjures images of a rugged trip along the expanses of the Transcontinental Railroad, or the hushed intimacy of “Never Had A Chance,” where the trio is joined by vocalist Gretchen Parlatto, it is very clear that this group is charting a new direction in ensemble music.\u003c/p>\n\u003cp>While the music casts New West as explorers on the edge of the musical frontier (alright, I might be taking this metaphor too far), their debut at the legendary Yoshi’s jazz club in Oakland’s Jack London Square is, in essence, a homecoming. Two of the three members, Perry Smith and Brady Cohan, are Bay Area natives. Not to mention that all of the guitars featured on their new album were built by famed Bay Area luthier Jeff Traugott, a staple of the Santa Cruz Guitar Company for many years. While the group formed and came into its own in Los Angeles (all three members are graduates of USC’s prestigious guitar program), this performance at Yoshi’s, in many ways, represents the group coming full circle as established artists at a classic venue.\u003c/p>\n\u003cp>New West will be performing at Yoshi’s on Monday, July 13, 2009. For \u003ca href=\"http://www.yoshis.com/oakland\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When President Thomas Jefferson passed over 15 million big ones to the French government in return for the vast Louisiana Territory in 1803, he probably did not have swinging guitarists on his mind. But a little over 200 years later, the trio that makes up New West — Brady Cohan, Perry Smith and John Storie — have launched their own Lewis and Clark Expedition into the unknown realms of musical possibilities. (I’ll let the three of them Rochambeau over who is Sacagawea in this scenario). \u003c/p>\n\u003cp>First there is the unorthodox instrumentation; multiple guitar groups are almost unheard of outside of the classical world. Then there is the choice of material. Yes, this group of jazz guitarists owes a great deal to their predecessors within the idiom, but listen only a few seconds into their new album, \u003cb>Sleeping Lady\u003c/b>, and you’ll find that the music is as much James Taylor and Radiohead as it is Wes Montgomery and Pat Metheny.\u003c/p>\n\u003cp>\u003cb>Sleeping Lady\u003c/b> is an all-acoustic venture, signaling a trajectory for the group that leads away from harmonized bebop heads and towards the full arrangements of folk and jazz-infused chamber music that have become the group’s bread and butter. Whether it’s the driving 7/4 groove of “Crooked Railroad,” which conjures images of a rugged trip along the expanses of the Transcontinental Railroad, or the hushed intimacy of “Never Had A Chance,” where the trio is joined by vocalist Gretchen Parlatto, it is very clear that this group is charting a new direction in ensemble music.\u003c/p>\n\u003cp>While the music casts New West as explorers on the edge of the musical frontier (alright, I might be taking this metaphor too far), their debut at the legendary Yoshi’s jazz club in Oakland’s Jack London Square is, in essence, a homecoming. Two of the three members, Perry Smith and Brady Cohan, are Bay Area natives. Not to mention that all of the guitars featured on their new album were built by famed Bay Area luthier Jeff Traugott, a staple of the Santa Cruz Guitar Company for many years. While the group formed and came into its own in Los Angeles (all three members are graduates of USC’s prestigious guitar program), this performance at Yoshi’s, in many ways, represents the group coming full circle as established artists at a classic venue.\u003c/p>\n\u003cp>New West will be performing at Yoshi’s on Monday, July 13, 2009. For \u003ca href=\"http://www.yoshis.com/oakland\">tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One tends to get a little suspicious of anything billed as a “new annual tradition,” but the First Annual Mother Hips Family Hipnic, taking place at the Henry Miller Library in Big Sur, CA this Fourth of July weekend, looks like it’d be a welcome alternative to the traditional barrage of patriotic festivities one tends to confront every year. The two-day festival is jointly curated by (((folkYEAH!))) Presents and “California Soul” band The Mother Hips; the former has been creating unique and compelling shows around Northern California for years, while the latter is one of the Bay’s most popular live bands. As a result, the lineup features a ton of great local and touring bands, mixing the former’s adventurous sensibilities with the latter’s California rock pedigree.\u003c/p>\n\u003cp>Both the July 3rd and July 4th dates feature compelling bills headlined by The Mother Hips. The show on the Fourth offers a full ten hours of music with plenty of potential highlights, including Little Wings, the folk-rock band led by musician and artist Kyle Field. Field grew up in San Luis Obispo, and collaborated with Jason Lytle of Grandaddy and others before heading north. His raw, lower-fi music bears the experimental imprint of the Pacific Northwest scene. Little Wings also draws from classic West Coast pop; he has released albums on Northwestern mainstays K Records and Marriage Records.\u003c/p>\n\u003cp>There are also some talented Los Angeles folks heading up for the show, including The Parson Red Heads, an Oregon-to-LA band that can deliver equally strong Byrdsian harmonies and electric guitar work. Everest is also making the trek to Big Sur for the Fourth, only they’ll be coming from a performance at the High Sierra Music Festival earlier in the weekend. The band released their debut album \u003cb>Ghost Notes\u003c/b> on Neil Young’s Vapor Records, and they’ve toured extensively with Young, Wilco and My Morning Jacket. It’s easy to see what caught Neil’s attention; the group’s melodic, classic rock-inspired sound feels drawn from their label head’s ability to mix groove and vulnerability.\u003c/p>\n\u003cp>Headliners The Mother Hips are rumored to be performing new songs this weekend, in anticipation of releasing a new record this fall. The quartet began in Chico almost two decades ago, and has experienced a number of ups and downs during their lengthy career, including a three album stint on Rick Rubin’s now-defunct American Recordings and a hiatus earlier this decade. With a varied psych-touched American rock-pop sound, The Mother Hips’ music seems to be something of an inkblot test for critics, with references ranging from The Bee Gees to The Band and plenty of variations in between.\u003c/p>\n\u003cp>Regardless of the sound, the group has acquired a devoted fan base through winning live performances — how many bands have a fan site dedicated to 24/7 streaming of their old live sets? — and they’re in good company this weekend. Equally important, it’s commendable that the band is involved in helping to introduce their audience to some of the Bay’s great young bands, and there are plenty of them on board for the Hipnic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Festival hours are 3pm-11pm on Friday, and 1pm-11pm on Saturday. Tickets are $25 per day or $45 for a two day pass (plus venue fees). Kids under age 11 get in for free. For \u003ca href=\"http://www.henrymiller.org/events.html#motherhips\">tickets and more information\u003c/a>, head to HenryMiller.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One tends to get a little suspicious of anything billed as a “new annual tradition,” but the First Annual Mother Hips Family Hipnic, taking place at the Henry Miller Library in Big Sur, CA this Fourth of July weekend, looks like it’d be a welcome alternative to the traditional barrage of patriotic festivities one tends to confront every year. The two-day festival is jointly curated by (((folkYEAH!))) Presents and “California Soul” band The Mother Hips; the former has been creating unique and compelling shows around Northern California for years, while the latter is one of the Bay’s most popular live bands. As a result, the lineup features a ton of great local and touring bands, mixing the former’s adventurous sensibilities with the latter’s California rock pedigree.\u003c/p>\n\u003cp>Both the July 3rd and July 4th dates feature compelling bills headlined by The Mother Hips. The show on the Fourth offers a full ten hours of music with plenty of potential highlights, including Little Wings, the folk-rock band led by musician and artist Kyle Field. Field grew up in San Luis Obispo, and collaborated with Jason Lytle of Grandaddy and others before heading north. His raw, lower-fi music bears the experimental imprint of the Pacific Northwest scene. Little Wings also draws from classic West Coast pop; he has released albums on Northwestern mainstays K Records and Marriage Records.\u003c/p>\n\u003cp>There are also some talented Los Angeles folks heading up for the show, including The Parson Red Heads, an Oregon-to-LA band that can deliver equally strong Byrdsian harmonies and electric guitar work. Everest is also making the trek to Big Sur for the Fourth, only they’ll be coming from a performance at the High Sierra Music Festival earlier in the weekend. The band released their debut album \u003cb>Ghost Notes\u003c/b> on Neil Young’s Vapor Records, and they’ve toured extensively with Young, Wilco and My Morning Jacket. It’s easy to see what caught Neil’s attention; the group’s melodic, classic rock-inspired sound feels drawn from their label head’s ability to mix groove and vulnerability.\u003c/p>\n\u003cp>Headliners The Mother Hips are rumored to be performing new songs this weekend, in anticipation of releasing a new record this fall. The quartet began in Chico almost two decades ago, and has experienced a number of ups and downs during their lengthy career, including a three album stint on Rick Rubin’s now-defunct American Recordings and a hiatus earlier this decade. With a varied psych-touched American rock-pop sound, The Mother Hips’ music seems to be something of an inkblot test for critics, with references ranging from The Bee Gees to The Band and plenty of variations in between.\u003c/p>\n\u003cp>Regardless of the sound, the group has acquired a devoted fan base through winning live performances — how many bands have a fan site dedicated to 24/7 streaming of their old live sets? — and they’re in good company this weekend. Equally important, it’s commendable that the band is involved in helping to introduce their audience to some of the Bay’s great young bands, and there are plenty of them on board for the Hipnic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a seasoned music fan who has had the misfortune to follow bands into too many shitty night spots and bars to mention, I was overjoyed when I first heard California state officials had gone on the attack against a bunch of Bay Area venues. They were probably fighting against over-aggressive bouncers and surly bar staff, right? Maybe they planned to clean up the sweat-soaked walls, broken toilets, and sticky, drink-stained floors. Or perhaps they were leading a crusade against those stingy, undersized plastic beer cups. Yes! Go for it, fearless warriors of law and order.\u003c/p>\n\u003cp>But then I discovered the big problem was that the venues weren’t selling enough burgers and fries. Huh? Indeed, it turns out that the dispute between the California Department of \u003ca href=\"http://www.abc.ca.gov/\">Alcoholic Beverage Control\u003c/a> (ABC) and several of San Francisco’s finest music venues (who, it should be noted, are guilty of none of the above crimes, including the food part) makes almost no sense to anyone outside the administrative body that started it. Nevertheless, it could yet rip the heart out of the city’s vibrant live music scene.\u003c/p>\n\u003cp>The root of the problem lies in an odd quirk of California law, which divides liquor licenses into just two classifications: bar or restaurant. If you’re licensed as a bar, you aren’t allowed to admit minors. So, to be able to put on all-ages shows, music venues are required to operate as “restaurants” in the eyes of the law. How do they do that? Simple: they serve food. This is how places like \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>, \u003ca href=\"http://www.cafedunord.com/\">Cafe du Nord\u003c/a>, \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a>, and \u003ca href=\"http://www.slims-sf.com/\">Slim’s\u003c/a> have operated for years, serving up a steady diet of tunes (and grub) without significant incident or complaint from pretty much anyone. But last year, out of the blue, the ABC went on the offensive, accusing these four venues of petty problems such as not making enough of their income from food or changing details of their operating conditions, all with a view on forcing them to comply with tough new regulations the ABC appears to be improvising out of thin air. “If the ABC simply enforced the law as it is written there would be no problem,” explains Guy Carson, co-owner of the Cafe du Nord. “Instead, it is rewriting the rules as it goes.”\u003c/p>\n\u003cp>The venues are stuck: either they comply with nonsensical rules that will very likely force them out of business, or they continue to fight the ABC in court, spending thousands of dollars they don’t have, which will very likely force them out of business. No matter that these local employers are already struggling to survive in the present economic climate. No matter that they are essential parts of the city’s cultural landscape. No matter that no one (other than a few bureaucrats in Sacramento) seems to have a problem with the way these venues are being run. “We are a barely profitable, small business that does what we do for the love of music,” explains Lynn Wilkens, co-owner of the Bottom of the Hill. “Our legal fees have mounted this year to more than we make in profits. Already! We’d really like this to end now, and it has to for us.”\u003c/p>\n\u003cp>A flurry of news reports highlighting the battle earlier this year seemed, at first, to move the dispute in a positive direction, with the ABC making noises that it would seek to negotiate a remedy to the problem it had created. But now the venues believe it was simply stalling. “Despite reports from Mark Leno’s office and the ABC in regards to ‘working towards a solution,’ the ABC is not letting up on this,” says Leah Matanky, publicist for Great American Music Hall and Slim’s. “They have pushed our hearings back to an unknown later date in hopes that the press and attention will go away and then they can pursue their mission to shut us down without all the public outcry.” In the meantime, the venues are still spending money on lawyers; Carson describes the situation as “being in limbo, backing up legal fees.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The good news is that all four venues are still open, and determined to stay that way. But they need your help. “The fight is nowhere close to over and we still need all the support we can get from the public,” says Matanky. So what can you do? It’s simple. First, you can \u003ca href=\"http://www.abc.ca.gov/ContactUs.html\">contact the ABC\u003c/a> and \u003ca href=\"http://www.leginfo.ca.gov/yourleg.html\">your local political representatives\u003c/a> to let them know how you feel. Second, you can help the venues financially by going to shows. And third? You can even \u003ca href=\"http://www.slims-sf.com/tshirts/\">buy the T-shirt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fight the ABC? It’s as easy as 1-2-3.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a seasoned music fan who has had the misfortune to follow bands into too many shitty night spots and bars to mention, I was overjoyed when I first heard California state officials had gone on the attack against a bunch of Bay Area venues. They were probably fighting against over-aggressive bouncers and surly bar staff, right? Maybe they planned to clean up the sweat-soaked walls, broken toilets, and sticky, drink-stained floors. Or perhaps they were leading a crusade against those stingy, undersized plastic beer cups. Yes! Go for it, fearless warriors of law and order.\u003c/p>\n\u003cp>But then I discovered the big problem was that the venues weren’t selling enough burgers and fries. Huh? Indeed, it turns out that the dispute between the California Department of \u003ca href=\"http://www.abc.ca.gov/\">Alcoholic Beverage Control\u003c/a> (ABC) and several of San Francisco’s finest music venues (who, it should be noted, are guilty of none of the above crimes, including the food part) makes almost no sense to anyone outside the administrative body that started it. Nevertheless, it could yet rip the heart out of the city’s vibrant live music scene.\u003c/p>\n\u003cp>The root of the problem lies in an odd quirk of California law, which divides liquor licenses into just two classifications: bar or restaurant. If you’re licensed as a bar, you aren’t allowed to admit minors. So, to be able to put on all-ages shows, music venues are required to operate as “restaurants” in the eyes of the law. How do they do that? Simple: they serve food. This is how places like \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a>, \u003ca href=\"http://www.cafedunord.com/\">Cafe du Nord\u003c/a>, \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a>, and \u003ca href=\"http://www.slims-sf.com/\">Slim’s\u003c/a> have operated for years, serving up a steady diet of tunes (and grub) without significant incident or complaint from pretty much anyone. But last year, out of the blue, the ABC went on the offensive, accusing these four venues of petty problems such as not making enough of their income from food or changing details of their operating conditions, all with a view on forcing them to comply with tough new regulations the ABC appears to be improvising out of thin air. “If the ABC simply enforced the law as it is written there would be no problem,” explains Guy Carson, co-owner of the Cafe du Nord. “Instead, it is rewriting the rules as it goes.”\u003c/p>\n\u003cp>The venues are stuck: either they comply with nonsensical rules that will very likely force them out of business, or they continue to fight the ABC in court, spending thousands of dollars they don’t have, which will very likely force them out of business. No matter that these local employers are already struggling to survive in the present economic climate. No matter that they are essential parts of the city’s cultural landscape. No matter that no one (other than a few bureaucrats in Sacramento) seems to have a problem with the way these venues are being run. “We are a barely profitable, small business that does what we do for the love of music,” explains Lynn Wilkens, co-owner of the Bottom of the Hill. “Our legal fees have mounted this year to more than we make in profits. Already! We’d really like this to end now, and it has to for us.”\u003c/p>\n\u003cp>A flurry of news reports highlighting the battle earlier this year seemed, at first, to move the dispute in a positive direction, with the ABC making noises that it would seek to negotiate a remedy to the problem it had created. But now the venues believe it was simply stalling. “Despite reports from Mark Leno’s office and the ABC in regards to ‘working towards a solution,’ the ABC is not letting up on this,” says Leah Matanky, publicist for Great American Music Hall and Slim’s. “They have pushed our hearings back to an unknown later date in hopes that the press and attention will go away and then they can pursue their mission to shut us down without all the public outcry.” In the meantime, the venues are still spending money on lawyers; Carson describes the situation as “being in limbo, backing up legal fees.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The good news is that all four venues are still open, and determined to stay that way. But they need your help. “The fight is nowhere close to over and we still need all the support we can get from the public,” says Matanky. So what can you do? It’s simple. First, you can \u003ca href=\"http://www.abc.ca.gov/ContactUs.html\">contact the ABC\u003c/a> and \u003ca href=\"http://www.leginfo.ca.gov/yourleg.html\">your local political representatives\u003c/a> to let them know how you feel. Second, you can help the venues financially by going to shows. And third? You can even \u003ca href=\"http://www.slims-sf.com/tshirts/\">buy the T-shirt\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fight the ABC? It’s as easy as 1-2-3.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Jackson died in Los Angeles yesterday at 2:26pm. He was 50 years old and had been a star for as long as I can remember. The Jackson story that has always stayed with me is how Michael and his family came from nothing, formed a family band, learned to play instruments and rehearsed as though their lives depended on it. Even after The Jackson Five was signed to Motown and became a huge sensation, they continued to work even more frantically than they had before attaining success. Somehow it always appeared as if Michael worked even harder; as the band’s voice his burden was just a little heavier than that of his brothers. I guess I attribute the bizarre behavior of Michael’s later years to the boy who bore that burden, the kid whose talent pulled his family out of desperate poverty and made them into American icons. Even though the true extent of his genius didn’t become apparent until the ’80s and ’90s, the Michael Jackson I remember is the one who taught me to dance.\u003c/p>\n\u003cp>This is my Michael Jackson story:\u003cbr>\nIn third grade I learned to do the robot. I was living in Oak Park, a housing project built for the families of military personnel stationed at Camp Roberts, a small army base located 15 miles north of Paso Robles, my home town. Oak Park was a melancholy place, but it was populated with many kids my age and our grammar school was within walking distance.\u003c/p>\n\u003cp>My cousin Doris, who was a year older than me, had worked up a dance routine for the school talent show with two other girls, Sonia Mitchell and Yvette Dancey. Unfortunately, like most girl groups, they broke up. Yvette and Sonia got into a screaming match a week before the event and Yvette dropped out. (Yvette had a very hot temper; she beat me up at school once over a tetherball match that remained tied throughout one recess. Frustrated by her inability to win the game, she punched me in the face.) Down a member, Sonia and Doris needed someone to occupy the middle space in their trio, so they taught me how to dance.\u003c/p>\n\u003cp>We did a piece inspired by the moves we’d seen Michael Jackson do to “Dancing Machine” on TV. The beginning and end of the dance was done in unison, but the center section was an extended “robot” that I improvised alone, while the girls repeated the routine on either side of me. We didn’t perform to “Dancing Machine” but chose another song, which I can’t remember anymore; it may have been “Space Race” by Billy Preston. The routine that Sonia and Doris had designed must have been good, we ended up winning the talent show and I, like many others in my generation, learned to dance by imitating Michael.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=lD2OsUcgb00&hl=en&fs=1&]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There may be a chicken-egg debate about whether Battlehooch the identity (lifestyle? performance art project?) preceded Battlehooch the band, but I know that the former was definitely what I saw first, as the band’s members grabbed the attention of members of the local music community by attending local shows in packs, dressed in headbands (“Battlerags”) emblazoned with the group’s name. With home-engineered generators, the sextet has developed a reputation as play-anywhere street performers, but I first saw the band live at Bottom of the Hill, where they’ll be celebrating the release of their new album on June 24th. It was there that their reputation became truly musical for me, as the group delivered a blast of frenzied compositional art-rock that could have been either one song or one hundred, with few breaks and overwhelming enthusiasm throughout.\u003c/p>\n\u003cp>After a limited run debut EP titled \u003cb>Oof Owf\u003c/b>, Battlehooch are self-releasing \u003cb>Piecechow\u003c/b> this month, a full length debut that finds the band applying a kitchen sink approach to create a batch of highly enjoyable and fully-formed songs out of layers of guitars, horns, woodwinds, and electronic instruments. Time and again, the sextet tempts chaos on the album, as they avoid repetitive verse-chorus-verse songwriting and seem unafraid to tackle any instrument. Is it a surprise that they’re former music majors who all live together in a Sunset District house where they’ve written and recorded both releases? Or is it more surprising that they’ve found a way to create something that’s as brazenly funky as it is proggy? It’s difficult not to be reminded by the band’s sax lines of James Chance, the late ’70s No Wave artist who composed nervy R&B as tense as it was soulful. Battlehooch carry that torch forward on \u003cb>Piecechow\u003c/b>, adding layer upon layer to create engaging, melodic mini-epics that further blossom in the live setting.\u003c/p>\n\u003cp>The headliner of Battlehooch’s \u003cb>Piecechow\u003c/b> release party, Deastro (home-recording savant Randolph Chabot) released three albums of anthemic synth-rock before \u003cb>Keepers\u003c/b>, a collection of his self-described “space symphonies,” brought significant acclaim outside of his native Detroit. \u003cb>Moondagger\u003c/b>, is the 22-year-old’s first recording with a full band, and the new approach adds an organic depth that should pay dividends in the live setting. Like the ‘hooch, Deastro’s surging, ebullient tracks have a certain theatricality to them, like the one titled “Daniel Johnston Was Stabbed In The Heart With The Moondagger By The King Of Darkness And His Ghost Is Writing This Song As A Warning To All Of Us.”\u003c/p>\n\u003cp>Opening the June 24th show, locals Tempo No Tempo were once steeped in a danceable uptempo sound, but they’ve begun evolving into something simultaneously more dissonant and disco. Boldly abandoning the aesthetic that informed their first EP, and to a lesser degree their second, the SF/Oakland trio is now working on capturing their new approach on record.\u003c/p>\n\u003cp>The show is Wednesday, June 24, 2009 at \u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> in San Francisco. 9pm, $8 advance/$10 door, 18+.\u003c/p>\n\u003cp>[ad fullwidth]\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": "\u003cp>Fresh off a European tour that saw them playing the All Tomorrow’s Parties and Primavera Festivals, San Francisco’s Sleepy Sun return home Friday, June 19th to celebrate the release of their debut CD \u003cb>Embrace\u003c/b> at the Great American Music Hall. The psych rock band’s debut, out June 16th on ATP Recordings, has been receiving justly strong reviews, as have their energized live shows, and the opportunity to see a sure-to-be packed show featuring similarly talented supporting bands is an opportunity too good to pass up.\u003c/p>\n\u003cp>Sleepy Sun formed a few years ago in Santa Cruz, birthplace to psych rock bands like the influential Comets on Fire and popular psych experimentalists Mammatus. The group — whose members are all in their early twenties — eventually migrated to the City as many Santa Cruz bands do, and found a strong reception in the Bay Area before heading to Vancouver in January 2008 to record with Colin Stewart (Black Mountain, The Cave Singers). As that timeline might suggest, \u003cb>Embrace\u003c/b> has been floating around for a while — early on, the band was offering it up for free download — but now sees a proper release that has made the band one of Bay Area indie music’s most visible international ambassadors this year.\u003c/p>\n\u003cp>For a band best categorized as psych rock, and capable of intense, electrified moments, one of \u003cb>Embrace’s\u003c/b> great treats is the balance maintained between that heavy side and brighter sounds throghout. Moments like the way acoustic guitars add new dimensions to “New Age” and “Red/Black” or how vocalists Rachael Williams and Bret Constantino manage to float above, but not beyond, psychedelic workouts like “New Age” and “Sleepy Son” add a magnificent layered depth that helps prevent the group from ever getting bogged down. While the jams hint at the band’s entrancing live shows, softer songs like “Lord” and “Golden Artifact” show their ability to create haunting, simply staggering melodies. The former, in particular, is on my short list for songs of the year; if “psych rock” is anathema to you, give this piano-driven folk-rock ballad a chance and see if it can’t lure you in to \u003cb>Embrace\u003c/b>.\u003c/p>\n\u003cp>Sleepy Sun’s Constantino and Evan Reese recently lent vocal harmonies to “Two Birds,” an early standout from \u003cb>When Sweet Sleep Returned\u003c/b>, the latest album by San Francisco’s Assemble Head in Sunburst Sound, who open the CD release show. Their new album is the band’s third, and finds them balancing Neil Youngian American rock and roll with the trippier explorations enabled by having a resident thermin/synth player. After the show, they’ll be heading on a brief West Coast tour with fellow Tee Pee Records band Weird Owl.\u003c/p>\n\u003cp>Los Angeles-based Spindrift also performs on Friday. The band’s music blends the sounds of Spaghetti Westerns into its psychedelia, and they’ve taken their filmic qualities to new levels by actually making an independent Western titled \u003cb>The Legend of God’s Gun\u003c/b> based on one of their albums. The band’s been compared to The Dandy Warhols, appropriate enough considering that their latest release, 2008’s \u003cb>The West\u003c/b> was released on the Dandys’ Beat the World record label.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buy tickets to the show, Friday, June 19, 2009 at the Great American Music Hall at \u003ca href=\"http://www.gamhtickets.com/events/34486/Sleepy-Sun-CD-Release-Party-\">GAMHTickets.com\u003c/a>. The show starts at 9pm, is $13 and is all ages.\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>Fresh off a European tour that saw them playing the All Tomorrow’s Parties and Primavera Festivals, San Francisco’s Sleepy Sun return home Friday, June 19th to celebrate the release of their debut CD \u003cb>Embrace\u003c/b> at the Great American Music Hall. The psych rock band’s debut, out June 16th on ATP Recordings, has been receiving justly strong reviews, as have their energized live shows, and the opportunity to see a sure-to-be packed show featuring similarly talented supporting bands is an opportunity too good to pass up.\u003c/p>\n\u003cp>Sleepy Sun formed a few years ago in Santa Cruz, birthplace to psych rock bands like the influential Comets on Fire and popular psych experimentalists Mammatus. The group — whose members are all in their early twenties — eventually migrated to the City as many Santa Cruz bands do, and found a strong reception in the Bay Area before heading to Vancouver in January 2008 to record with Colin Stewart (Black Mountain, The Cave Singers). As that timeline might suggest, \u003cb>Embrace\u003c/b> has been floating around for a while — early on, the band was offering it up for free download — but now sees a proper release that has made the band one of Bay Area indie music’s most visible international ambassadors this year.\u003c/p>\n\u003cp>For a band best categorized as psych rock, and capable of intense, electrified moments, one of \u003cb>Embrace’s\u003c/b> great treats is the balance maintained between that heavy side and brighter sounds throghout. Moments like the way acoustic guitars add new dimensions to “New Age” and “Red/Black” or how vocalists Rachael Williams and Bret Constantino manage to float above, but not beyond, psychedelic workouts like “New Age” and “Sleepy Son” add a magnificent layered depth that helps prevent the group from ever getting bogged down. While the jams hint at the band’s entrancing live shows, softer songs like “Lord” and “Golden Artifact” show their ability to create haunting, simply staggering melodies. The former, in particular, is on my short list for songs of the year; if “psych rock” is anathema to you, give this piano-driven folk-rock ballad a chance and see if it can’t lure you in to \u003cb>Embrace\u003c/b>.\u003c/p>\n\u003cp>Sleepy Sun’s Constantino and Evan Reese recently lent vocal harmonies to “Two Birds,” an early standout from \u003cb>When Sweet Sleep Returned\u003c/b>, the latest album by San Francisco’s Assemble Head in Sunburst Sound, who open the CD release show. Their new album is the band’s third, and finds them balancing Neil Youngian American rock and roll with the trippier explorations enabled by having a resident thermin/synth player. After the show, they’ll be heading on a brief West Coast tour with fellow Tee Pee Records band Weird Owl.\u003c/p>\n\u003cp>Los Angeles-based Spindrift also performs on Friday. The band’s music blends the sounds of Spaghetti Westerns into its psychedelia, and they’ve taken their filmic qualities to new levels by actually making an independent Western titled \u003cb>The Legend of God’s Gun\u003c/b> based on one of their albums. The band’s been compared to The Dandy Warhols, appropriate enough considering that their latest release, 2008’s \u003cb>The West\u003c/b> was released on the Dandys’ Beat the World record label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buy tickets to the show, Friday, June 19, 2009 at the Great American Music Hall at \u003ca href=\"http://www.gamhtickets.com/events/34486/Sleepy-Sun-CD-Release-Party-\">GAMHTickets.com\u003c/a>. The show starts at 9pm, is $13 and is all ages.\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>This week’s podcast profiles Grand Lake, an Oakland quartet whose debut release \u003cb>Nevermint\u003c/b> has generated much excitement for their engaging, stripped-down indie rock. The band’s led by bassist-singer Caleb Nichols (formerly of Port O’Brien), who reunited with longtime friend and Bloody Heads bandmate Jameson Swanagon (guitar) to record some songs and recruited Erika Pipkin (vocals/keys) and Ryan Parks (recently replaced by John Pomeroy on drums) for the project. For a group that developed in the studio, it’s a little surprising to see how strong the band’s innate chemistry is on both stage and record.\u003c/p>\n\u003cp>\u003cb>Nevermint\u003c/b> is a diverse album, the sound of a band defining itself in part by establishing its boundaries. It can be anthemic and urgent (“Concrete Blonde on Blonde” and “She’s A Hater”) or pensive and introspective (“Nevermint” and “Blue Hoodie”), and there’s an excitement to watching the band grow and change over the course of the release. Regardless of the mood, though, certain elements are constant throughout — most notably the band’s mastery of building engaging melodies and dynamic shifts from minimalist layers. Most promising, the group’s new cassingle — out this month — features two great new songs that show them further exploring these songwriting weapons. With a commitment to touring and further recording in the near future, keep watch for big things from Grand Lake.\u003c/p>\n\u003cp>We sat down with Caleb, Jameson and Erika at The Bay Bridged Studio recently to discuss the band’s formation, \u003cb>Nevermint\u003c/b>, and their upcoming releases. We’ve included four Grand Lake songs in the episode, including tracks from both the debut record and their new cassingle Sandusky Sunset.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Thursday, June 11th\u003cbr>\u003ca href=\"http://www.elriosf.com/\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>\u003cbr>with Beatbeat Whisper and The Heated (The Deli SF Presents)\u003cbr>9pm, $5\u003c/p>\n\u003cp>Grand Lake has a number of upcoming shows this summer. Visit their \u003ca href=\"http://www.myspace.com/grandlakemusic\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> for all the dates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>One of the Ten Commandments of Rock states that certain albums from each era will become “great.” These immutable classics are the ones that top list after list of all-time favorites, becoming immunized to the ravages of time or whims of fashion by a lazy drip-drip of critical praise. Albums like \u003cb>Sgt. Pepper’s Lonely Hearts Club Band\u003c/b>, \u003cb>Dark Side of the Moon\u003c/b>, \u003cb>OK Computer\u003c/b>. But these particular untouchable masterpieces have something else in common other than slightly over-inflated reputations. All three have also been re-recorded in their entireties by an evolving group of fearless musical adventurers called the Easy Star All-Stars, based around the New York reggae record label Easy Star.\u003c/p>\n\u003cp>\u003cb>Dark Side of the Moon\u003c/b> was the first in 2003, refracted through a prism of red, gold, and green light to become \u003cb>Dub Side of the Moon\u003c/b>. The concept sounded like a bit of a joke at first (and the added samples of clicking lighters and bubbling bongs probably didn’t help in this regard), but overall what resulted was the sound of a stoner favorite coming home to its ganja roots, as Pink Floyd’s tunes settled seamlessly into their new dub, dancehall, and drum ‘n’ bass surroundings. Three years later came the even less obvious choice of Radiohead’s \u003cb>OK Computer\u003c/b>, and another triumph for music over snobbishness. With a deft lightness of touch, the \u003cb>Radiodread\u003c/b> album celebrated the original’s experimentalism, but also smoothed off the roughest edges of Thom Yorke’s alienated paranoia with a new layer of emotional tenderness. Both albums work so well that a casual listener could almost be forgiven for wondering whose version came first.\u003c/p>\n\u003cp>And now the Easy Star All-Stars have taken on perhaps the holiest of rock’s holy cows, a record so revered that critics are almost legally obliged to use adjectives like “seminal” and “revolutionary” before mentioning its hallowed name. Undaunted by such earthly considerations, \u003ca href=\"http://www.easystar.com/releases/show/22\" target=\"offsite\" rel=\"noopener\">\u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b>\u003c/a> once again adds a welcome new perspective on an album most music fans think they know backward (perhaps literally if you’ve ever tried to find those hidden messages about \u003ca href=\"http://en.wikipedia.org/wiki/Paul_is_dead\" target=\"offsite\" rel=\"noopener\">Paul’s unfortunate death\u003c/a>). Listening to this new version, I realized how little I really knew the original. It was as if it had disappeared in my mind under the weight of its own reknown. Of course, it is also fitting that this famously experimental album should find new life in reggae and dub, a genre that has, over the years, relied so heavily on innovation and creativity in the studio.\u003c/p>\n\u003cp>As with the previous All-Star efforts, it’s the album’s most psychedelic moments that are given the extended dub treatment, with tracks like “Lucy In The Sky With Diamonds” and, particularly, “Fixing A Hole (Extended Dub Mix)” responding well to the extra space and bass. But it’s \u003cb>Sgt. Pepper’s\u003c/b> weakest links that are exploited to greatest effect: the stolid, dum-te-dum plunk of tracks such as “With A Little Help From My Friends” and “Good Morning, Good Morning” emerge fresh and alive after receiving healthy injections of dancehall bounce. Even “A Day In The Life” veers dangerously close to becoming a party tune, and is worth listening to if only to hear Menny More sing: “Woke up, fell out of bed, dragged my fingers through my dreads.”\u003c/p>\n\u003cp>Best of all, the All-Stars remind us that \u003cb>Sgt. Pepper’s\u003c/b> is, first and foremost, a pop album — which was also one of the main reasons it was so important when it was first released. Of course, whether you like this version or not is going to depend a lot on how dearly you hold the Beatles’ original. But, personally, I believe it’s always a joy to see someone — anyone — refuse to be intimidated by the gods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Easy Star All Stars play \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco on June 20, 2009. \u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b> is out now on \u003ca href=\"http://www.easystar.com/\" target=\"offsite\" rel=\"noopener\">Easy Star Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the Ten Commandments of Rock states that certain albums from each era will become “great.” These immutable classics are the ones that top list after list of all-time favorites, becoming immunized to the ravages of time or whims of fashion by a lazy drip-drip of critical praise. Albums like \u003cb>Sgt. Pepper’s Lonely Hearts Club Band\u003c/b>, \u003cb>Dark Side of the Moon\u003c/b>, \u003cb>OK Computer\u003c/b>. But these particular untouchable masterpieces have something else in common other than slightly over-inflated reputations. All three have also been re-recorded in their entireties by an evolving group of fearless musical adventurers called the Easy Star All-Stars, based around the New York reggae record label Easy Star.\u003c/p>\n\u003cp>\u003cb>Dark Side of the Moon\u003c/b> was the first in 2003, refracted through a prism of red, gold, and green light to become \u003cb>Dub Side of the Moon\u003c/b>. The concept sounded like a bit of a joke at first (and the added samples of clicking lighters and bubbling bongs probably didn’t help in this regard), but overall what resulted was the sound of a stoner favorite coming home to its ganja roots, as Pink Floyd’s tunes settled seamlessly into their new dub, dancehall, and drum ‘n’ bass surroundings. Three years later came the even less obvious choice of Radiohead’s \u003cb>OK Computer\u003c/b>, and another triumph for music over snobbishness. With a deft lightness of touch, the \u003cb>Radiodread\u003c/b> album celebrated the original’s experimentalism, but also smoothed off the roughest edges of Thom Yorke’s alienated paranoia with a new layer of emotional tenderness. Both albums work so well that a casual listener could almost be forgiven for wondering whose version came first.\u003c/p>\n\u003cp>And now the Easy Star All-Stars have taken on perhaps the holiest of rock’s holy cows, a record so revered that critics are almost legally obliged to use adjectives like “seminal” and “revolutionary” before mentioning its hallowed name. Undaunted by such earthly considerations, \u003ca href=\"http://www.easystar.com/releases/show/22\" target=\"offsite\" rel=\"noopener\">\u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b>\u003c/a> once again adds a welcome new perspective on an album most music fans think they know backward (perhaps literally if you’ve ever tried to find those hidden messages about \u003ca href=\"http://en.wikipedia.org/wiki/Paul_is_dead\" target=\"offsite\" rel=\"noopener\">Paul’s unfortunate death\u003c/a>). Listening to this new version, I realized how little I really knew the original. It was as if it had disappeared in my mind under the weight of its own reknown. Of course, it is also fitting that this famously experimental album should find new life in reggae and dub, a genre that has, over the years, relied so heavily on innovation and creativity in the studio.\u003c/p>\n\u003cp>As with the previous All-Star efforts, it’s the album’s most psychedelic moments that are given the extended dub treatment, with tracks like “Lucy In The Sky With Diamonds” and, particularly, “Fixing A Hole (Extended Dub Mix)” responding well to the extra space and bass. But it’s \u003cb>Sgt. Pepper’s\u003c/b> weakest links that are exploited to greatest effect: the stolid, dum-te-dum plunk of tracks such as “With A Little Help From My Friends” and “Good Morning, Good Morning” emerge fresh and alive after receiving healthy injections of dancehall bounce. Even “A Day In The Life” veers dangerously close to becoming a party tune, and is worth listening to if only to hear Menny More sing: “Woke up, fell out of bed, dragged my fingers through my dreads.”\u003c/p>\n\u003cp>Best of all, the All-Stars remind us that \u003cb>Sgt. Pepper’s\u003c/b> is, first and foremost, a pop album — which was also one of the main reasons it was so important when it was first released. Of course, whether you like this version or not is going to depend a lot on how dearly you hold the Beatles’ original. But, personally, I believe it’s always a joy to see someone — anyone — refuse to be intimidated by the gods.\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 Easy Star All Stars play \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco on June 20, 2009. \u003cb>Easy Star’s Lonely Hearts Dub Band\u003c/b> is out now on \u003ca href=\"http://www.easystar.com/\" target=\"offsite\" rel=\"noopener\">Easy Star Records\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Attention, audiophiles! There is a perfect storm of the category 5 variety heading our way. The kind of tempest that will wrap your new car around a tree and blow your house down. But, worry not: you’ll enjoy being blown away by three of my favorite bands, Bat for Lashes, Neko Case, and Camera Obscura (girls, girls, girls!), as they breeze through San Francisco in the span of five days.\u003c/p>\n\u003cp>Natasha Khan, the woman behind Bat for Lashes, refuses to water down her inner freak. She indulges in an alter-ego named Pearl, enjoys making music on 19th century instruments like the Marxophone, and openly celebrates her enduring crush on \u003cb>The Karate Kid\u003c/b>‘s Daniel LaRusso. Her new album, \u003cb>Two Suns\u003c/b>, also breaks from convention; she’ll go from retro mystic on one song to futuristic metal on another. And, judging by her \u003ca href=\"http://www.youtube.com/watch?v=WCAgNmEGScA\" target=\"offsite\" rel=\"noopener\">recent appearance on British television\u003c/a>, her live show will prove just as unpredictable.\u003c/p>\n\u003cp>Neko Case’s smokey twang appears all over records by other bands, most notably the New Pornographers, but Neko is at her best when she’s out on her own as proven on her latest, \u003cb>Middle Cyclone\u003c/b>. She doesn’t tour around these parts very often so take advantage while you can.\u003c/p>\n\u003cp>Camera Obscura is known for their sugary twee pop laced with a dash of bitters. Their new album, \u003cb>My Maudlin Career\u003c/b>, sticks to this winning formula. Biting sarcasm finds its way into tracks that, on first listen, sound like love songs. On “Swans,” Tracyanne Campbell scoffs: “So you want to be a writer? Fantasic idea!” Sugary, yes, but never too sweet.\u003c/p>\n\u003cp>All three acts have turned harsh critics into drooling admirers with their new releases. Alas, not everyone has the time to stay on top of what’s fresh in the music scene so I’ve decided to share the very best that these three LPs have to offer so you will be well-equipped when the curtain goes up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Camera Obscura plays \u003ca href=\"http://www.livenation.com/venue/the-fillmore-tickets\" target=\"offsite\" rel=\"noopener\">The Fillmore\u003c/a> on June 8, 2009 with opener \u003ca href=\"http://www.myspace.com/agentribbons\" target=\"offsite\" rel=\"noopener\">Agent Ribbons\u003c/a>. Neko Case rocks \u003ca href=\"http://thewarfieldtheatre.com/\" target=\"offsite\" rel=\"noopener\">The Warfield\u003c/a> on June 9 and 10, 2009. And Bat for Lashes charms the masses on June 13, 2009 at the \u003ca href=\"http://www.gamh.com/artist_pages/bat_for_lashes_061309.htm\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> with opener \u003ca href=\"http://www.hecubahecuba.com/\" target=\"offsite\" rel=\"noopener\">Hecuba\u003c/a>.Go on and get some tickets before they sell out. You don’t want your obnoxious friend telling you what killer shows you missed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attention, audiophiles! There is a perfect storm of the category 5 variety heading our way. The kind of tempest that will wrap your new car around a tree and blow your house down. But, worry not: you’ll enjoy being blown away by three of my favorite bands, Bat for Lashes, Neko Case, and Camera Obscura (girls, girls, girls!), as they breeze through San Francisco in the span of five days.\u003c/p>\n\u003cp>Natasha Khan, the woman behind Bat for Lashes, refuses to water down her inner freak. She indulges in an alter-ego named Pearl, enjoys making music on 19th century instruments like the Marxophone, and openly celebrates her enduring crush on \u003cb>The Karate Kid\u003c/b>‘s Daniel LaRusso. Her new album, \u003cb>Two Suns\u003c/b>, also breaks from convention; she’ll go from retro mystic on one song to futuristic metal on another. And, judging by her \u003ca href=\"http://www.youtube.com/watch?v=WCAgNmEGScA\" target=\"offsite\" rel=\"noopener\">recent appearance on British television\u003c/a>, her live show will prove just as unpredictable.\u003c/p>\n\u003cp>Neko Case’s smokey twang appears all over records by other bands, most notably the New Pornographers, but Neko is at her best when she’s out on her own as proven on her latest, \u003cb>Middle Cyclone\u003c/b>. She doesn’t tour around these parts very often so take advantage while you can.\u003c/p>\n\u003cp>Camera Obscura is known for their sugary twee pop laced with a dash of bitters. Their new album, \u003cb>My Maudlin Career\u003c/b>, sticks to this winning formula. Biting sarcasm finds its way into tracks that, on first listen, sound like love songs. On “Swans,” Tracyanne Campbell scoffs: “So you want to be a writer? Fantasic idea!” Sugary, yes, but never too sweet.\u003c/p>\n\u003cp>All three acts have turned harsh critics into drooling admirers with their new releases. Alas, not everyone has the time to stay on top of what’s fresh in the music scene so I’ve decided to share the very best that these three LPs have to offer so you will be well-equipped when the curtain goes up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Could the New York Philharmonic be to blame for North Korea’s latest nuclear test? Perhaps not, but the Phil’s Pyongyang performance provided provoking metaphors and subtly veiled symbolism — and maybe an argument for letting artists, not diplomats, do the talking.\u003c/p>\n\u003cp>If former US Attorney General John Ashcroft’s \u003ca href=\"http://www.youtube.com/watch?v=woLQI8X2R6Y\">“Let the Eagle Soar”\u003c/a> is any indication, maybe we shouldn’t be in the business of mixing music and policy.\u003c/p>\n\u003cp>However, the New York Philharmonic begs to differ. In February 2008, the world-renowned symphony orchestra traveled to the Asian headquarters of the Axis of Evil, Pyongyang, North Korea, to perform one of the most inspiring acts of musical diplomacy the world stage has ever seen. The DVD of this concert has just recently been released and is available through the \u003ca href=\"http://nyphil.org/buy/eStore\">New York Philharmonic’s website\u003c/a>.\u003c/p>\n\u003cp>With the help of Musical Director Lorin Maazel, the Philharmonic carefully crafted a performance filled with undertones — some diplomatic, some patriotic, some empathetic — all contributing to the historic nature of the event and the ability of the arts to distill anything, even the negotiations of two nations that are, at least in theory, at war with each other. With top North Korean officials present and an estimated 200 million people around the world (including many North Koreans) watching the performance on live television, the Phil began with something unthinkable to a Bush State of the Union speechwriter — the side-by-side performance of North Korea’s national anthem, “Aegukka,” and “The Star Spangled Banner.”\u003c/p>\n\u003cp>After that, the Phil wasted no time in pouring on the symbolism. First up was the Prelude from Act III of Wagner’s classic opera “Lohengrin,” a work most famous in popular culture for its Bridal Chorus, most commonly know as “Here Comes the Bride.” However, look just below the surface to find a thinly veiled message (not bride) for the North Korean people. “Lohengrin” follows the plot line of the “Knight of the Swan,” a medieval folklore about a knight who comes in a swan-drawn boat to rescue a damsel in distress under one condition: that she never ask his name. Translate this into modern diplomacy, and this could very easily be seen as an outstretched hand to the leaders of a failing, unsustainable state, paired with a reminder of the consequences for not heeding the conditions laid out by negotiators.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Next came an even more obvious message with the performance of Dvorak’s most famous work, “Symphony No. 9 in E minor,” known by most as the “New World Symphony.” This piece is the epitome of American nationalism. Commissioned by the New York Philharmonic in 1893, Dvorak used the piece as a template for combining what he thought were the most American of sounds — Native American and African-American folk melodies. Not only was this performance an opportunity for the Phil to tout its tradition, but perhaps this was also meant as a reminder to North Koreans of the inclusiveness that Americans (in theory) pride themselves on. (Let’s not get into Prop. 8 right now.)\u003c/p>\n\u003cp>The final announced piece for the performance was introduced by a joke. “Someday a composer may write a work titled ‘Americans in Pyongyang,'” Maazel said playfully in reference to Gershwin’s “An American in Paris.” Just as Gershwin had reflected upon the “triumphant” French atmosphere with his timeless tone poem, members of the Phil were offering their own musical experiences as visiting foreigners. But beyond that, the piece invoked Gershwin’s attempt to understand and appreciate a different culture, and offered a point of reflection on just how much smaller the world is today than it was when Gershwin put his pen to notation staves in 1928.\u003c/p>\n\u003cp>Finally, came the unannounced addition to the program: a performance of a quintessential Korean folk song, “Arirang.” A song that is equally poignant in both North and South Korea, its lyrics describe the longing of two lovers to reunite, offering a not-so-subtle parallel to the possibility of Korean reunification. According to those who were present, the ovation after “Arirang” lasted for five minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But in light of North Korea’s \u003ca href=\"http://www.nytimes.com/2009/05/25/world/asia/25nuke.html\">latest bout of defiance\u003c/a>, how should we interpret the Philharmonic’s performance? Too appeasing? Too confrontational? Too moralizing? Too sentimental? Perhaps the Phil should have played Beethoven’s ominous “Symphony No. 5,” or Stravinsky’s bold and insubordinate “Firebird Suite.” Maybe Maazel should have just passed the conductor’s baton to John Bolton for a more in-your-face performance. Just as Obama and Clinton are working to adapt and refine our diplomatic policy towards North Korea, maybe Michael Tilson Thomas or Gustavo Dudamel will brave the trip across the Pacific with a new musical strategy for defeating terrorism.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Could the New York Philharmonic be to blame for North Korea’s latest nuclear test? Perhaps not, but the Phil’s Pyongyang performance provided provoking metaphors and subtly veiled symbolism — and maybe an argument for letting artists, not diplomats, do the talking.\u003c/p>\n\u003cp>If former US Attorney General John Ashcroft’s \u003ca href=\"http://www.youtube.com/watch?v=woLQI8X2R6Y\">“Let the Eagle Soar”\u003c/a> is any indication, maybe we shouldn’t be in the business of mixing music and policy.\u003c/p>\n\u003cp>However, the New York Philharmonic begs to differ. In February 2008, the world-renowned symphony orchestra traveled to the Asian headquarters of the Axis of Evil, Pyongyang, North Korea, to perform one of the most inspiring acts of musical diplomacy the world stage has ever seen. The DVD of this concert has just recently been released and is available through the \u003ca href=\"http://nyphil.org/buy/eStore\">New York Philharmonic’s website\u003c/a>.\u003c/p>\n\u003cp>With the help of Musical Director Lorin Maazel, the Philharmonic carefully crafted a performance filled with undertones — some diplomatic, some patriotic, some empathetic — all contributing to the historic nature of the event and the ability of the arts to distill anything, even the negotiations of two nations that are, at least in theory, at war with each other. With top North Korean officials present and an estimated 200 million people around the world (including many North Koreans) watching the performance on live television, the Phil began with something unthinkable to a Bush State of the Union speechwriter — the side-by-side performance of North Korea’s national anthem, “Aegukka,” and “The Star Spangled Banner.”\u003c/p>\n\u003cp>After that, the Phil wasted no time in pouring on the symbolism. First up was the Prelude from Act III of Wagner’s classic opera “Lohengrin,” a work most famous in popular culture for its Bridal Chorus, most commonly know as “Here Comes the Bride.” However, look just below the surface to find a thinly veiled message (not bride) for the North Korean people. “Lohengrin” follows the plot line of the “Knight of the Swan,” a medieval folklore about a knight who comes in a swan-drawn boat to rescue a damsel in distress under one condition: that she never ask his name. Translate this into modern diplomacy, and this could very easily be seen as an outstretched hand to the leaders of a failing, unsustainable state, paired with a reminder of the consequences for not heeding the conditions laid out by negotiators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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