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"content": "\u003cp>January is rarely an exciting musical month new-release-wise, which is a shame; the New Year should be all about fresh, new things, after all. But this year I’ve found musical refreshment from a less obvious source: the latest edition of Tom Moon’s \u003ca href=\"http://www.1000recordings.com/tom-moon/\">\u003cb>1,000 Recordings to Hear Before You Die\u003c/b>\u003c/a>. The title is fairly self-explanatory, and there are plenty other best-ever-record-list books out there, but this really is a superior example of the genre.\u003c/p>\n\u003cp>First of all, it is impressively eclectic, taking in genres such as classical, folk, and blues next to the standard rock/pop mix. And it’s organized alphabetically by artist, which means lots of fun collisions such as Public Enemy being held back by millions from Puccini’s La Bohème, and the Sex Pistols neglecting to mind their bollocks next to Shakira. Sure there is plenty in here that’s predictable, not least the fact that it starts with Abba and ends with ZZ Top. But 1,000 is a big number and there is plenty of space left among the more pedestrian choices (Bach, Beach Boys, Beatles, Beethoven, Bowie) for lots of surprises (The Bulgarian Women’s National Radio and Television Chorus, anyone?).\u003c/p>\n\u003cp>Danger Mouse’s \u003cb>Grey Album\u003c/b> is in there, as well as the Jay-Z/Beatles discs that inspired it. The inclusion of Johnny Mathis, Neil Diamond, and the orginal cast recording of \u003cb>Jesus Christ Superstar\u003c/b> are all evidence of a refreshing lack of snobbery. The comprehensive index lists more than 150 titles in its lengthy “world music” section. And no apology is made (or needed) for the inclusion of various compilations, movie soundtrack albums, or singles of note.\u003c/p>\n\u003cp>And then there’s the fact that the entries are wonderfully written. Despite the daunting scale of his undertaking, Moon’s capable prose makes each and every recording come alive on the page. He describes \u003cb>Kind of Blue\u003c/b> as the sound of musicians, “listening closely, playing less, and saying more;” talks about “the endless accolades that have attached, like barnacles,” to \u003cb>Sgt. Pepper’s\u003c/b>; and points out, quite reasonably, that “Björk is an island.” Indeed, the best thing you can say about Moon’s writing is that you will rarely be able to read it for long: after just a few paragraphs you are itching to put the book down to listen to whatever you’ve just had described to you.\u003c/p>\n\u003cp>Which isn’t to say \u003cb>1,000 Recordings\u003c/b> is perfect; no list like it will ever be. Everyone will find some omissions or inclusions to take issue with (which is, paradoxically, part of the fun). But in these economically troubled times, buying this book may end up achieving something far more useful: saving you money. Moon’s recommendations will encourage you to revisit and rediscover the charms of neglected classics hiding in your record collection. And, even if you find yourself heading to your local record store to buy albums you may have missed or lost over the years, you are likely to be able to find them available at budget back-catalog or used prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s no mistaking that \u003ca href=\"http://www.glasvegas.net\">Glasvegas\u003c/a>, who play San Francisco’s indie club Popscene tonight, hail from Glasgow, Scotland, and not the gambling oasis that gave them the other half of their name. Their music is much more northern gloom than Nevadan glam; this is the sound of rainy tenements, not neon-drenched desert. And then there’s the simple fact that vocalist James Allan sings with a strong Scottish accent, which is always a dead giveaway.\u003c/p>\n\u003cp>Or is it? The curious topic of enunciation in modern music is \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=19800\">one I’ve touched on before\u003c/a>, but it’s worth repeating the point. Worldwide, most singers who sing in English do so with an American accent, a fact that is as blandly ubiquitous as it is blithely ignored. People from outside these borders seem reluctant to sing with voices that are their own, despite the fact that it would help them attain two of the Holy Virtues of Rock: authenticity and individuality.\u003c/p>\n\u003cp>In the brief but checkered history of tartan-tinged accents in rock, fellow Scots \u003ca href=\"http://www.myspace.com/thejesusampmarychain\">The Jesus and Mary Chain\u003c/a> represent an undoubted, if understated, highpoint (they are also an obvious inspiration for Glasvegas). Admittedly, the singing voices of Jim and William Reid more clearly reflect the pair’s almost exclusively American musical influences (Bo Diddley, Brian Wilson, Lou Reed, Iggy Pop), but an alluring hint of their native East Kilbride brogue also creeps in around the edges, highlighting the chilly northern honesty of the band’s more rainswept lyrical moments.\u003c/p>\n\u003cp>At the other end of the spectrum there are \u003ca href=\"http://www.proclaimers.co.uk\">The Proclaimers\u003c/a>, as miscast as they are unavoidable in this discussion. I have to admit to having a soft spot for the other Scottish Reid brothers, Charlie and Craig, even though they are often written off, even in their homeland, as some sort of novelty act. It doesn’t help that they are twins, or that they used to wear matching Buddy Holly glasses with lenses almost as thick as their accents. But the fact that they sing like they do isn’t an affectation. That is the way they sound when they open their mouths, and for them to pretend otherwise would be to betray their folk-rock roots.\u003c/p>\n\u003cp>Thankfully even the many kickings handed out to The Proclaimers by the accent police over the years haven’t entirely discouraged other Scots from being creative with their native tongue. Glasgow’s \u003ca href=\"http://www.chemikal.co.uk/\">Chemikal Underground\u003c/a> label leads the way, with acts such as \u003ca href=\"http://www.arabstrap.co.uk/\">Arab Strap\u003c/a>, \u003ca href=\"http://www.mogwai.co.uk/\">Mogwai\u003c/a>, and \u003ca href=\"http://www.chemikal.co.uk/delgados.htm\">The Delgados\u003c/a> all helping to reclaim the critical high ground. And, most recently \u003ca href=\"http://fat-cat.co.uk/fatcat/artistInfo.php?id=107\">The Twilight Sad\u003c/a> gave Ian Curtis’s mournful baritone a pleasing Scottish working class makeover, creating ripples of appreciation on both sides of the pond.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Glasvegas owe a similar-sized debt to the glacial bleakness of Joy Division, but they also add a warming note of Phil Spector-style pop to the mix. While there are many who believe the decaying corpse of the Sixties should be left well alone as a source of inspiration by British indie bands (yes Oasis, we’re talking to you: put the Beatles albums down and walk away), Glasvegas may just be smart and original enough to get away with committing this venal sin one more time. Their lyrics are direct but clever, while the epic tunes add grandeur to everyday stories of absent fathers and social workers. And then there’s that accent.\u003c/p>\n\u003cp>Of course, as a native Scot I’m probably biased on this last point. But the fact remains that singing with your own voice seems like a good idea wherever it comes from. Why pretend to be someone you’re not?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glasvegas play \u003ca href=\"http://www.popscene-sf.com/calendar/\">Popscene\u003c/a> at \u003ca href=\"http://www.330ritch.com/calendar/\">330 Ritch\u003c/a> on Thursday, January 8, 2009. There will be limited tickets available on the door at 8:30pm. Their self-titled debut album was released on January 6.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no mistaking that \u003ca href=\"http://www.glasvegas.net\">Glasvegas\u003c/a>, who play San Francisco’s indie club Popscene tonight, hail from Glasgow, Scotland, and not the gambling oasis that gave them the other half of their name. Their music is much more northern gloom than Nevadan glam; this is the sound of rainy tenements, not neon-drenched desert. And then there’s the simple fact that vocalist James Allan sings with a strong Scottish accent, which is always a dead giveaway.\u003c/p>\n\u003cp>Or is it? The curious topic of enunciation in modern music is \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=19800\">one I’ve touched on before\u003c/a>, but it’s worth repeating the point. Worldwide, most singers who sing in English do so with an American accent, a fact that is as blandly ubiquitous as it is blithely ignored. People from outside these borders seem reluctant to sing with voices that are their own, despite the fact that it would help them attain two of the Holy Virtues of Rock: authenticity and individuality.\u003c/p>\n\u003cp>In the brief but checkered history of tartan-tinged accents in rock, fellow Scots \u003ca href=\"http://www.myspace.com/thejesusampmarychain\">The Jesus and Mary Chain\u003c/a> represent an undoubted, if understated, highpoint (they are also an obvious inspiration for Glasvegas). Admittedly, the singing voices of Jim and William Reid more clearly reflect the pair’s almost exclusively American musical influences (Bo Diddley, Brian Wilson, Lou Reed, Iggy Pop), but an alluring hint of their native East Kilbride brogue also creeps in around the edges, highlighting the chilly northern honesty of the band’s more rainswept lyrical moments.\u003c/p>\n\u003cp>At the other end of the spectrum there are \u003ca href=\"http://www.proclaimers.co.uk\">The Proclaimers\u003c/a>, as miscast as they are unavoidable in this discussion. I have to admit to having a soft spot for the other Scottish Reid brothers, Charlie and Craig, even though they are often written off, even in their homeland, as some sort of novelty act. It doesn’t help that they are twins, or that they used to wear matching Buddy Holly glasses with lenses almost as thick as their accents. But the fact that they sing like they do isn’t an affectation. That is the way they sound when they open their mouths, and for them to pretend otherwise would be to betray their folk-rock roots.\u003c/p>\n\u003cp>Thankfully even the many kickings handed out to The Proclaimers by the accent police over the years haven’t entirely discouraged other Scots from being creative with their native tongue. Glasgow’s \u003ca href=\"http://www.chemikal.co.uk/\">Chemikal Underground\u003c/a> label leads the way, with acts such as \u003ca href=\"http://www.arabstrap.co.uk/\">Arab Strap\u003c/a>, \u003ca href=\"http://www.mogwai.co.uk/\">Mogwai\u003c/a>, and \u003ca href=\"http://www.chemikal.co.uk/delgados.htm\">The Delgados\u003c/a> all helping to reclaim the critical high ground. And, most recently \u003ca href=\"http://fat-cat.co.uk/fatcat/artistInfo.php?id=107\">The Twilight Sad\u003c/a> gave Ian Curtis’s mournful baritone a pleasing Scottish working class makeover, creating ripples of appreciation on both sides of the pond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Glasvegas owe a similar-sized debt to the glacial bleakness of Joy Division, but they also add a warming note of Phil Spector-style pop to the mix. While there are many who believe the decaying corpse of the Sixties should be left well alone as a source of inspiration by British indie bands (yes Oasis, we’re talking to you: put the Beatles albums down and walk away), Glasvegas may just be smart and original enough to get away with committing this venal sin one more time. Their lyrics are direct but clever, while the epic tunes add grandeur to everyday stories of absent fathers and social workers. And then there’s that accent.\u003c/p>\n\u003cp>Of course, as a native Scot I’m probably biased on this last point. But the fact remains that singing with your own voice seems like a good idea wherever it comes from. Why pretend to be someone you’re not?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glasvegas play \u003ca href=\"http://www.popscene-sf.com/calendar/\">Popscene\u003c/a> at \u003ca href=\"http://www.330ritch.com/calendar/\">330 Ritch\u003c/a> on Thursday, January 8, 2009. There will be limited tickets available on the door at 8:30pm. Their self-titled debut album was released on January 6.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In January of 2004, some entrepreneurial folks took a camera studio on Fell Street at Van Ness and transformed it into the \u003ca href=\"http://www.rickshawstop.com\">Rickshaw Stop\u003c/a>, a venue that, in its five years of existence, has become one of the premier spots in San Francisco. In a city this geographically small and this damn expensive, venue closures due to high rents, noise complaints, and sluggish business often feel more like the rule than the exception. These ever-present threats make it all the more impressive that the Rickshaw Stop not only survives, but continues to draw crowds to a consistently inspired array of local and out-of-town indie rock shows and DJ nights.\u003c/p>\n\u003cp>In early January, the club celebrates these achievements with a series of “Fifth Anniversary Bash” concerts featuring an eclectic mix of top notch bands. Los Angeles’s \u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> headline two of the three nights, with a cosmopolitan sound fusing elements of psychedelic rock and surf music with the 1960s Cambodian pop-rock influenced by those genres. Singer Chhom Nimol’s vocals, in both Khmer and English, guide the band through its eclectic wanderings, heard most recently on a well received third album, \u003cb>Venus On Earth\u003c/b>, released almost a year ago. The band’s unique story, as well as the story of the Cambodian pop scene’s vibrancy prior to the rise of the Khmer Rouge, have also been captured in the upcoming documentary \u003ca href=\"http://sleepwalkingthroughthemekong.com/\">\u003cb>Sleepwalking Through The Mekong\u003c/b>\u003c/a> and its accompanying soundtrack, which showcase Dengue Fever’s recent travels to perform in Cambodia.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.seanhayesmusic.com/\">Sean Hayes\u003c/a> headlines the third night of the festivities. With four self-released albums already under his belt, the North Carolina-raised singer-songwriter began gaining nationwide attention with 2007’s \u003cb>Flowering Spade\u003c/b>. For all of its sparsity, Hayes’s folk-rock conveys a variety of musical interests, as elements of experimental folk and Americana sit comfortably alongside more melodic leanings. Hayes’s voice takes center stage in most of his songs; his haunting tones can be quite moving.\u003c/p>\n\u003cp>The local bands supporting on different nights are similarly enticing. Singer-songwriter \u003ca href=\"http://gohnakamura.com/\">Goh Nakamura\u003c/a>‘s sophomore work, \u003cb>Ulysses\u003c/b>, was four years in the making. It’s a significant departure from the lower-fi approach of his first and a very engaging album in its own right. \u003cb>Ulysses\u003c/b> was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23381\">reviewed on KQED\u003c/a> and can be \u003ca href=\"http://www.gohnakamura.com/ulysses/purchase\">downloaded for free\u003c/a> from Nakamura’s web site. East Bay quartet \u003ca href=\"http://myspace.com/attachments\">The Attachments\u003c/a> capture the strong melodies and sense of fun of early Beatles/Beach Boys in their indie pop-rock. While the band’s debut EP featured only songs about girls, their MySpace page was recently updated with some new songs of more varied subject matter, discussing Obama’s victory and Southern California with their trademark skill and aplomb. It’s an exciting omen for the band’s forthcoming debut full length. Local songsmith \u003ca href=\"http://myspace.com/michaelmusika\">Michael Musika\u003c/a> performs on Wednesday night. His psychedelic folk songs feature contributions from a number of talented local musicians, and Musika will likely perform selections from some recent recording sessions at the show.\u003c/p>\n\u003cp>The Richshaw Stop’s 5th Anniversary Bash kicks off on Friday, January 2, 2009 with Dengue Fever, Goh Nakamura and “other fun stuff.” 9pm, $8. The party continues on Saturday, January 3rd with Dengue Fever, The Attachments. 9pm, $8.Festivities conclude on Wednesday, January 7, 2009 with Sean Hayes and Michael Musika. 8pm, $15. Tickets for all three shows are currently available at \u003ca href=\"http://rickshawstop.com\">RickshawStop.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January of 2004, some entrepreneurial folks took a camera studio on Fell Street at Van Ness and transformed it into the \u003ca href=\"http://www.rickshawstop.com\">Rickshaw Stop\u003c/a>, a venue that, in its five years of existence, has become one of the premier spots in San Francisco. In a city this geographically small and this damn expensive, venue closures due to high rents, noise complaints, and sluggish business often feel more like the rule than the exception. These ever-present threats make it all the more impressive that the Rickshaw Stop not only survives, but continues to draw crowds to a consistently inspired array of local and out-of-town indie rock shows and DJ nights.\u003c/p>\n\u003cp>In early January, the club celebrates these achievements with a series of “Fifth Anniversary Bash” concerts featuring an eclectic mix of top notch bands. Los Angeles’s \u003ca href=\"http://www.myspace.com/denguefevermusic\">Dengue Fever\u003c/a> headline two of the three nights, with a cosmopolitan sound fusing elements of psychedelic rock and surf music with the 1960s Cambodian pop-rock influenced by those genres. Singer Chhom Nimol’s vocals, in both Khmer and English, guide the band through its eclectic wanderings, heard most recently on a well received third album, \u003cb>Venus On Earth\u003c/b>, released almost a year ago. The band’s unique story, as well as the story of the Cambodian pop scene’s vibrancy prior to the rise of the Khmer Rouge, have also been captured in the upcoming documentary \u003ca href=\"http://sleepwalkingthroughthemekong.com/\">\u003cb>Sleepwalking Through The Mekong\u003c/b>\u003c/a> and its accompanying soundtrack, which showcase Dengue Fever’s recent travels to perform in Cambodia.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.seanhayesmusic.com/\">Sean Hayes\u003c/a> headlines the third night of the festivities. With four self-released albums already under his belt, the North Carolina-raised singer-songwriter began gaining nationwide attention with 2007’s \u003cb>Flowering Spade\u003c/b>. For all of its sparsity, Hayes’s folk-rock conveys a variety of musical interests, as elements of experimental folk and Americana sit comfortably alongside more melodic leanings. Hayes’s voice takes center stage in most of his songs; his haunting tones can be quite moving.\u003c/p>\n\u003cp>The local bands supporting on different nights are similarly enticing. Singer-songwriter \u003ca href=\"http://gohnakamura.com/\">Goh Nakamura\u003c/a>‘s sophomore work, \u003cb>Ulysses\u003c/b>, was four years in the making. It’s a significant departure from the lower-fi approach of his first and a very engaging album in its own right. \u003cb>Ulysses\u003c/b> was \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23381\">reviewed on KQED\u003c/a> and can be \u003ca href=\"http://www.gohnakamura.com/ulysses/purchase\">downloaded for free\u003c/a> from Nakamura’s web site. East Bay quartet \u003ca href=\"http://myspace.com/attachments\">The Attachments\u003c/a> capture the strong melodies and sense of fun of early Beatles/Beach Boys in their indie pop-rock. While the band’s debut EP featured only songs about girls, their MySpace page was recently updated with some new songs of more varied subject matter, discussing Obama’s victory and Southern California with their trademark skill and aplomb. It’s an exciting omen for the band’s forthcoming debut full length. Local songsmith \u003ca href=\"http://myspace.com/michaelmusika\">Michael Musika\u003c/a> performs on Wednesday night. His psychedelic folk songs feature contributions from a number of talented local musicians, and Musika will likely perform selections from some recent recording sessions at the show.\u003c/p>\n\u003cp>The Richshaw Stop’s 5th Anniversary Bash kicks off on Friday, January 2, 2009 with Dengue Fever, Goh Nakamura and “other fun stuff.” 9pm, $8. The party continues on Saturday, January 3rd with Dengue Fever, The Attachments. 9pm, $8.Festivities conclude on Wednesday, January 7, 2009 with Sean Hayes and Michael Musika. 8pm, $15. Tickets for all three shows are currently available at \u003ca href=\"http://rickshawstop.com\">RickshawStop.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Best and Worst Music of 2008",
"headTitle": "Best and Worst Music of 2008 | KQED",
"content": "\u003cp>As the good ship 2008 nears the end of its voyage, it’s time to look back at the year’s musical peaks and troughs. But rather than heap yet more praise (or derision) on the artists and releases I’ve already written about, the following unscientific, arbitary, misguided awards are intended to fill in any gaps I missed. Which means I won’t even mention that my favorite albums of the year were \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23670\">The Holy Pictures\u003c/a> by David Holmes, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22846\">There Were Wolves\u003c/a> by The Accidental, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22083\">The Golden Age\u003c/a> by American Music Club, and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22971\">For Emma, Forever Ago\u003c/a> by Bon Iver. Nope, my lips are sealed on that one.\u003c/p>\n\u003cp>So, without further ado, the winners are …\u003c/p>\n\u003cp>Best Album I Should Have Reviewed (But Didn’t): \u003cbr>Fleet Foxes: \u003cb>Fleet Foxes\u003c/b>\u003c/p>\n\u003cp>When I decided to write about modern “Americana” in July, I asked friends to recommend recent albums with at least a twinge of twang about them. Two names cropped up a lot: I quickly tracked down (and wrote about) the previously unmentioned Bon Iver, but for some reason I took my own good time finding a copy of the \u003ca href=\"http://www.subpop.com/artists/fleet_foxes\" target=\"OFFSITE\">Fleet Foxes\u003c/a> album. I regret that now. Not only is it every bit as good as Bon Iver’s, but the two of them sound great together. If Bon Iver captured the sound of midwinter in the Midwest, then the Fleet Foxes album is its summer sibling, still tinged with sadness, but fuller, lush, and fertile, like the feeling of sun on your skin.\u003c/p>\n\u003cp>George Bush Memorial Award for Most Misunderestimated Album: \u003cbr>Hayden: \u003cb>In Field & Town\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first time I heard this, I was totally underwhelmed. I think it was his voice, which is all lazy drawl and artful insouciance. But there was something else that wriggled into my brain, and the CD kept creeping back into my stereo despite my misgivings. Slowly, these quiet songs began to reveal their charms. In the end I had to admit that I had gotten it wrong. It is understated, sure, but it is also a delight, made with the kind of craft that only comes with practice (it’s \u003ca href=\"http://www.myspace.com/hayden\" target=\"OFFSITE\">Hayden\u003c/a>‘s sixth album). My bad.\u003c/p>\n\u003cp>Most Improved Live Act: \u003cbr>TV on the Radio\u003c/p>\n\u003cp>The clattering, loose-limbed eccentricities that have come to define the \u003ca href=\"http://www.tvontheradio.com/\" target=\"OFFSITE\">TV on the Radio\u003c/a> sound haven’t always worked so well live. In the past, some songs would soar, while others struggled under the weight of their own weirdness. However, with the release of the more polished \u003cb>Dear Science\u003c/b> this year, the band seem to have finally realized their full potential live. At the Warfield in November they nailed every song to the ceiling with exhilarating panache, and without sacrificing any of their brilliant idiosyncrasies.\u003c/p>\n\u003cp>Biggest Live Let Down: \u003cbr>My Bloody Valentine\u003c/p>\n\u003cp>I should have seen this one coming. Battling the twin handicaps of a terrible venue and my own unreasonably high expectations, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"OFFSITE\">MBV\u003c/a> were always going to disappoint in September. In the end, it wasn’t all bad, and some songs actually sounded pretty good. But it just wasn’t the same as seeing them when I was much younger and more impressionable. And too many songs were chewed into mush by the weird, cavernous SF Design Center. Did somebody forget to stop building that hall? It seemed to stretch on forever, as did the now predictably abusive finale of “You Made Me Realise” and its “apocalypse” section. Yeah, white noise, loud, whatever.\u003c/p>\n\u003cp>Best Song From Space (or South Africa): \u003cbr>DJ Mujava: “Township Funk”\u003c/p>\n\u003cp>Recorded by Pretoria’s \u003ca href=\"http://www.myspace.com/mujava\" target=\"OFFSITE\">DJ Mujava\u003c/a>, and released via the leftfield Warp imprint, “Township Funk” is a strange, upbeat slice of futuristic afro electronica with an outrageously catchy drumbeat. Listening to it left me full of excitement, as it reminded me that not all dance music is boring, that “world” music isn’t just about yogurt-knitted sweaters and whole-grain acoustics, and that there’s lots more weird and wonderful stuff like this to be found in unexpected places online.\u003c/p>\n\u003cp>Best Song Title: \u003cbr>Mogwai: “I’m Jim Morrison, I’m Dead” \u003c/p>\n\u003cp>The best thing about writing albums full of instrumental post-rock noise is that you can name your songs pretty much anything you want. This year, \u003ca href=\"http://www.mogwai.co.uk/\" target=\"OFFSITE\">Mogwai\u003c/a> have made the most of this freedom. As well as the prize-winning gem above, they’ve also given us “The Sun Smells Too Loud,” “I Love You, I’m Going to Blow Up Your School,” “Thank You Space Expert,” and the bafflingly brilliant “Batcat,” all from their excellent new album \u003cb>The Hawk is Howling\u003c/b>.\u003c/p>\n\u003cp>Special Excuse to Link to a Video Award:\u003cbr>“Prisencolinensinainciusol” by Adriano Celentano\u003c/p>\n\u003cp>OK, this was actually released in 1973, but it’s so good that I’m including it anyway. Enjoy, and here’s to a very happy New Year!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=FcUi6UEQh00&hl=en&fs=1]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the good ship 2008 nears the end of its voyage, it’s time to look back at the year’s musical peaks and troughs. But rather than heap yet more praise (or derision) on the artists and releases I’ve already written about, the following unscientific, arbitary, misguided awards are intended to fill in any gaps I missed. Which means I won’t even mention that my favorite albums of the year were \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=23670\">The Holy Pictures\u003c/a> by David Holmes, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22846\">There Were Wolves\u003c/a> by The Accidental, \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22083\">The Golden Age\u003c/a> by American Music Club, and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22971\">For Emma, Forever Ago\u003c/a> by Bon Iver. Nope, my lips are sealed on that one.\u003c/p>\n\u003cp>So, without further ado, the winners are …\u003c/p>\n\u003cp>Best Album I Should Have Reviewed (But Didn’t): \u003cbr>Fleet Foxes: \u003cb>Fleet Foxes\u003c/b>\u003c/p>\n\u003cp>When I decided to write about modern “Americana” in July, I asked friends to recommend recent albums with at least a twinge of twang about them. Two names cropped up a lot: I quickly tracked down (and wrote about) the previously unmentioned Bon Iver, but for some reason I took my own good time finding a copy of the \u003ca href=\"http://www.subpop.com/artists/fleet_foxes\" target=\"OFFSITE\">Fleet Foxes\u003c/a> album. I regret that now. Not only is it every bit as good as Bon Iver’s, but the two of them sound great together. If Bon Iver captured the sound of midwinter in the Midwest, then the Fleet Foxes album is its summer sibling, still tinged with sadness, but fuller, lush, and fertile, like the feeling of sun on your skin.\u003c/p>\n\u003cp>George Bush Memorial Award for Most Misunderestimated Album: \u003cbr>Hayden: \u003cb>In Field & Town\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first time I heard this, I was totally underwhelmed. I think it was his voice, which is all lazy drawl and artful insouciance. But there was something else that wriggled into my brain, and the CD kept creeping back into my stereo despite my misgivings. Slowly, these quiet songs began to reveal their charms. In the end I had to admit that I had gotten it wrong. It is understated, sure, but it is also a delight, made with the kind of craft that only comes with practice (it’s \u003ca href=\"http://www.myspace.com/hayden\" target=\"OFFSITE\">Hayden\u003c/a>‘s sixth album). My bad.\u003c/p>\n\u003cp>Most Improved Live Act: \u003cbr>TV on the Radio\u003c/p>\n\u003cp>The clattering, loose-limbed eccentricities that have come to define the \u003ca href=\"http://www.tvontheradio.com/\" target=\"OFFSITE\">TV on the Radio\u003c/a> sound haven’t always worked so well live. In the past, some songs would soar, while others struggled under the weight of their own weirdness. However, with the release of the more polished \u003cb>Dear Science\u003c/b> this year, the band seem to have finally realized their full potential live. At the Warfield in November they nailed every song to the ceiling with exhilarating panache, and without sacrificing any of their brilliant idiosyncrasies.\u003c/p>\n\u003cp>Biggest Live Let Down: \u003cbr>My Bloody Valentine\u003c/p>\n\u003cp>I should have seen this one coming. Battling the twin handicaps of a terrible venue and my own unreasonably high expectations, \u003ca href=\"http://www.myspace.com/mybloodyvalentine\" target=\"OFFSITE\">MBV\u003c/a> were always going to disappoint in September. In the end, it wasn’t all bad, and some songs actually sounded pretty good. But it just wasn’t the same as seeing them when I was much younger and more impressionable. And too many songs were chewed into mush by the weird, cavernous SF Design Center. Did somebody forget to stop building that hall? It seemed to stretch on forever, as did the now predictably abusive finale of “You Made Me Realise” and its “apocalypse” section. Yeah, white noise, loud, whatever.\u003c/p>\n\u003cp>Best Song From Space (or South Africa): \u003cbr>DJ Mujava: “Township Funk”\u003c/p>\n\u003cp>Recorded by Pretoria’s \u003ca href=\"http://www.myspace.com/mujava\" target=\"OFFSITE\">DJ Mujava\u003c/a>, and released via the leftfield Warp imprint, “Township Funk” is a strange, upbeat slice of futuristic afro electronica with an outrageously catchy drumbeat. Listening to it left me full of excitement, as it reminded me that not all dance music is boring, that “world” music isn’t just about yogurt-knitted sweaters and whole-grain acoustics, and that there’s lots more weird and wonderful stuff like this to be found in unexpected places online.\u003c/p>\n\u003cp>Best Song Title: \u003cbr>Mogwai: “I’m Jim Morrison, I’m Dead” \u003c/p>\n\u003cp>The best thing about writing albums full of instrumental post-rock noise is that you can name your songs pretty much anything you want. This year, \u003ca href=\"http://www.mogwai.co.uk/\" target=\"OFFSITE\">Mogwai\u003c/a> have made the most of this freedom. As well as the prize-winning gem above, they’ve also given us “The Sun Smells Too Loud,” “I Love You, I’m Going to Blow Up Your School,” “Thank You Space Expert,” and the bafflingly brilliant “Batcat,” all from their excellent new album \u003cb>The Hawk is Howling\u003c/b>.\u003c/p>\n\u003cp>Special Excuse to Link to a Video Award:\u003cbr>“Prisencolinensinainciusol” by Adriano Celentano\u003c/p>\n\u003cp>OK, this was actually released in 1973, but it’s so good that I’m including it anyway. Enjoy, and here’s to a very happy New Year!\u003c/p>\n\u003cp>\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/FcUi6UEQh00'\n title='//www.youtube.com/embed/FcUi6UEQh00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When it comes to live music, San Franciscans are just plain spoiled, and no night better typifies the city’s embarrassment of auditory riches than New Year’s Eve. This year, three venues within walking distance of the Civic Center host bills that in any other city would be singular, one-for-the-ages events. But this is San Francisco, so we pretty much get all the good stuff, times three.\u003c/p>\n\u003cp>The 2008/2009 festivities begin early, at 6pm, at Bill Graham Civic Auditorium, where Live Nation presents \u003cb>Phil Lesh & Friends, Bob Weir & Ratdog and Jackie Greene\u003c/b> for the second night of a two-night run. Greene, who contributes guitar, keys, harmonica and vocals to Lesh’s Friends, opens the show with his band, playing selections from his latest CD, \u003cb>Giving Up the Ghost\u003c/b>. Bob Weir & Ratdog follow, and if you haven’t heard Ratdog’s lead guitarist, Mark Karan, in a while, that’s reason enough to go. Lesh closes the show, although by the second or third set in the wee hours, it’s a safe bet that the collection of musicians on stage will include more than the five or six official “Friends.”\u003c/p>\n\u003cp>Over at the War Memorial Opera House, which is not usually pressed into service as a venue for rock ‘n’ roll, Goldenvoice gets things going at 8pm with \u003cb>Les Claypool, Zappa Plays Zappa and Tim Fite\u003c/b>. I don’t know a thing about opener Fite, but his music sounds sort of like nursery-rhyme-folk-meets-hip-hop. Sort of. Dweezil Zappa, son of the legendary Mother of Invention himself, leads \u003cb>Zappa Plays Zappa\u003c/b> with support from a smart and talented group of young Zappatistas, plus Ray White, who toured with Dweezil’s dad, Frank, in the 1970s and ’80s and is known locally to jamband fans as the W in a late-1990s Steve Kimock project called KVHW. Headlining the show is Les Claypool, whose New Year’s Eve hijinks are always memorable. This year, Claypool’s website promises “spectacular” 3D imagery, free 3D glasses and, befitting the classy surroundings, a tuxedo-and-gown competition.\u003c/p>\n\u003cp>If you prefer phat grooves to trippy licks and diabolical discord, Goldenvoice has a show at the Warfield that should more than satisfy. Soul-funkers The Greyboy Allstars take the stage at 9pm, led by Karl Denson of Tiny Universe on sax, Robert Walter of 20th Congress on keys and Mike Andrews of \u003cb>Donnie Darko\u003c/b> and \u003cb>Walk Hard\u003c/b> film-score fame on guitar. Balloon-drop duties fall to George Clinton & Parliament Funkadelic, whose cast of almost two dozen members promises to push the Warfield’s storied stage to bursting.\u003c/p>\n\u003cp>Where will you be on New Year’s Eve? Let us know!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>For \u003ca href=\"http://www.ticketmaster.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> to all three shows, visit ticketmaster.com.\u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to live music, San Franciscans are just plain spoiled, and no night better typifies the city’s embarrassment of auditory riches than New Year’s Eve. This year, three venues within walking distance of the Civic Center host bills that in any other city would be singular, one-for-the-ages events. But this is San Francisco, so we pretty much get all the good stuff, times three.\u003c/p>\n\u003cp>The 2008/2009 festivities begin early, at 6pm, at Bill Graham Civic Auditorium, where Live Nation presents \u003cb>Phil Lesh & Friends, Bob Weir & Ratdog and Jackie Greene\u003c/b> for the second night of a two-night run. Greene, who contributes guitar, keys, harmonica and vocals to Lesh’s Friends, opens the show with his band, playing selections from his latest CD, \u003cb>Giving Up the Ghost\u003c/b>. Bob Weir & Ratdog follow, and if you haven’t heard Ratdog’s lead guitarist, Mark Karan, in a while, that’s reason enough to go. Lesh closes the show, although by the second or third set in the wee hours, it’s a safe bet that the collection of musicians on stage will include more than the five or six official “Friends.”\u003c/p>\n\u003cp>Over at the War Memorial Opera House, which is not usually pressed into service as a venue for rock ‘n’ roll, Goldenvoice gets things going at 8pm with \u003cb>Les Claypool, Zappa Plays Zappa and Tim Fite\u003c/b>. I don’t know a thing about opener Fite, but his music sounds sort of like nursery-rhyme-folk-meets-hip-hop. Sort of. Dweezil Zappa, son of the legendary Mother of Invention himself, leads \u003cb>Zappa Plays Zappa\u003c/b> with support from a smart and talented group of young Zappatistas, plus Ray White, who toured with Dweezil’s dad, Frank, in the 1970s and ’80s and is known locally to jamband fans as the W in a late-1990s Steve Kimock project called KVHW. Headlining the show is Les Claypool, whose New Year’s Eve hijinks are always memorable. This year, Claypool’s website promises “spectacular” 3D imagery, free 3D glasses and, befitting the classy surroundings, a tuxedo-and-gown competition.\u003c/p>\n\u003cp>If you prefer phat grooves to trippy licks and diabolical discord, Goldenvoice has a show at the Warfield that should more than satisfy. Soul-funkers The Greyboy Allstars take the stage at 9pm, led by Karl Denson of Tiny Universe on sax, Robert Walter of 20th Congress on keys and Mike Andrews of \u003cb>Donnie Darko\u003c/b> and \u003cb>Walk Hard\u003c/b> film-score fame on guitar. Balloon-drop duties fall to George Clinton & Parliament Funkadelic, whose cast of almost two dozen members promises to push the Warfield’s storied stage to bursting.\u003c/p>\n\u003cp>Where will you be on New Year’s Eve? Let us know!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Bay Area Holiday Music Sampler",
"headTitle": "A Bay Area Holiday Music Sampler | KQED",
"content": "\u003cp>Tis the season for festive music celebrations and releases in the Bay Area! While many venues are closed for two or three days immediately around Christmas, there are plenty of things to do between then and the new year, and lots of great holiday music to check out. Here’s a sample:\u003c/p>\n\u003cp>Talking House Records release: \u003ca href=\"http://www.myspace.com/foggyholiday\">\u003cb>A Foggy Holiday: Carols from The SF Scene, Vol. 2\u003c/b>\u003c/a>\u003cbr>This quintessential holiday record features fourteen local bands and musicians performing indie rock versions of holiday classics like “What Child is This,” “Have Yourself a Merry Little Christmas,” “The Little Drummer Boy,” and “O Holy Night.” There are also a couple of less Christmas-centric covers, including “It’s a Marshmallow World” and “2000 Miles.” The compilation features the cream of the Bay Area music crop, including \u003ca href=\"http://www.myspace.com/themayfire\">The May Fire\u003c/a>, \u003ca href=\"http://www.thelovemakers.com/\">The Lovemakers\u003c/a>, \u003ca href=\"http://www.myspace.com/scissorsforlefty\">Scissors for Lefty\u003c/a> and \u003ca href=\"http://www.myspace.com/heavenlystates\">The Heavenly States\u003c/a>. And as if the music itself wasn’t enough, some of the profits for the record will go to Grammy’s MusiCares program to help music professionals in times of need. The album is $11 and can be ordered from the \u003ca href=\"http://www.threcords.com/?product=23\">Talking House Records website\u003c/a>.\u003c/p>\n\u003cp>The 11th Annual Black X-Mass at The Elbo Room\u003cbr>Thurs., Dec. 25, 9pm\u003cbr>San Francisco\u003cbr>For eleven years, the First Satanic Church has put on this event that features a group of incredibly entertaining acts, whatever side of the religious fence you may inhabit. This year it includes local and non-local acts, from punk and garage rock to industrial and electronic, with a smattering of quality burlesque and comedy: \u003ca href=\"http://myspace.com/thefuxedos\">The Fuxedos\u003c/a>, \u003ca href=\"http://www.myspace.com/sassytheband\">Sassy!!!\u003c/a>, \u003ca href=\"http://www.myspace.com/fluffgrrlz\">Fluff Grrl\u003c/a>, \u003ca href=\"http://www.myspace.com/kittenonthekeys\">Kitten On The Keys\u003c/a>, \u003ca href=\"http://www.myspace.com/barneythethereminwizard\">Theremin Wizard Barney\u003c/a>, Devil Dancers (burlesque) and Hearsella (comic poet). Tickets are only available at the door, and cost $10. This show is definitely a great way to liven up your x-mas.\u003c/p>\n\u003cp>Hannukah Worldwide 2008 at Mezzanine\u003cbr>Sat, Dec. 27, 9pm\u003cbr>San Francisco\u003cbr>If you’re suffering from the can’t-wait-for-New-Years blues, this show will perk you right up. The Mezzanine, which frequently hosts some of the best electronic and dance acts in the country, will host this party, presented by Birthright Israel. \u003ca href=\"http://www.taintedlove.com\">Tainted Love\u003c/a>, the ultimate party band, plays covers of songs by classic ’80s dance artists like Pat Benetar, Bananarama, Duran Duran, Prince and many more. Complimented by the audio and video mashup king \u003ca href=\"http://www.myspace.com/mikerelm\">Mike Relm\u003c/a> and multi-talented local DJ and performer \u003ca href=\"http://www.myspace.com/mrvigs\">Mr. Vigs\u003c/a>, this promises to be a night of excessive dancing. The show costs $18 in advance and $25 at the door. Get your tickets at \u003ca href=\"http://inticketing.com/evinfo.php?eventid=30143\">inticketing.com\u003c/a>.\u003c/p>\n\u003cp>Popscene’s Disco 2009 at Rickshaw Stop\u003cbr>New Year’s Eve at 9pm\u003cbr>San Francisco\u003cbr>With all of the over-packed bars and drunken parties to attend on New Year’s Eve, it’s hard to commit to something in advance. But this party at the Rickshaw Stop features two amazing acts, champagne at midnight and party favors for ringing in the new year with lots of noise. Headliners \u003ca href=\"http://www.myspace.com/shinytoyguns\">Shiny Toy Guns\u003c/a> from LA will bring their Grammy-nominated new wave electronic energy to the nice open floor of the venue, preceded by MIA’s producer and DJ \u003ca href=\"http://myspace.com/lowbee\">Low B\u003c/a>, who spins bits of soul, dancehall, hiphop, disco and more. Local DJs Aaron, Omar and Nako will keep the music playing throughout the night. The party costs $60, and there are limited advanced tickets. Get your tickets from the \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=145\">Rickshaw Stop’s website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>New Year’s Eve 2008\u003cbr>Bottom of the Hill\u003cbr>San Francisco\u003cbr>If you prefer a punk rock New Year’s Eve to an electronic one, then you’re in luck! Bottom of the Hill, the Bay Area’s home for many amazing local and touring punk bands, will feature a handful of local effects-ridden groups, headlined by \u003ca href=\"http://www.myspace.com/laplebe\">La Plebe\u003c/a>. The night will also feature \u003ca href=\"http://www.myspace.com/thefuckinbuckaroos\">The F**king Buckaroos\u003c/a>, \u003ca href=\"http://www.myspace.com/newsensepunx\">Banda Newsense\u003c/a>, \u003ca href=\"http://www.myspace.com/blackbirdraum\">Blackbird Raum\u003c/a> and \u003ca href=\"http://www.myspace.com/dj_chaos77\">DJ.Chaos\u003c/a>. This is an all-ages show. Tickets are $15 in advance and $17 at the door. Advance tickets can be purchased from \u003ca href=\"http://www.stubmatic.com/box_office/event/201\">stubmatic.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Tis the season for festive music celebrations and releases in the Bay Area! There are plenty of things to do between x-mas and the new year, and lots of great holiday music to check out. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tis the season for festive music celebrations and releases in the Bay Area! While many venues are closed for two or three days immediately around Christmas, there are plenty of things to do between then and the new year, and lots of great holiday music to check out. Here’s a sample:\u003c/p>\n\u003cp>Talking House Records release: \u003ca href=\"http://www.myspace.com/foggyholiday\">\u003cb>A Foggy Holiday: Carols from The SF Scene, Vol. 2\u003c/b>\u003c/a>\u003cbr>This quintessential holiday record features fourteen local bands and musicians performing indie rock versions of holiday classics like “What Child is This,” “Have Yourself a Merry Little Christmas,” “The Little Drummer Boy,” and “O Holy Night.” There are also a couple of less Christmas-centric covers, including “It’s a Marshmallow World” and “2000 Miles.” The compilation features the cream of the Bay Area music crop, including \u003ca href=\"http://www.myspace.com/themayfire\">The May Fire\u003c/a>, \u003ca href=\"http://www.thelovemakers.com/\">The Lovemakers\u003c/a>, \u003ca href=\"http://www.myspace.com/scissorsforlefty\">Scissors for Lefty\u003c/a> and \u003ca href=\"http://www.myspace.com/heavenlystates\">The Heavenly States\u003c/a>. And as if the music itself wasn’t enough, some of the profits for the record will go to Grammy’s MusiCares program to help music professionals in times of need. The album is $11 and can be ordered from the \u003ca href=\"http://www.threcords.com/?product=23\">Talking House Records website\u003c/a>.\u003c/p>\n\u003cp>The 11th Annual Black X-Mass at The Elbo Room\u003cbr>Thurs., Dec. 25, 9pm\u003cbr>San Francisco\u003cbr>For eleven years, the First Satanic Church has put on this event that features a group of incredibly entertaining acts, whatever side of the religious fence you may inhabit. This year it includes local and non-local acts, from punk and garage rock to industrial and electronic, with a smattering of quality burlesque and comedy: \u003ca href=\"http://myspace.com/thefuxedos\">The Fuxedos\u003c/a>, \u003ca href=\"http://www.myspace.com/sassytheband\">Sassy!!!\u003c/a>, \u003ca href=\"http://www.myspace.com/fluffgrrlz\">Fluff Grrl\u003c/a>, \u003ca href=\"http://www.myspace.com/kittenonthekeys\">Kitten On The Keys\u003c/a>, \u003ca href=\"http://www.myspace.com/barneythethereminwizard\">Theremin Wizard Barney\u003c/a>, Devil Dancers (burlesque) and Hearsella (comic poet). Tickets are only available at the door, and cost $10. This show is definitely a great way to liven up your x-mas.\u003c/p>\n\u003cp>Hannukah Worldwide 2008 at Mezzanine\u003cbr>Sat, Dec. 27, 9pm\u003cbr>San Francisco\u003cbr>If you’re suffering from the can’t-wait-for-New-Years blues, this show will perk you right up. The Mezzanine, which frequently hosts some of the best electronic and dance acts in the country, will host this party, presented by Birthright Israel. \u003ca href=\"http://www.taintedlove.com\">Tainted Love\u003c/a>, the ultimate party band, plays covers of songs by classic ’80s dance artists like Pat Benetar, Bananarama, Duran Duran, Prince and many more. Complimented by the audio and video mashup king \u003ca href=\"http://www.myspace.com/mikerelm\">Mike Relm\u003c/a> and multi-talented local DJ and performer \u003ca href=\"http://www.myspace.com/mrvigs\">Mr. Vigs\u003c/a>, this promises to be a night of excessive dancing. The show costs $18 in advance and $25 at the door. Get your tickets at \u003ca href=\"http://inticketing.com/evinfo.php?eventid=30143\">inticketing.com\u003c/a>.\u003c/p>\n\u003cp>Popscene’s Disco 2009 at Rickshaw Stop\u003cbr>New Year’s Eve at 9pm\u003cbr>San Francisco\u003cbr>With all of the over-packed bars and drunken parties to attend on New Year’s Eve, it’s hard to commit to something in advance. But this party at the Rickshaw Stop features two amazing acts, champagne at midnight and party favors for ringing in the new year with lots of noise. Headliners \u003ca href=\"http://www.myspace.com/shinytoyguns\">Shiny Toy Guns\u003c/a> from LA will bring their Grammy-nominated new wave electronic energy to the nice open floor of the venue, preceded by MIA’s producer and DJ \u003ca href=\"http://myspace.com/lowbee\">Low B\u003c/a>, who spins bits of soul, dancehall, hiphop, disco and more. Local DJs Aaron, Omar and Nako will keep the music playing throughout the night. The party costs $60, and there are limited advanced tickets. Get your tickets from the \u003ca href=\"http://rickshawstop.com/catalog/product_info.php?products_id=145\">Rickshaw Stop’s website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>New Year’s Eve 2008\u003cbr>Bottom of the Hill\u003cbr>San Francisco\u003cbr>If you prefer a punk rock New Year’s Eve to an electronic one, then you’re in luck! Bottom of the Hill, the Bay Area’s home for many amazing local and touring punk bands, will feature a handful of local effects-ridden groups, headlined by \u003ca href=\"http://www.myspace.com/laplebe\">La Plebe\u003c/a>. The night will also feature \u003ca href=\"http://www.myspace.com/thefuckinbuckaroos\">The F**king Buckaroos\u003c/a>, \u003ca href=\"http://www.myspace.com/newsensepunx\">Banda Newsense\u003c/a>, \u003ca href=\"http://www.myspace.com/blackbirdraum\">Blackbird Raum\u003c/a> and \u003ca href=\"http://www.myspace.com/dj_chaos77\">DJ.Chaos\u003c/a>. This is an all-ages show. Tickets are $15 in advance and $17 at the door. Advance tickets can be purchased from \u003ca href=\"http://www.stubmatic.com/box_office/event/201\">stubmatic.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The17 is a choir. Anyone can join, regardless of skills or experience. The compositions it performs don’t use any traditional form of notation; instead, its scores are written down as a set of instructions anyone can follow (and anyone can write). Usually there are 17 members. When they perform, they do so only for themselves and not for the benefit of any audience.\u003c/p>\n\u003cp>However, the sharp eyed among you will have noticed by now that the photograph on the left is of a book, not a company of singers. And this is true. A music review this may be, but it is one examining a choir that has no fixed line-up, makes no permanent recordings, and that I’ve never actually heard. Therefore, \u003cb>17\u003c/b>, \u003ca href=\"http://www.amazon.com/17-Bill-Drummond/dp/1905636261/ref=pd_bbs_sr_1\" target=\"offsite\" rel=\"noopener\">a book by Bill Drummond\u003c/a> about the origins and development of the choir, plus my imagination, will have to act as stand-ins for now.\u003c/p>\n\u003cp>The founding principle of The17 is the idea that all recorded music is dead, destroyed by the ease and carelessness with which we now access and consume it. The17 is an attempt to wipe the slate clean and return to a musical Year Zero; Pol Pot wins a prominent mention among the many people Drummond credits as influences. It is his attempt to reimagine music as if no music has gone before.\u003c/p>\n\u003cp>As for Drummond himself, he is probably best known as one half of \u003ca href=\"http://en.wikipedia.org/wiki/The_KLF\" target=\"offsite\" rel=\"noopener\">The KLF\u003c/a>, acid-house anarchists who became the world’s biggest-selling singles act in 1991 with hits such as “\u003ca href=\"http://www.youtube.com/watch?v=0ak1OERLTwM\" target=\"offsite\" rel=\"noopener\">Last Train to Trancentral\u003c/a>” and “\u003ca href=\"http://www.youtube.com/watch?v=uaQW7e8DfKY\" target=\"offsite\" rel=\"noopener\">3am Eternal\u003c/a>.” Drummond’s involvement in the music industry began much earlier than this though, as a member of Seventies punk act \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0xfrxqwgldfe\" target=\"offsite\" rel=\"noopener\">Big in Japan\u003c/a>. He later started his own label, became manager of \u003ca href=\"http://bunnymen.com\" target=\"offsite\" rel=\"noopener\">Echo & The Bunnymen\u003c/a>, and even ended up as a major label A&R man for a spell in the early eighties.\u003c/p>\n\u003cp>However, his involvement in the music business had been fairly minimal after The KLF retired from the industry in a riot of machine-gun fire and dead sheep in 1992. Drummond has since become known principally as an author and provocative artist, achieving notoriety in 1995 when he and KLF collaborator Jimmy Cauty burned a million pounds of their own money for a video piece titled “The K Foundation Burn a Million Quid.” Regardless of whether you like his work or not, he is rarely dull.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In common with most of Drummond’s previous books, \u003cb>17\u003c/b> is mainly auto-biographical, serving both as a diary covering two years of him organizing friends, skeptical schoolkids, and random members of the public into new versions of The17, and as a memoir of the events in Drummond’s eventful life that led to the choir’s formation. It is also an in-your-face musical manifesto, by turns romantic, angry, exciting, provocative, and even a little dull in places (when Drummond’s obsessions get the better of his self-restraint). But most of all, the book is a manual. It is a guide not just to forming your own version of The17, but also to the creative process, detailing Drummond’s successes, failures, doubts, and triumphs as he pursues his art and ideas.\u003c/p>\n\u003cp>And Drummond rarely finds it easy. After all, there is an inherent problem in trying to perform music as if no music exists: it’s impossible. It’s like trying to uninvent the atomic bomb or pretend the world is flat. But both Drummond and The17 wear this contradiction on their sleeves, and carry on regardless.\u003c/p>\n\u003cp>When Drummond isn’t being his own fiercest critic (something that provides a healthy balance to both his polemics and rock-star myth making), there is an army of other characters in the book doing the questioning for him. These range from friends who dismiss the whole idea out of hand, to interviewers who point out the artists and composers who have done similar projects in the past (often decades ago). He even quotes schoolchildren who he has recruited to become members of the The17 when they tell him that his ideas are boring and that they do similar improvised performances “all the time” in drama class.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Drummond records their criticisms, adjusts accordingly (or not), and moves on regardless. And this is where both the book and the choir work best: Not just as a comment on the state of modern music, but as a reminder that given a bit of guts and chutzpah, anyone can create.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The17 is a choir. Anyone can join, regardless of skills or experience. The compositions it performs don’t use any traditional form of notation; instead, its scores are written down as a set of instructions anyone can follow (and anyone can write). Usually there are 17 members. When they perform, they do so only for themselves and not for the benefit of any audience.\u003c/p>\n\u003cp>However, the sharp eyed among you will have noticed by now that the photograph on the left is of a book, not a company of singers. And this is true. A music review this may be, but it is one examining a choir that has no fixed line-up, makes no permanent recordings, and that I’ve never actually heard. Therefore, \u003cb>17\u003c/b>, \u003ca href=\"http://www.amazon.com/17-Bill-Drummond/dp/1905636261/ref=pd_bbs_sr_1\" target=\"offsite\" rel=\"noopener\">a book by Bill Drummond\u003c/a> about the origins and development of the choir, plus my imagination, will have to act as stand-ins for now.\u003c/p>\n\u003cp>The founding principle of The17 is the idea that all recorded music is dead, destroyed by the ease and carelessness with which we now access and consume it. The17 is an attempt to wipe the slate clean and return to a musical Year Zero; Pol Pot wins a prominent mention among the many people Drummond credits as influences. It is his attempt to reimagine music as if no music has gone before.\u003c/p>\n\u003cp>As for Drummond himself, he is probably best known as one half of \u003ca href=\"http://en.wikipedia.org/wiki/The_KLF\" target=\"offsite\" rel=\"noopener\">The KLF\u003c/a>, acid-house anarchists who became the world’s biggest-selling singles act in 1991 with hits such as “\u003ca href=\"http://www.youtube.com/watch?v=0ak1OERLTwM\" target=\"offsite\" rel=\"noopener\">Last Train to Trancentral\u003c/a>” and “\u003ca href=\"http://www.youtube.com/watch?v=uaQW7e8DfKY\" target=\"offsite\" rel=\"noopener\">3am Eternal\u003c/a>.” Drummond’s involvement in the music industry began much earlier than this though, as a member of Seventies punk act \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:0xfrxqwgldfe\" target=\"offsite\" rel=\"noopener\">Big in Japan\u003c/a>. He later started his own label, became manager of \u003ca href=\"http://bunnymen.com\" target=\"offsite\" rel=\"noopener\">Echo & The Bunnymen\u003c/a>, and even ended up as a major label A&R man for a spell in the early eighties.\u003c/p>\n\u003cp>However, his involvement in the music business had been fairly minimal after The KLF retired from the industry in a riot of machine-gun fire and dead sheep in 1992. Drummond has since become known principally as an author and provocative artist, achieving notoriety in 1995 when he and KLF collaborator Jimmy Cauty burned a million pounds of their own money for a video piece titled “The K Foundation Burn a Million Quid.” Regardless of whether you like his work or not, he is rarely dull.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In common with most of Drummond’s previous books, \u003cb>17\u003c/b> is mainly auto-biographical, serving both as a diary covering two years of him organizing friends, skeptical schoolkids, and random members of the public into new versions of The17, and as a memoir of the events in Drummond’s eventful life that led to the choir’s formation. It is also an in-your-face musical manifesto, by turns romantic, angry, exciting, provocative, and even a little dull in places (when Drummond’s obsessions get the better of his self-restraint). But most of all, the book is a manual. It is a guide not just to forming your own version of The17, but also to the creative process, detailing Drummond’s successes, failures, doubts, and triumphs as he pursues his art and ideas.\u003c/p>\n\u003cp>And Drummond rarely finds it easy. After all, there is an inherent problem in trying to perform music as if no music exists: it’s impossible. It’s like trying to uninvent the atomic bomb or pretend the world is flat. But both Drummond and The17 wear this contradiction on their sleeves, and carry on regardless.\u003c/p>\n\u003cp>When Drummond isn’t being his own fiercest critic (something that provides a healthy balance to both his polemics and rock-star myth making), there is an army of other characters in the book doing the questioning for him. These range from friends who dismiss the whole idea out of hand, to interviewers who point out the artists and composers who have done similar projects in the past (often decades ago). He even quotes schoolchildren who he has recruited to become members of the The17 when they tell him that his ideas are boring and that they do similar improvised performances “all the time” in drama class.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Drummond records their criticisms, adjusts accordingly (or not), and moves on regardless. And this is where both the book and the choir work best: Not just as a comment on the state of modern music, but as a reminder that given a bit of guts and chutzpah, anyone can create.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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