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"content": "\u003cp>\u003c/p>\u003cp>Devotional music has a pretty bad rep among nonbelieving sections of the listening public. It’s easy to understand why if you have ever endured one of those interminable ads for mail-order-only collections of bland Christian rock on TV. Despite the existence of such unholy dross in this world (but hopefully not the next), there remains a rich seam of music inspired by the almighty that can stir the heart of even the most godless listener; it just doesn’t tend to be advertised on daytime cable.\u003c/p>\u003cp>The full-blooded harmonies of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1534280\" target=\"OFFSITE\">Sacred Harp\u003c/a> singing is an ideal example. Few people have heard of this uniquely American choral tradition outside of the few Southern backwaters where it was born in the early 1800s. For two centures, small congregations have gathered for communal recitals known simply as a “singing.” But these are no ordinary church choirs. The music is rebellious in its disregard for musical convention, punk in its inclusivity, and powerful in a way that only music performed with true passion can be, regardless of what may have inspired it.\u003c/p>\u003cp>The first important thing you need to know about Sacred Harp music is there aren’t any harps involved. Sung without accompaniment, the name instead refers to the voice, our “god-given” instrument. There is no audience either, only participants. Individuals take turns to lead the group in a song, standing in the center of a square of singers, who all sit facing the middle. Each side of the square takes a different vocal part: treble, alto, tenor, and bass.\u003c/p>\u003cp>The music is written using a unique system of notation, with four notes (fa, sol, la, mi) represented by four shapes to make it easier to read (which gives rise to the tradition’s other name: shape-note music). These four notes, repeated to form the octave, are sung by name through the first verse of each song, before more conventional lyrics take over. That first run-through of nonsensical syllables evokes both the idea of singing in tongues, and the doo-doo-doo style harmonies of rock bands such as the Beach Boys (although a closer reference here might be the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1132233\" target=\"OFFSITE\">Langley Music Project\u003c/a>‘s Beach Boys cover versions).\u003c/p>\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like much of the world’s best music, Sacred Harp is performed at full volume throughout. As participation is mandatory, some of the singers are not the most accomplished vocalists, but the lack of skill in some is more than compensated for by the spirit and enthusiasm of all. Underneath the complex, repeating harmonies, the music is driven on by a stomping rhythm that never seems to let up.\u003c/p>\u003cp>The story of The Sacred Harp can be traced back to the traditions of the earliest puritan pilgrims, whose austere beliefs didn’t (as many people may think) extend to banning music completely. However, instruments were seen as an unneccesary indulgence, as was the idea of singing anything other than the Psalms, or anywhere outside of church.\u003c/p>\u003cp>Hence an a cappella tradition was born that spread as these early immigrants swelled in number and moved south. The tunes developed in style, becoming quite different from the English hymns they had started out as. Relatively untrained musicians added new compositions to the canon with little regard to European conventions and rules. Indeed, the story provides an interesting argument against the widely accepted idea that jazz is modern America’s first indigenous musical form.\u003c/p>\u003cp>These unconventional songs grew in number and popularity. In 1844, Benjamin Franklin White and Elisha J. King put together a collection of more than 250 popular and original songs, called \u003ci>The Sacred Harp\u003c/i>. This book has served as the tradition’s other bible ever since, its revisions and changes reflecting the schisms and evolution of the musical movement itself.\u003c/p>\u003cp>This story is told in the movie documentary \u003ca href=\"http://awakemysoul.com/\" target=\"OFFSITE\">Awake, My Soul\u003c/a>, which in turn has given birth to a soundtrack CD of the same name, featuring performances by contemporary choirs who are helping to keep the tradition alive. Each song begins the same way: with a wave of voices rising together with irrepressible vigor. Even the odd bum notes songs are sung with such unbridled enthusiasm that you begin to wonder if the mistake might be yours rather than theirs. The rough edges are part of the pleasure; one track, “Restoration 312b,” even features a child crying in the background. The whole thing is wonderfully, strangely real.\u003c/p>\u003cp>And now, to accompany a new DVD release of the film, a second CD has been added: \u003ca href=\"http://www.myspace.com/helpmetosing\" target=\"OFFSITE\">Help Me To Sing\u003c/a> features modern musicians performing their own versions of the songs of the Sacred Harp. While the authentic versions are relentless in their intensity and forcefulness, this second set is more mixed in both tone and quality.\u003c/p>\u003cp>The songs that don’t work so well tend to be those attempting to divine some underlying beauty in the originals. Unforunately, once you strip away the spirit and multipart harmonies, most of the songs are revealed to be fairly thin source material. The worst end up sounding like nursery rhymes, with a rather dull, childlike simplicity. The best interpretations, on the other hand, retain the fire and brimstone of the originals, for example the pounding guitar and harmonica on “Weeping Pilgrim 417” by Elvis Perkins in Dearland, or the caterwauling singing style of Mac Powell’s “Help Me to Sing 376” and “The Traveler 108b” by Cordelia’s Dad.\u003c/p>\u003cp>Overall, the hit to miss ratio is about even and, with 20 tracks in total, that means a good amount of bang for your buck. But the real value lies with the 24 original songs on the first disc. Even if you’ve never raised your own voice in praise of the big guy upstairs, or even believe he exists, this music is something to be thankful for. Amen.\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Awake, My Soul: The Original Soundtrack / Help Me To Sing: Songs of the Sacred Harp\u003c/b> and the DVD \u003cb>Awake, My Soul: The Story of the Sacrad Harp\u003c/b> are both out now, via Awake Productions.\u003c/p>\n\n",
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"excerpt": "Devotional music has a pretty bad rep among nonbelieving sections of the listening public. It's easy to understand why if you have ever endured one of those interminable ads for mail-order-only collections of bland Christian rock on TV.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>Devotional music has a pretty bad rep among nonbelieving sections of the listening public. It’s easy to understand why if you have ever endured one of those interminable ads for mail-order-only collections of bland Christian rock on TV. Despite the existence of such unholy dross in this world (but hopefully not the next), there remains a rich seam of music inspired by the almighty that can stir the heart of even the most godless listener; it just doesn’t tend to be advertised on daytime cable.\u003c/p>\u003cp>The full-blooded harmonies of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1534280\" target=\"OFFSITE\">Sacred Harp\u003c/a> singing is an ideal example. Few people have heard of this uniquely American choral tradition outside of the few Southern backwaters where it was born in the early 1800s. For two centures, small congregations have gathered for communal recitals known simply as a “singing.” But these are no ordinary church choirs. The music is rebellious in its disregard for musical convention, punk in its inclusivity, and powerful in a way that only music performed with true passion can be, regardless of what may have inspired it.\u003c/p>\u003cp>The first important thing you need to know about Sacred Harp music is there aren’t any harps involved. Sung without accompaniment, the name instead refers to the voice, our “god-given” instrument. There is no audience either, only participants. Individuals take turns to lead the group in a song, standing in the center of a square of singers, who all sit facing the middle. Each side of the square takes a different vocal part: treble, alto, tenor, and bass.\u003c/p>\u003cp>The music is written using a unique system of notation, with four notes (fa, sol, la, mi) represented by four shapes to make it easier to read (which gives rise to the tradition’s other name: shape-note music). These four notes, repeated to form the octave, are sung by name through the first verse of each song, before more conventional lyrics take over. That first run-through of nonsensical syllables evokes both the idea of singing in tongues, and the doo-doo-doo style harmonies of rock bands such as the Beach Boys (although a closer reference here might be the \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1132233\" target=\"OFFSITE\">Langley Music Project\u003c/a>‘s Beach Boys cover versions).\u003c/p>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like much of the world’s best music, Sacred Harp is performed at full volume throughout. As participation is mandatory, some of the singers are not the most accomplished vocalists, but the lack of skill in some is more than compensated for by the spirit and enthusiasm of all. Underneath the complex, repeating harmonies, the music is driven on by a stomping rhythm that never seems to let up.\u003c/p>\u003cp>The story of The Sacred Harp can be traced back to the traditions of the earliest puritan pilgrims, whose austere beliefs didn’t (as many people may think) extend to banning music completely. However, instruments were seen as an unneccesary indulgence, as was the idea of singing anything other than the Psalms, or anywhere outside of church.\u003c/p>\u003cp>Hence an a cappella tradition was born that spread as these early immigrants swelled in number and moved south. The tunes developed in style, becoming quite different from the English hymns they had started out as. Relatively untrained musicians added new compositions to the canon with little regard to European conventions and rules. Indeed, the story provides an interesting argument against the widely accepted idea that jazz is modern America’s first indigenous musical form.\u003c/p>\u003cp>These unconventional songs grew in number and popularity. In 1844, Benjamin Franklin White and Elisha J. King put together a collection of more than 250 popular and original songs, called \u003ci>The Sacred Harp\u003c/i>. This book has served as the tradition’s other bible ever since, its revisions and changes reflecting the schisms and evolution of the musical movement itself.\u003c/p>\u003cp>This story is told in the movie documentary \u003ca href=\"http://awakemysoul.com/\" target=\"OFFSITE\">Awake, My Soul\u003c/a>, which in turn has given birth to a soundtrack CD of the same name, featuring performances by contemporary choirs who are helping to keep the tradition alive. Each song begins the same way: with a wave of voices rising together with irrepressible vigor. Even the odd bum notes songs are sung with such unbridled enthusiasm that you begin to wonder if the mistake might be yours rather than theirs. The rough edges are part of the pleasure; one track, “Restoration 312b,” even features a child crying in the background. The whole thing is wonderfully, strangely real.\u003c/p>\u003cp>And now, to accompany a new DVD release of the film, a second CD has been added: \u003ca href=\"http://www.myspace.com/helpmetosing\" target=\"OFFSITE\">Help Me To Sing\u003c/a> features modern musicians performing their own versions of the songs of the Sacred Harp. While the authentic versions are relentless in their intensity and forcefulness, this second set is more mixed in both tone and quality.\u003c/p>\u003cp>The songs that don’t work so well tend to be those attempting to divine some underlying beauty in the originals. Unforunately, once you strip away the spirit and multipart harmonies, most of the songs are revealed to be fairly thin source material. The worst end up sounding like nursery rhymes, with a rather dull, childlike simplicity. The best interpretations, on the other hand, retain the fire and brimstone of the originals, for example the pounding guitar and harmonica on “Weeping Pilgrim 417” by Elvis Perkins in Dearland, or the caterwauling singing style of Mac Powell’s “Help Me to Sing 376” and “The Traveler 108b” by Cordelia’s Dad.\u003c/p>\u003cp>Overall, the hit to miss ratio is about even and, with 20 tracks in total, that means a good amount of bang for your buck. But the real value lies with the 24 original songs on the first disc. Even if you’ve never raised your own voice in praise of the big guy upstairs, or even believe he exists, this music is something to be thankful for. Amen.\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Awake, My Soul: The Original Soundtrack / Help Me To Sing: Songs of the Sacred Harp\u003c/b> and the DVD \u003cb>Awake, My Soul: The Story of the Sacrad Harp\u003c/b> are both out now, via Awake Productions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been over forty years since bands like the Grateful Dead, Jefferson Airplane, and Quicksilver Messenger Service fused psychedelic elements into folk, blues, and rock and roll, creating the “San Francisco Sound” that many still consider the signature identity of Bay Area music. Given that movement’s lasting impact on rock music, it probably shouldn’t be a surprise that there’s a fertile psych rock underground percolating in the Bay today. Some of the scene’s many upstarts come together this weekend for a smorgasbord of psych rock called the \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">Frisco Freakout\u003c/a>. It’s happening this Saturday at The Parkside in Potrero Hill.\u003c/p>\n\u003cp>Billed as a “Psychedelic Dance Party,” the first annual day and night event features ten psych-inclined bands along with DJs and visuals, and it captures a great sampling of experimental progressive acts under one roof. True to the umbrella nature of psych rock, the sounds range from acoustic folk to heavy rock, with quite a few potential highlights, like San Francisco quartet \u003ca href=\"http://www.myspace.com/woodenshjips\" target=\"offsite\" rel=\"noopener\">Wooden Shjips\u003c/a>. The band’s loose stripped-down grooves have won broad critical acclaim and earned them performances at high profile festivals like last month’s All Tomorrow’s Parties curated by My Bloody Valentine. There’s an impressive minimalism at work on 2007’s \u003cstrong>Wooden Shjips\u003c/strong>, utilizing repetitive phrases and trippy echo-saturated vocals to create melodic spiraling jams.\u003c/p>\n\u003cp>Local singer-songwriter \u003ca href=\"http://www.myspace.com/medicinefuckdream\" target=\"offsite\" rel=\"noopener\">Greg Ashley\u003c/a>, long one of my favorites, also performs. Ashley might best be known for his psych rock band \u003ca href=\"http://www.myspace.com/thegrisgris\" target=\"offsite\" rel=\"noopener\">The Gris Gris\u003c/a>, but he’s also an accomplished solo artist. \u003cstrong>Painted Garden\u003c/strong>, his latest release on \u003ca href=\"http://www.birdmanrecords.com\" target=\"offsite\" rel=\"noopener\">Birdman Records\u003c/a>, is a lush album of layered pastiche folk-rock. The musician’s also using his sound-crafting expertise as a popular producer for local bands. Ashley’s solo acoustic performances tend to underscore his songs’ warm melodies and intrinsic vulnerability, so his set should be a nice break between heavier acts.\u003c/p>\n\u003cp>The party’s not all Bay Area groups, however, with two of its most popular bands being \u003ca href=\"http://www.myspace.com/crystalantlers\" target=\"offsite\" rel=\"noopener\">Crystal Antlers\u003c/a>, hailing from Long Beach, and \u003ca href=\"http://www.myspace.com/earthless\" target=\"offsite\" rel=\"noopener\">Earthless\u003c/a>, from San Diego. The former recently rereleased their debut \u003cstrong>EP\u003c/strong> on Touch and Go, and it’s a great first impression from this garage-influenced five-piece, packed with raw rock blasts. Earthless close the Freakout with their ornate stoner rock. The band cites an eclectic mix of German and Japanese heavy bands as inspiration for their spacey, winding compositions.\u003c/p>\n\u003cp>Also performing at the Frisco Freakout are \u003ca href=\"http://www.myspace.com/theebadtrips\" target=\"offsite\" rel=\"noopener\">The Bad Trips\u003c/a> (Ventura), \u003ca href=\"http://www.myspace.com/theassembleheadinsunburstsound\" target=\"offsite\" rel=\"noopener\">Assemble Head in Sunburst Sound\u003c/a>, \u003ca href=\"http://www.myspace.com/ascendedmaster\" target=\"offsite\" rel=\"noopener\">Ascended Master\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\" target=\"offsite\" rel=\"noopener\">Sleepy Sun\u003c/a>, \u003ca href=\"http://www.myspace.com/mythicalbeast\" target=\"offsite\" rel=\"noopener\">Mythical Beast\u003c/a> (Kansas City), \u003ca href=\"http://www.myspace.com/sequintrails\" target=\"offsite\" rel=\"noopener\">Sequin Trails\u003c/a>, and \u003ca href=\"http://www.myspace.com/artlessing\" target=\"offsite\" rel=\"noopener\">Art Lessing and the Flower Vato\u003c/a>. If that’s not enough to tempt you, proceeds from the event will benefit \u003ca href=\"http://www.creativityexplored.org/\" target=\"offsite\" rel=\"noopener\">Creativity Explored\u003c/a>, a San Francisco nonprofit visual arts center that enables artists with developmental disabilities to create, exhibit, and sell their art. It’s definitely a worthy cause for what should be a rich day and night of forward-thinking music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show starts at 2pm, $15, and is all ages. The full schedule of set times and some music can be found at \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">FriscoFreakout.com\u003c/a>. Tickets can be purchased at \u003ca href=\"https://holdmyticket.com/mini/mini.php?id=1813\" target=\"offsite\" rel=\"noopener\">HoldMyTicket.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been over forty years since bands like the Grateful Dead, Jefferson Airplane, and Quicksilver Messenger Service fused psychedelic elements into folk, blues, and rock and roll, creating the “San Francisco Sound” that many still consider the signature identity of Bay Area music. Given that movement’s lasting impact on rock music, it probably shouldn’t be a surprise that there’s a fertile psych rock underground percolating in the Bay today. Some of the scene’s many upstarts come together this weekend for a smorgasbord of psych rock called the \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">Frisco Freakout\u003c/a>. It’s happening this Saturday at The Parkside in Potrero Hill.\u003c/p>\n\u003cp>Billed as a “Psychedelic Dance Party,” the first annual day and night event features ten psych-inclined bands along with DJs and visuals, and it captures a great sampling of experimental progressive acts under one roof. True to the umbrella nature of psych rock, the sounds range from acoustic folk to heavy rock, with quite a few potential highlights, like San Francisco quartet \u003ca href=\"http://www.myspace.com/woodenshjips\" target=\"offsite\" rel=\"noopener\">Wooden Shjips\u003c/a>. The band’s loose stripped-down grooves have won broad critical acclaim and earned them performances at high profile festivals like last month’s All Tomorrow’s Parties curated by My Bloody Valentine. There’s an impressive minimalism at work on 2007’s \u003cstrong>Wooden Shjips\u003c/strong>, utilizing repetitive phrases and trippy echo-saturated vocals to create melodic spiraling jams.\u003c/p>\n\u003cp>Local singer-songwriter \u003ca href=\"http://www.myspace.com/medicinefuckdream\" target=\"offsite\" rel=\"noopener\">Greg Ashley\u003c/a>, long one of my favorites, also performs. Ashley might best be known for his psych rock band \u003ca href=\"http://www.myspace.com/thegrisgris\" target=\"offsite\" rel=\"noopener\">The Gris Gris\u003c/a>, but he’s also an accomplished solo artist. \u003cstrong>Painted Garden\u003c/strong>, his latest release on \u003ca href=\"http://www.birdmanrecords.com\" target=\"offsite\" rel=\"noopener\">Birdman Records\u003c/a>, is a lush album of layered pastiche folk-rock. The musician’s also using his sound-crafting expertise as a popular producer for local bands. Ashley’s solo acoustic performances tend to underscore his songs’ warm melodies and intrinsic vulnerability, so his set should be a nice break between heavier acts.\u003c/p>\n\u003cp>The party’s not all Bay Area groups, however, with two of its most popular bands being \u003ca href=\"http://www.myspace.com/crystalantlers\" target=\"offsite\" rel=\"noopener\">Crystal Antlers\u003c/a>, hailing from Long Beach, and \u003ca href=\"http://www.myspace.com/earthless\" target=\"offsite\" rel=\"noopener\">Earthless\u003c/a>, from San Diego. The former recently rereleased their debut \u003cstrong>EP\u003c/strong> on Touch and Go, and it’s a great first impression from this garage-influenced five-piece, packed with raw rock blasts. Earthless close the Freakout with their ornate stoner rock. The band cites an eclectic mix of German and Japanese heavy bands as inspiration for their spacey, winding compositions.\u003c/p>\n\u003cp>Also performing at the Frisco Freakout are \u003ca href=\"http://www.myspace.com/theebadtrips\" target=\"offsite\" rel=\"noopener\">The Bad Trips\u003c/a> (Ventura), \u003ca href=\"http://www.myspace.com/theassembleheadinsunburstsound\" target=\"offsite\" rel=\"noopener\">Assemble Head in Sunburst Sound\u003c/a>, \u003ca href=\"http://www.myspace.com/ascendedmaster\" target=\"offsite\" rel=\"noopener\">Ascended Master\u003c/a>, \u003ca href=\"http://www.myspace.com/sleepysun\" target=\"offsite\" rel=\"noopener\">Sleepy Sun\u003c/a>, \u003ca href=\"http://www.myspace.com/mythicalbeast\" target=\"offsite\" rel=\"noopener\">Mythical Beast\u003c/a> (Kansas City), \u003ca href=\"http://www.myspace.com/sequintrails\" target=\"offsite\" rel=\"noopener\">Sequin Trails\u003c/a>, and \u003ca href=\"http://www.myspace.com/artlessing\" target=\"offsite\" rel=\"noopener\">Art Lessing and the Flower Vato\u003c/a>. If that’s not enough to tempt you, proceeds from the event will benefit \u003ca href=\"http://www.creativityexplored.org/\" target=\"offsite\" rel=\"noopener\">Creativity Explored\u003c/a>, a San Francisco nonprofit visual arts center that enables artists with developmental disabilities to create, exhibit, and sell their art. It’s definitely a worthy cause for what should be a rich day and night of forward-thinking music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show starts at 2pm, $15, and is all ages. The full schedule of set times and some music can be found at \u003ca href=\"http://www.friscofreakout.com/\" target=\"offsite\" rel=\"noopener\">FriscoFreakout.com\u003c/a>. Tickets can be purchased at \u003ca href=\"https://holdmyticket.com/mini/mini.php?id=1813\" target=\"offsite\" rel=\"noopener\">HoldMyTicket.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Bluegrass Festival",
"headTitle": "Hardly Strictly Bluegrass Festival | KQED",
"content": "\u003cp>It’s the first weekend in October, which means it’s time for everyone’s favorite investment banker, Warren Hellman, to unwrap his annual auditory gift to the city of San Francisco known as \u003cb>Hardly Strictly Bluegrass.\u003c/b> As it has since 2001, when less than a dozen acts were on the bill, this year’s free festival takes place at Speedway Meadow in Golden Gate Park. \u003cb>Emmylou Harris, Alison Krauss\u003c/b>, and \u003cb>Jerry Douglas\u003c/b> were all there that first year, and they have returned for the 2008 extravaganza, along with another 70 or so groups performing from Friday October 3 to Sunday October 5.\u003c/p>\n\u003cp>Once again the problem for the tens of thousands of music fans who make their way to the show (besides parking, that is, which is why public transportation and bicycles are encouraged) will be to figure out what to see, since incredible music happens simultaneously on five stages.\u003c/p>\n\u003cp>The exception to this conundrum is the lineup on Friday morning, when HSB kicks things off at 10:30 with a pair of short sets by fiddle whiz kid \u003cb>Ruby Jane\u003c/b> and rapper \u003cb>MC Hammer\u003c/b>, a pairing that would have impressed even the great Bill Graham. Later in the afternoon at 2:30, singer \u003cb>Sharon Little\u003c/b>, who has been on tour with Grammy winners \u003cb>Robert Plant\u003c/b> and \u003cb>Alison Krauss\u003c/b>, will take the Banjo Stage to warm up the crowd for former Krauss bandmate \u003cb>Jerry Douglas\u003c/b> at 3:35. Backed by his own band, Douglas will work his lapsteel magic before Plant (who this week said that no, he would not be reuniting with \u003cb>Led Zeppelin\u003c/b> any time soon because he’s having a perfectly fine time touring in support of \u003cb>Raising Sand\u003c/b>, thank you very much) and Krauss join forces with producer/musician \u003cb>T Bone Burnett\u003c/b> at 5:15.\u003c/p>\n\u003cp>Saturday is a bit trickier. Normally I’d suggest starting the day at 11 with old-timey HSB favorites \u003cb>Dry Branch Fire Squad\u003c/b> on the Star Stage, but \u003cb>Jimmie Dale Gilmore\u003c/b> is playing at the same time on Banjo, so the guy from Lubbock is probably going to win that hand. Fiddler \u003cb>Laurie Lewis\u003c/b> follows Gilmore at 11:55, while fellow fiddler \u003cb>Samantha Robichaud\u003c/b> plays the Porch at 12:35, but if you are ready to get a little crazy it’s the \u003cb>Waco Brothers\u003c/b> you want at Star. You’re probably going to end up over there anyhow because \u003cb>Richard Thompson\u003c/b> comes on at 1:30. After that it’s a quick walk over to Rooster for \u003cb>Nick Lowe\u003c/b> at 2:45, followed by one of the best bands of any genre to come out of Colorado, \u003cb>Hot Rize\u003c/b>, who play at 3:25 at Banjo. I suspect many people will camp out there for the rest of the day to hear the legendary \u003cb>Odetta\u003c/b> at 4:40, followed by alt-country hero \u003cb>Steve Earle\u003c/b> at 6:00. But that means missing \u003cb>Asleep At The Wheel\u003c/b> at 5:20 at the Arrow Stage and \u003cb>Global Drum Project\u003c/b> at about the same time at Star. Decisions decisions…\u003c/p>\n\u003cp>Sunday is even worse, or better, depending on how you look at these things. Gotta catch Telecaster king \u003cb>Bill Kirchen\u003c/b> at 11:00 at Star (I can’t remember how many times I saw this guy with \u003cb>Commander Cody\u003c/b> back in the day), and ditto \u003cb>Moonalice\u003c/b> at noon at Arrow (having Barry Sless and Pete Sears on the same stage is always a treat). After that, you’d be forgiven if you just decided to stay put in front of Banjo for the rest of the day to enjoy the Man of Constant Sorrow himself, \u003cb>Ralph Stanley\u003c/b> at 1:45, banjo pioneer \u003cb>Earl Scruggs\u003c/b> at 2:55, mandolin maven \u003cb>Ricky Skaggs\u003c/b> at 4:15, and the great \u003cb>Emmylou Harris\u003c/b> at 5:45. You’d be forgiven, but you might not forgive yourself for missing the action at Arrow, which includes newgrass comers \u003cb>The Waybacks\u003c/b> at 3:20, sweet-voiced \u003cb>Pegi Young\u003c/b> at 4:30, and jammers \u003cb>Tea Leaf Green\u003c/b> at 5:50. Oh, and you’d also fail to see singer-songwriter-bard \u003cb>Loudon Wainwright III\u003c/b> at 4:40 at Rooster or \u003cb>Elvis\u003c/b> freakin’ \u003cb>Costello\u003c/b> at 2:30 at Star, followed on the same stage by gypsy punk-rock sensations \u003cb>Gogol Bordello\u003c/b> at 4:15, who are not only not strictly bluegrass, but probably aren’t even hardly strictly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I may have to miss \u003cb>Gogol Bordello,\u003c/b> but only because I’ll be seeing them later that night at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a>, where they will play a benefit for a website that helps out old dogs. I don’t believe Warren Hellman is involved with that yet, but by the end of this weekend, anything is possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b> takes place October 3-5, 2008 at Speedway Meadow in Golden Gate Park. For \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit hardlystrictlybluegrass.com.\u003c/p>\n\n",
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"excerpt": "It's the first weekend in October, which means it's time for everyone's favorite investment banker, Warren Hellman, to unwrap his annual auditory gift to the city of San Francisco known as \u003cb>Hardly Strictly Bluegrass\u003c/b>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the first weekend in October, which means it’s time for everyone’s favorite investment banker, Warren Hellman, to unwrap his annual auditory gift to the city of San Francisco known as \u003cb>Hardly Strictly Bluegrass.\u003c/b> As it has since 2001, when less than a dozen acts were on the bill, this year’s free festival takes place at Speedway Meadow in Golden Gate Park. \u003cb>Emmylou Harris, Alison Krauss\u003c/b>, and \u003cb>Jerry Douglas\u003c/b> were all there that first year, and they have returned for the 2008 extravaganza, along with another 70 or so groups performing from Friday October 3 to Sunday October 5.\u003c/p>\n\u003cp>Once again the problem for the tens of thousands of music fans who make their way to the show (besides parking, that is, which is why public transportation and bicycles are encouraged) will be to figure out what to see, since incredible music happens simultaneously on five stages.\u003c/p>\n\u003cp>The exception to this conundrum is the lineup on Friday morning, when HSB kicks things off at 10:30 with a pair of short sets by fiddle whiz kid \u003cb>Ruby Jane\u003c/b> and rapper \u003cb>MC Hammer\u003c/b>, a pairing that would have impressed even the great Bill Graham. Later in the afternoon at 2:30, singer \u003cb>Sharon Little\u003c/b>, who has been on tour with Grammy winners \u003cb>Robert Plant\u003c/b> and \u003cb>Alison Krauss\u003c/b>, will take the Banjo Stage to warm up the crowd for former Krauss bandmate \u003cb>Jerry Douglas\u003c/b> at 3:35. Backed by his own band, Douglas will work his lapsteel magic before Plant (who this week said that no, he would not be reuniting with \u003cb>Led Zeppelin\u003c/b> any time soon because he’s having a perfectly fine time touring in support of \u003cb>Raising Sand\u003c/b>, thank you very much) and Krauss join forces with producer/musician \u003cb>T Bone Burnett\u003c/b> at 5:15.\u003c/p>\n\u003cp>Saturday is a bit trickier. Normally I’d suggest starting the day at 11 with old-timey HSB favorites \u003cb>Dry Branch Fire Squad\u003c/b> on the Star Stage, but \u003cb>Jimmie Dale Gilmore\u003c/b> is playing at the same time on Banjo, so the guy from Lubbock is probably going to win that hand. Fiddler \u003cb>Laurie Lewis\u003c/b> follows Gilmore at 11:55, while fellow fiddler \u003cb>Samantha Robichaud\u003c/b> plays the Porch at 12:35, but if you are ready to get a little crazy it’s the \u003cb>Waco Brothers\u003c/b> you want at Star. You’re probably going to end up over there anyhow because \u003cb>Richard Thompson\u003c/b> comes on at 1:30. After that it’s a quick walk over to Rooster for \u003cb>Nick Lowe\u003c/b> at 2:45, followed by one of the best bands of any genre to come out of Colorado, \u003cb>Hot Rize\u003c/b>, who play at 3:25 at Banjo. I suspect many people will camp out there for the rest of the day to hear the legendary \u003cb>Odetta\u003c/b> at 4:40, followed by alt-country hero \u003cb>Steve Earle\u003c/b> at 6:00. But that means missing \u003cb>Asleep At The Wheel\u003c/b> at 5:20 at the Arrow Stage and \u003cb>Global Drum Project\u003c/b> at about the same time at Star. Decisions decisions…\u003c/p>\n\u003cp>Sunday is even worse, or better, depending on how you look at these things. Gotta catch Telecaster king \u003cb>Bill Kirchen\u003c/b> at 11:00 at Star (I can’t remember how many times I saw this guy with \u003cb>Commander Cody\u003c/b> back in the day), and ditto \u003cb>Moonalice\u003c/b> at noon at Arrow (having Barry Sless and Pete Sears on the same stage is always a treat). After that, you’d be forgiven if you just decided to stay put in front of Banjo for the rest of the day to enjoy the Man of Constant Sorrow himself, \u003cb>Ralph Stanley\u003c/b> at 1:45, banjo pioneer \u003cb>Earl Scruggs\u003c/b> at 2:55, mandolin maven \u003cb>Ricky Skaggs\u003c/b> at 4:15, and the great \u003cb>Emmylou Harris\u003c/b> at 5:45. You’d be forgiven, but you might not forgive yourself for missing the action at Arrow, which includes newgrass comers \u003cb>The Waybacks\u003c/b> at 3:20, sweet-voiced \u003cb>Pegi Young\u003c/b> at 4:30, and jammers \u003cb>Tea Leaf Green\u003c/b> at 5:50. Oh, and you’d also fail to see singer-songwriter-bard \u003cb>Loudon Wainwright III\u003c/b> at 4:40 at Rooster or \u003cb>Elvis\u003c/b> freakin’ \u003cb>Costello\u003c/b> at 2:30 at Star, followed on the same stage by gypsy punk-rock sensations \u003cb>Gogol Bordello\u003c/b> at 4:15, who are not only not strictly bluegrass, but probably aren’t even hardly strictly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I may have to miss \u003cb>Gogol Bordello,\u003c/b> but only because I’ll be seeing them later that night at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a>, where they will play a benefit for a website that helps out old dogs. I don’t believe Warren Hellman is involved with that yet, but by the end of this weekend, anything is possible.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Hardly Strictly Bluegrass\u003c/b> takes place October 3-5, 2008 at Speedway Meadow in Golden Gate Park. For \u003ca href=\"http://www.hardlystrictlybluegrass.com\" target=\"offsite\" rel=\"noopener\">information\u003c/a>, visit hardlystrictlybluegrass.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Stoppard's Rock 'n' Roll",
"headTitle": "Tom Stoppard’s Rock ‘n’ Roll | KQED",
"content": "\u003cp>With a running time of three hours including intermission, Tom Stoppard’s \u003cb>Rock ‘n’ Roll,\u003c/b> is as much of an endurance test as a Grateful Dead concert, albeit without the painfully late start and interminable set break.\u003c/p>\n\u003cp>Directed by A.C.T.’s artistic director, Carey Perloff, Stoppard’s characteristically funny and intelligent play is an exceedingly dense affair, even for him. It requires the audience to be steeped in the personalities and palace intrigues of Czechoslovakian politics between the years 1968 and 1990; to appreciate the creative genius of Syd Barrett, the pre-\u003cb>Dark Side of the Moon\u003c/b> founder of Pink Floyd; to know their way around the finer points of communism, both as conceived by Karl Marx and ruthlessly manipulated by Joseph Stalin; and to revel in the nuances of translation and meaning to be found in the ancient poems of Sappho. Did I mention that \u003cb>Rock ‘n’ Roll\u003c/b> is also a sentimental love story? Consider it mentioned.\u003c/p>\n\u003cp>It’s not that the play’s length and arcane subject matter is off-putting or exhausting. Far from it. The weaving together of so much political history, Greek poetry, and Stoppardian fiction — with a terrific soundtrack that careens from scruffy Rolling Stones to saccharine Beach Boys, early Syd Barrett to late Pink Floyd, mournful Velvet Underground to exuberantly sonic Plastic People of the Universe — is invigorating. After seeing the performance on opening night, I have been thinking about little else, and not just because I am obliged to type my meager observations into a computer. This is a play that stays with you, powerful despite its numerous faults.\u003c/p>\n\u003cp>Stoppard’s fictional story begins in Cambridge in 1968. Real Russian tanks have just rolled through the streets of Prague, prompting a young Czech student named Jan (Manoel Felciano) to inform his Cambridge professor and mentor, an old-school Commie named Max (Jack Willis), that he is returning home. Max, who is defensive about the Red fist that has come out of the east to crush the Prague Spring, is furious with his protégé for failing to complete his studies.\u003c/p>\n\u003cp>Or, at least, that’s what I think Max is angry about. Throughout the play, Max’s actions often come off as irrational, as if this man who claims to have only a biological machine between his ears, rather than a mind, might lack either. Only later, when we realize that Max has lots of desires but possibly not a heart, do we surmise the cause of Max’s seemingly random actions. I’m certain that I have not known as many Communist Cambridge professors as Stoppard has, but making Max a heartless blowhard who values the hive over the bees strikes me as an overwrought bit of stereotyping.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Equally suspicious is Stoppard’s decision to kill off Max’s wife, Eleanor (René Augesen), who you know won’t make it to the second act the moment she reveals her breast cancer early in the first. A renowned authority on Sappho, her awestruck female students timidly creep into her home for one-on-one (purely Platonic) lessons. Eleanor struck me as a far more intelligent and clear-eyed creation than poor idealistic Max, so I felt somewhat cheated not to get her perspective on the play’s events as they unfolded. Why do away with her? Keeping both her and Max alive would have made this long play even longer, but from where I sat, Stoppard got rid of the wrong character.\u003c/p>\n\u003cp>Max and Eleanor’s daughter, Esme (played as a young girl by Summer Serafin), who opens the play writhing on a table while smoking a joint, would like to give her father’s favorite pupil a parting gift — her virginity. Jan is clearly infatuated with this hippie vision of sweet-sixteen. But despite his relative youth, Jan is an old-world gentleman. So, he plucks one of Esme’s cherry LPs to add to his collection of Western auditory decadence and heads home.\u003c/p>\n\u003cp>Ostensibly he is going to Czechoslovakia to look in on his mom, but his real motives are not entirely clear. Even the interrogator (Anthony Fusco), who gives him a good Orwellian grilling at customs, can’t understand why he wants to return to Czechoslovakia when all the other intellectuals in the country have chosen to flee. The answer is that Jan must suffer to give Stoppard’s story its arc. As artificial as that may sound, at least the playwright does not have to make up what comes next, since he has just hurled this confused young man, whose sensibility is Eastern but whose musical tastes look to the West, into the real events of Russian-occupied Czechoslovakia.\u003c/p>\n\u003cp>When we meet Jan, he’s a familiar, almost familial, guest at Max and Eleanor’s bourgeois Cambridge home, where the hyper-educated dine outdoors on a brick patio amid trellises and greenery. Jan’s flat in Prague is a far cry from that. His meagre journalist’s salary affords him an apartment that has the messy ambience of a student’s crash pad, only more run down. Sure, Jan dotes on his records and hi-fi (he is forever checking his precious collection of vinyl to make sure it is all in order and accounted for), but he cares so little for his furnishings that he repairs the broken foot of a beat-up couch with a stack of books. For Jan, literature is a cheaper commodity than furniture.\u003c/p>\n\u003cp>This business of what Jan really cares about, indeed, what any of the characters really care about, is, I think, a key to the play, more even than the question of whether we are just collections of atoms or ethereal beings possessing unquantifiable souls. Having left Esme, who he never got the chance to properly care about or for, Jan is now on autopilot — a stranger in a strange land — doing what he must to get along.\u003c/p>\n\u003cp>Out of a sense of self-preservation more than ideology, Jan wants to believe the state propaganda that everything is okay, but he also wants to listen to his music and be left alone. That, it turns out, is a more radical proposition than any of the causes that his friend Ferdinand (Jud Williford) would like for him to take up. Jan derides Ferdinand’s endless protests as “moral exhibitionism.” It’s only when the police beat up fans of his favorite band, The Plastic People of the Universe, that Jan gets politically engaged enough to thrust a petition in Ferdinand’s face. Jan idolizes the Plastics precisely because they stand for nothing. They are the real agents of change, he says, because they are safe from the desire for recognition. As for the kids who were beat up by the police, they deserve support because, unlike traditional dissidents, who hurl Molotov cocktails and words alike at their oppressors, they had not asked for the fight.\u003c/p>\n\u003cp>One of the payoffs of \u003cb>Rock ‘n’ Roll\u003c/b>‘s length is that we get a chance to hang out with Jan and Ferdinand long enough to watch their relationship evolve. These men, Felciano and Williford convince us, are good friends, for all their differences. Augesen and Serafin also make the most of the play’s deliberate pace. In the first act, Augesen plays Eleanor and Serafin plays her daughter, Esme. In the second act, Augesen takes over the role of the adult Esme while Serafin plays Esme’s teenage daughter, Alice. Reading the program before the curtain went up, as \u003cb>It’s Only Rock and Roll\u003c/b> blared into the upper reaches of the Geary Theater, I wondered if these two could pull it off. But Serafin convinces us that she is two very different women — Esme, a dreamer who is more interested in the mantra “make love not war” than her father’s “the workers shall own the means of production,” and Alice, whose possession of her grandparents’ school-smarts gene has gotten her into Cambridge a full year early.\u003c/p>\n\u003cp>As for Augesen, she is a revelation. I loved her as Eleanor in the first act — from her flashes of anger to the way she would regain her poise to the patience she showed her childish and naïve husband. But as the adult Esme, struggling to fit into a world filled with people, her daughter included, who will always be light years smarter than she could ever dream, her anxieties creep out quietly, revealing themselves in the littlest things. This is a wonderful, smart performance; I could not take my eyes off of her.\u003c/p>\n\u003cp>If there is one unforgivably sour note to this production it is the set, which takes its inspiration from a photograph of a view up the light well in a Prague apartment building. Like the building’s walls in the photograph, the walls in the set rise away from us, upstage in forced perspective, so that windows and masonry flank either side of the stage, the ceiling above it, and the stage itself. The effect is rather like standing in an M.C. Escher etching, adding a layer of surrealism that is, I would suggest, entirely at odds with Stoppard’s play. We expect playwrights to be indulgent enough to occasionally undermine their own work, but it makes us squirm when a theater company appears to take similar liberties in the name, presumably, of its need for self expression. Max and Eleanor would not have been pleased.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Rock ‘n’ Roll\u003c/b> runs through October 18, 2008 at A.C.T. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit act-sf.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With a running time of three hours including intermission, Tom Stoppard’s \u003cb>Rock ‘n’ Roll,\u003c/b> is as much of an endurance test as a Grateful Dead concert, albeit without the painfully late start and interminable set break.\u003c/p>\n\u003cp>Directed by A.C.T.’s artistic director, Carey Perloff, Stoppard’s characteristically funny and intelligent play is an exceedingly dense affair, even for him. It requires the audience to be steeped in the personalities and palace intrigues of Czechoslovakian politics between the years 1968 and 1990; to appreciate the creative genius of Syd Barrett, the pre-\u003cb>Dark Side of the Moon\u003c/b> founder of Pink Floyd; to know their way around the finer points of communism, both as conceived by Karl Marx and ruthlessly manipulated by Joseph Stalin; and to revel in the nuances of translation and meaning to be found in the ancient poems of Sappho. Did I mention that \u003cb>Rock ‘n’ Roll\u003c/b> is also a sentimental love story? Consider it mentioned.\u003c/p>\n\u003cp>It’s not that the play’s length and arcane subject matter is off-putting or exhausting. Far from it. The weaving together of so much political history, Greek poetry, and Stoppardian fiction — with a terrific soundtrack that careens from scruffy Rolling Stones to saccharine Beach Boys, early Syd Barrett to late Pink Floyd, mournful Velvet Underground to exuberantly sonic Plastic People of the Universe — is invigorating. After seeing the performance on opening night, I have been thinking about little else, and not just because I am obliged to type my meager observations into a computer. This is a play that stays with you, powerful despite its numerous faults.\u003c/p>\n\u003cp>Stoppard’s fictional story begins in Cambridge in 1968. Real Russian tanks have just rolled through the streets of Prague, prompting a young Czech student named Jan (Manoel Felciano) to inform his Cambridge professor and mentor, an old-school Commie named Max (Jack Willis), that he is returning home. Max, who is defensive about the Red fist that has come out of the east to crush the Prague Spring, is furious with his protégé for failing to complete his studies.\u003c/p>\n\u003cp>Or, at least, that’s what I think Max is angry about. Throughout the play, Max’s actions often come off as irrational, as if this man who claims to have only a biological machine between his ears, rather than a mind, might lack either. Only later, when we realize that Max has lots of desires but possibly not a heart, do we surmise the cause of Max’s seemingly random actions. I’m certain that I have not known as many Communist Cambridge professors as Stoppard has, but making Max a heartless blowhard who values the hive over the bees strikes me as an overwrought bit of stereotyping.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Equally suspicious is Stoppard’s decision to kill off Max’s wife, Eleanor (René Augesen), who you know won’t make it to the second act the moment she reveals her breast cancer early in the first. A renowned authority on Sappho, her awestruck female students timidly creep into her home for one-on-one (purely Platonic) lessons. Eleanor struck me as a far more intelligent and clear-eyed creation than poor idealistic Max, so I felt somewhat cheated not to get her perspective on the play’s events as they unfolded. Why do away with her? Keeping both her and Max alive would have made this long play even longer, but from where I sat, Stoppard got rid of the wrong character.\u003c/p>\n\u003cp>Max and Eleanor’s daughter, Esme (played as a young girl by Summer Serafin), who opens the play writhing on a table while smoking a joint, would like to give her father’s favorite pupil a parting gift — her virginity. Jan is clearly infatuated with this hippie vision of sweet-sixteen. But despite his relative youth, Jan is an old-world gentleman. So, he plucks one of Esme’s cherry LPs to add to his collection of Western auditory decadence and heads home.\u003c/p>\n\u003cp>Ostensibly he is going to Czechoslovakia to look in on his mom, but his real motives are not entirely clear. Even the interrogator (Anthony Fusco), who gives him a good Orwellian grilling at customs, can’t understand why he wants to return to Czechoslovakia when all the other intellectuals in the country have chosen to flee. The answer is that Jan must suffer to give Stoppard’s story its arc. As artificial as that may sound, at least the playwright does not have to make up what comes next, since he has just hurled this confused young man, whose sensibility is Eastern but whose musical tastes look to the West, into the real events of Russian-occupied Czechoslovakia.\u003c/p>\n\u003cp>When we meet Jan, he’s a familiar, almost familial, guest at Max and Eleanor’s bourgeois Cambridge home, where the hyper-educated dine outdoors on a brick patio amid trellises and greenery. Jan’s flat in Prague is a far cry from that. His meagre journalist’s salary affords him an apartment that has the messy ambience of a student’s crash pad, only more run down. Sure, Jan dotes on his records and hi-fi (he is forever checking his precious collection of vinyl to make sure it is all in order and accounted for), but he cares so little for his furnishings that he repairs the broken foot of a beat-up couch with a stack of books. For Jan, literature is a cheaper commodity than furniture.\u003c/p>\n\u003cp>This business of what Jan really cares about, indeed, what any of the characters really care about, is, I think, a key to the play, more even than the question of whether we are just collections of atoms or ethereal beings possessing unquantifiable souls. Having left Esme, who he never got the chance to properly care about or for, Jan is now on autopilot — a stranger in a strange land — doing what he must to get along.\u003c/p>\n\u003cp>Out of a sense of self-preservation more than ideology, Jan wants to believe the state propaganda that everything is okay, but he also wants to listen to his music and be left alone. That, it turns out, is a more radical proposition than any of the causes that his friend Ferdinand (Jud Williford) would like for him to take up. Jan derides Ferdinand’s endless protests as “moral exhibitionism.” It’s only when the police beat up fans of his favorite band, The Plastic People of the Universe, that Jan gets politically engaged enough to thrust a petition in Ferdinand’s face. Jan idolizes the Plastics precisely because they stand for nothing. They are the real agents of change, he says, because they are safe from the desire for recognition. As for the kids who were beat up by the police, they deserve support because, unlike traditional dissidents, who hurl Molotov cocktails and words alike at their oppressors, they had not asked for the fight.\u003c/p>\n\u003cp>One of the payoffs of \u003cb>Rock ‘n’ Roll\u003c/b>‘s length is that we get a chance to hang out with Jan and Ferdinand long enough to watch their relationship evolve. These men, Felciano and Williford convince us, are good friends, for all their differences. Augesen and Serafin also make the most of the play’s deliberate pace. In the first act, Augesen plays Eleanor and Serafin plays her daughter, Esme. In the second act, Augesen takes over the role of the adult Esme while Serafin plays Esme’s teenage daughter, Alice. Reading the program before the curtain went up, as \u003cb>It’s Only Rock and Roll\u003c/b> blared into the upper reaches of the Geary Theater, I wondered if these two could pull it off. But Serafin convinces us that she is two very different women — Esme, a dreamer who is more interested in the mantra “make love not war” than her father’s “the workers shall own the means of production,” and Alice, whose possession of her grandparents’ school-smarts gene has gotten her into Cambridge a full year early.\u003c/p>\n\u003cp>As for Augesen, she is a revelation. I loved her as Eleanor in the first act — from her flashes of anger to the way she would regain her poise to the patience she showed her childish and naïve husband. But as the adult Esme, struggling to fit into a world filled with people, her daughter included, who will always be light years smarter than she could ever dream, her anxieties creep out quietly, revealing themselves in the littlest things. This is a wonderful, smart performance; I could not take my eyes off of her.\u003c/p>\n\u003cp>If there is one unforgivably sour note to this production it is the set, which takes its inspiration from a photograph of a view up the light well in a Prague apartment building. Like the building’s walls in the photograph, the walls in the set rise away from us, upstage in forced perspective, so that windows and masonry flank either side of the stage, the ceiling above it, and the stage itself. The effect is rather like standing in an M.C. Escher etching, adding a layer of surrealism that is, I would suggest, entirely at odds with Stoppard’s play. We expect playwrights to be indulgent enough to occasionally undermine their own work, but it makes us squirm when a theater company appears to take similar liberties in the name, presumably, of its need for self expression. Max and Eleanor would not have been pleased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Rock ‘n’ Roll\u003c/b> runs through October 18, 2008 at A.C.T. For \u003ca href=\"http://www.act-sf.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit act-sf.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Indie? Narco-Country?” That’s the question posed by Berkeley quartet Winter’s Fall on their web site, and it’s one that could be asked of a number of the bands dominating alternative music today. In recent years, groups like My Morning Jacket, Band of Horses and Fleet Foxes have emerged as the spiritual successors to Neil Young and his CSN brethren, mixing reverb-saturated vocals and twangy guitars into music that’s firmly rock-pop but with an introspective emotional core. From the moment you hear singer Peter Stanley’s voice, it’s apparent that Winter’s Fall draws from this same lineage, but the band’s first full length album, self-released earlier this year, features strong songwriting and a warm atmospheric feel that have it quickly becoming one of my favorite Bay Area records of the year.\u003c/p>\n\u003cp>Winter’s Fall was formed by Peter Stanley and childhood friend Keith Gidlund about two years ago, so it’s a little surprising how self-assured and fully realized the new CD sounds. The group’s 2007 \u003cb>Muddy & White\u003c/b> EP hinted at this talent, featuring some good songs hampered by production that obscured their pop charms. Thankfully, a bunch of those tracks were rerecorded for the self-titled new record, and they’re markedly improved by a clean sound that perfectly captures the band’s swooning layers.\u003c/p>\n\u003cp>A few of the band’s more driving rock songs, like the anthemic “Blame” and “Hillside,” kick off the CD, but the vocal harmonies, keyboards and slide guitar add an melodic pop beauty even when the group is at its most electric. There’s a mini-epic quality to songs like the big rock ballad “Paper Chains,” which transforms a lethargic groove into a crashing wave of rock and roll, and the band does build-and-decay awfully well. Album highlight “Unusual Ways” is a subtle, moving song reminiscent of the winding emotional work of Sunny Day Real Estate, and its moody keyboards and echoey guitars build to an energetic climax. As on the rest of the album, Stanley’s lyrics are indirect on the track, but his fragmentary images capture loneliness and heartbreak with a melancholy befitting his world-weary voice.\u003c/p>\n\u003cp>The album’s second half sees the band playing with their sound a bit, incorporating some great horns on “Muddy and White” and a surf rock-sounding electric guitar on “These Ivory Days.” If the first half’s vibe was more firmly country rock, the back end eclecticism is reminiscent of the ominverous approach of Calexico, and there’s a particularly Southwestern feel to the guitar lines and cowbell of “On Wisdom.” These later songs suggest that the quartet is able to mine more experimental territory, and it’s a definitely a direction worth continuing in. As it stands, the meticulously stacked layers and tight songwriting demonstrate a certain pop efficacy, but given a song like “Lonely You” and its hypnotically wandering trumpet and reversed guitar sounds, it’s tough not to want the band to really experiment with the outer reaches of their atmospheric approach. That’s a minor complaint, though, for a collection of songs this good.\u003c/p>\n\u003cp>On October 16th, the band will be performing at \u003ca href=\"http://www.myspace.com/31085262\">Galeís Central Club\u003c/a> in Petaluma, and on October 19th, they will be on \u003ca href=\"http://www.piratecatradio.com\">Pirate Cat Radio\u003c/a> at 8pm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Indie? Narco-Country?” That’s the question posed by Berkeley quartet Winter’s Fall on their web site, and it’s one that could be asked of a number of the bands dominating alternative music today. In recent years, groups like My Morning Jacket, Band of Horses and Fleet Foxes have emerged as the spiritual successors to Neil Young and his CSN brethren, mixing reverb-saturated vocals and twangy guitars into music that’s firmly rock-pop but with an introspective emotional core. From the moment you hear singer Peter Stanley’s voice, it’s apparent that Winter’s Fall draws from this same lineage, but the band’s first full length album, self-released earlier this year, features strong songwriting and a warm atmospheric feel that have it quickly becoming one of my favorite Bay Area records of the year.\u003c/p>\n\u003cp>Winter’s Fall was formed by Peter Stanley and childhood friend Keith Gidlund about two years ago, so it’s a little surprising how self-assured and fully realized the new CD sounds. The group’s 2007 \u003cb>Muddy & White\u003c/b> EP hinted at this talent, featuring some good songs hampered by production that obscured their pop charms. Thankfully, a bunch of those tracks were rerecorded for the self-titled new record, and they’re markedly improved by a clean sound that perfectly captures the band’s swooning layers.\u003c/p>\n\u003cp>A few of the band’s more driving rock songs, like the anthemic “Blame” and “Hillside,” kick off the CD, but the vocal harmonies, keyboards and slide guitar add an melodic pop beauty even when the group is at its most electric. There’s a mini-epic quality to songs like the big rock ballad “Paper Chains,” which transforms a lethargic groove into a crashing wave of rock and roll, and the band does build-and-decay awfully well. Album highlight “Unusual Ways” is a subtle, moving song reminiscent of the winding emotional work of Sunny Day Real Estate, and its moody keyboards and echoey guitars build to an energetic climax. As on the rest of the album, Stanley’s lyrics are indirect on the track, but his fragmentary images capture loneliness and heartbreak with a melancholy befitting his world-weary voice.\u003c/p>\n\u003cp>The album’s second half sees the band playing with their sound a bit, incorporating some great horns on “Muddy and White” and a surf rock-sounding electric guitar on “These Ivory Days.” If the first half’s vibe was more firmly country rock, the back end eclecticism is reminiscent of the ominverous approach of Calexico, and there’s a particularly Southwestern feel to the guitar lines and cowbell of “On Wisdom.” These later songs suggest that the quartet is able to mine more experimental territory, and it’s a definitely a direction worth continuing in. As it stands, the meticulously stacked layers and tight songwriting demonstrate a certain pop efficacy, but given a song like “Lonely You” and its hypnotically wandering trumpet and reversed guitar sounds, it’s tough not to want the band to really experiment with the outer reaches of their atmospheric approach. That’s a minor complaint, though, for a collection of songs this good.\u003c/p>\n\u003cp>On October 16th, the band will be performing at \u003ca href=\"http://www.myspace.com/31085262\">Galeís Central Club\u003c/a> in Petaluma, and on October 19th, they will be on \u003ca href=\"http://www.piratecatradio.com\">Pirate Cat Radio\u003c/a> at 8pm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dave Holland Sextet: Pass It On",
"headTitle": "Dave Holland Sextet: Pass It On | KQED",
"content": "\u003cp>Dave Holland shares everything: wisdom, solos, credit. He’s generous that way. It might be the secret to his success as a post-bop, avant-garde, fusion and post-fusion mainstay, or just the basic organizing principle of the 61-year-old bassist and bandleader’s new album, \u003cb>Pass it On\u003c/b>.\u003c/p>\n\u003cp>Sorry, not \u003cem>his\u003c/em> new album. The group is called the Dave Holland Sextet, and also includes drummer Eric Harland, pianist Mulgrew Miller, trombonist Robin Eubanks, trumpeter Alex Sipiagin and alto saxophonist Antonio Hart. It’s Holland’s band, but, at the same time, it’s everyone’s. Yours, even, if you make it to one of his upcoming shows at Yoshi’s. The first general observation to be made about the mathematically riffy and raucously precise music on \u003cb>Pass it On\u003c/b> is that it doesn’t sound too obviously like a bass player’s vanity project. The second is that it does sound like you’d be a fool for missing a chance to hear it live.\u003c/p>\n\u003cp>The music isn’t entirely new, either. Holland has recorded two thirds of the compositions on \u003cb>Pass it On\u003c/b> before. But, being keen on the dissemination of musical sagacity, to which the CD’s title alludes, he thought it’d be fun and illuminating to rearrange the tunes for these players.\u003c/p>\n\u003cp>“It always starts with the individuals themselves,” Holland says on the phone from his home in upstate New York. “That’s sort of where the idea for the project usually comes from — thinking about a group of players I’d like to play with and who I think would work together playing a particular body of music. I’m not thinking about it being a bass player’s album, or music that features a bass player. I’m really looking at it as a group concept — but also of course with strong individuals.”\u003c/p>\n\u003cp>Holland’s musical Kevin Baconism began officially in 1968, when he had the good fortune of being imported from England by Miles Davis. “I like that Miles used to call it a social music,” Holland says, “and I think jazz is very much a social music.” No shit: Among the many notables with whom Holland has shared stages and studios are Thelonious Monk, Roy Haynes, John McLaughlin, Chick Corea, Joe Henderson, Anthony Braxton, Wayne Shorter, Herbie Hancock, Hank Jones, John Scofield, Joe Lovano, Al Foster, Jack DeJohnette, Betty Carter, Stan Getz and Sam Rivers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to Holland’s sextet, he’s also led a quintet, an octet, a big band, a duo, and — although it seems to come less naturally — his own solo act.\u003c/p>\n\u003cp>“At times we’ve done a cooperative group, for instance, with two or three other musicians,” he says. “And you find it’s being promoted with one person’s name out front.” He sounds aghast at the memory of it. “There are times when those things happen and there’s nothing you can do about it.”\u003c/p>\n\u003cp>In fact, Holland is so habitually deferential to fellow musicians that he once needed a talking-to about it from his friend, the late, great jazz godmother Betty Carter. “She said, ‘Yeah of course it’s about the group, but the people coming to see the show are coming because your name’s out front. And you have to accept that as a fact. And if you accept that, then you can move forward.'”\u003c/p>\n\u003cp>He quibbles — politely, of course. “I agree with that to a certain point, but I think that obviously in the case of this sextet, all of the musicians have already got great careers behind them. I feel very fortunate to be playing with them, and I try to keep a level head about things. To acknowledge how much there still is to learn and how much the music depends on all the other musicians involved.”\u003c/p>\n\u003cp>Or, as Eubanks once put it: “As a leader, Dave approaches the band as something you wind up and let go.”\u003c/p>\n\u003cp>So it seems with \u003cb>Pass it On\u003c/b>‘s perhaps infinitely re-combinable contrapuntal filigree and invigorating vamps. Holland’s modesty isn’t false; he has a point when he says, “This music’s just not possible without players like these.” Not least himself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Dave Holland Sextet\u003c/b> plays September 24-25, 2008 at Yoshi’s in San Francisco, and September 26-28, 2008 at Yoshi’s in Oakland. For \u003ca>tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dave Holland shares everything: wisdom, solos, credit. He’s generous that way. It might be the secret to his success as a post-bop, avant-garde, fusion and post-fusion mainstay, or just the basic organizing principle of the 61-year-old bassist and bandleader’s new album, \u003cb>Pass it On\u003c/b>.\u003c/p>\n\u003cp>Sorry, not \u003cem>his\u003c/em> new album. The group is called the Dave Holland Sextet, and also includes drummer Eric Harland, pianist Mulgrew Miller, trombonist Robin Eubanks, trumpeter Alex Sipiagin and alto saxophonist Antonio Hart. It’s Holland’s band, but, at the same time, it’s everyone’s. Yours, even, if you make it to one of his upcoming shows at Yoshi’s. The first general observation to be made about the mathematically riffy and raucously precise music on \u003cb>Pass it On\u003c/b> is that it doesn’t sound too obviously like a bass player’s vanity project. The second is that it does sound like you’d be a fool for missing a chance to hear it live.\u003c/p>\n\u003cp>The music isn’t entirely new, either. Holland has recorded two thirds of the compositions on \u003cb>Pass it On\u003c/b> before. But, being keen on the dissemination of musical sagacity, to which the CD’s title alludes, he thought it’d be fun and illuminating to rearrange the tunes for these players.\u003c/p>\n\u003cp>“It always starts with the individuals themselves,” Holland says on the phone from his home in upstate New York. “That’s sort of where the idea for the project usually comes from — thinking about a group of players I’d like to play with and who I think would work together playing a particular body of music. I’m not thinking about it being a bass player’s album, or music that features a bass player. I’m really looking at it as a group concept — but also of course with strong individuals.”\u003c/p>\n\u003cp>Holland’s musical Kevin Baconism began officially in 1968, when he had the good fortune of being imported from England by Miles Davis. “I like that Miles used to call it a social music,” Holland says, “and I think jazz is very much a social music.” No shit: Among the many notables with whom Holland has shared stages and studios are Thelonious Monk, Roy Haynes, John McLaughlin, Chick Corea, Joe Henderson, Anthony Braxton, Wayne Shorter, Herbie Hancock, Hank Jones, John Scofield, Joe Lovano, Al Foster, Jack DeJohnette, Betty Carter, Stan Getz and Sam Rivers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Holland’s sextet, he’s also led a quintet, an octet, a big band, a duo, and — although it seems to come less naturally — his own solo act.\u003c/p>\n\u003cp>“At times we’ve done a cooperative group, for instance, with two or three other musicians,” he says. “And you find it’s being promoted with one person’s name out front.” He sounds aghast at the memory of it. “There are times when those things happen and there’s nothing you can do about it.”\u003c/p>\n\u003cp>In fact, Holland is so habitually deferential to fellow musicians that he once needed a talking-to about it from his friend, the late, great jazz godmother Betty Carter. “She said, ‘Yeah of course it’s about the group, but the people coming to see the show are coming because your name’s out front. And you have to accept that as a fact. And if you accept that, then you can move forward.'”\u003c/p>\n\u003cp>He quibbles — politely, of course. “I agree with that to a certain point, but I think that obviously in the case of this sextet, all of the musicians have already got great careers behind them. I feel very fortunate to be playing with them, and I try to keep a level head about things. To acknowledge how much there still is to learn and how much the music depends on all the other musicians involved.”\u003c/p>\n\u003cp>Or, as Eubanks once put it: “As a leader, Dave approaches the band as something you wind up and let go.”\u003c/p>\n\u003cp>So it seems with \u003cb>Pass it On\u003c/b>‘s perhaps infinitely re-combinable contrapuntal filigree and invigorating vamps. Holland’s modesty isn’t false; he has a point when he says, “This music’s just not possible without players like these.” Not least himself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Dave Holland Sextet\u003c/b> plays September 24-25, 2008 at Yoshi’s in San Francisco, and September 26-28, 2008 at Yoshi’s in Oakland. For \u003ca>tickets and information\u003c/a>, visit yoshis.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This compact special edition of the \u003cb>Noise Pop New Music Podcast\u003c/b> exclusively features tracks from bands playing the Second Annual \u003cb>Treasure Island Music Festival\u003c/b>, including Saturday headliners Justice as well as Okkervil River, Sao Paulo’s CSS, Seattle’s Fleet Foxes, San Francisco’s Or, The Whale, and more!\u003c/p>\n\u003cp>The \u003cb>Treasure Island Music Festival\u003c/b> runs Saturday and Sunday, September 20-21, 2008. For \u003ca href=\"http://www.treasureislandfestival.com/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit treatureislandfestival.com.\u003c/p>\n\u003cp>\u003cb>Playlist:\u003c/b>\u003cbr>\n“Rat Is Dead (Rage)” by CSS, \u003cb>Donkey\u003c/b>\u003cbr>\n“Call and Response” by Or, The Whale\u003cbr>\n“White Winter Hymnal” by Fleet Foxes\u003cbr>\n“Balloons” by Foals, \u003cb>Antidotes\u003c/b>\u003cbr>\n“Lost Coastlines” by Okkervil River, \u003cb>The Stand Ins\u003c/b>\u003cbr>\n“Phantom Pt. II” by Justice, \u003cb>Cross\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Goh Nakamura’s first album \u003cb>Daylight Savings\u003c/b>, while strictly pleasurable, was most notable for convincing San Francisco that our homegrown singer-songwriting could keep up with Zach Braff’s hungry playlist. Full of melancholy nice-guys-don’t-get-the girl maunderings and Beatles-influenced chord progressions, \u003cb>Savings\u003c/b> even contributed its title song to \u003ca href=\"http://www.imdb.com/title/tt0800027/\" target=\"offsite\" rel=\"noopener\">an ensemble romance\u003c/a> soundtrack. Yes it did.\u003c/p>\n\u003cp>There’s only so much falsetto and good songwriting a girl can take, so I’m thrilled to find Nakamura’s second album, \u003cb>Ulysses\u003c/b>, branching out in every way, without abandoning his well-established virtues. In fact these are stronger and hardier in service of the songs. We still have the steel-stringed brightness, the non-gratuitous chord changes and unpredictable melodies. And Nakamura’s silver-edged voice has limbered up and timbred down; it’s not just a delivery device anymore, but a pleasure of its own. He’s engaged a full band without seeming to encounter most of the usual pitfalls of transferring a solo practice into a collaborative one. His arrangements test the limits of some of his songwriting against a range of styles, from the obvious folk rock, to bossa nova, even pushing into the prog-rock-inflected. They don’t all work out — the folk rock works best here, as you might expect — but you’re glad to hear him do it.\u003c/p>\n\u003cp>Thus we get to hear Nakamura pushing stylistically \u003cem>and\u003c/em> thematically. The title suggests a concept album, and it almost works as one. Although the songs are still centered around relationships, listeners are allowed to organize the songs into an Odyssey, with a push here and there from the title track, from a musical interlude called “Telemachus,” and from sprinklings of quasi-classical allusions. The intention seems to be that the singer is a modern-day Ulysses on a years-long journey in search of home and love, but the moments of Penelopean perspective — especially in the lovely “Suitcase,” which sends a lover off on a journey with echoes of “Leaving on a Jet Plane” — play more strongly into the theme, and let a lot of air into the narrative.\u003c/p>\n\u003cp>Nakamura has always loved wordplay. Now, prodding his cleverness less, his lyrics turn up more of the intuitive verbal connections that work most powerfully in pop music. I don’t like to quote lyrics outside of their musical context, but my current favorite, “Somewhere,” namechecks moments from Nakamura’s historical landscape of folk and rock while describing their emotional effect. The “somewhere” is the own private place the singer is searching for among these pop-classic islands. Very Odyssean.\u003c/p>\n\u003cp>Of course, Nakamura makes a nine course meal of his influences, and at times they are only half-digested. It may be the zeitgeist, but there’s way too much Elliott Smith here; putting in strains of everybody from Clapton to James Taylor — or Suzanne Vega — doesn’t meld him away. There’s murkiness and turgidity in \u003cb>Ulysses\u003c/b>, too, as befits a near-concept album. The title track is too heavy for its surroundings and exhausts its own lyrics; a strangely portentous passage at the end of “Flowers” sucks all the warmth out of the song; and the residual nice-guy resentment of “Shoulder” would be better left off future albums. But again, the stumbles are those of someone aiming high and tripping over his shoelaces, and not of someone who doesn’t know what he wants to do, or what he’s doing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in the final measure: there are songs here that I wish were meadows, so I could lie in them all day. I’ve racked up quite a playcount for “Somewhere,” “Suitcase,” “Sarah Rose,” and “Section of Sky,” and there are a couple more I’m eyeing in a friendly manner. Consider this a strong recommendation for your iPods.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ulysses\u003c/b> is \u003ca href=\"http://cdbaby.com/cd/nakamura3\" target=\"offsite\" rel=\"noopener\">available for purchase from CDBaby\u003c/a>. The artist will also be offering a free download of a medium quality recording, or a “fan package” with extra songs from some of his favorite bands \u003ca href=\"http://gohnakamura.com/\" target=\"offsite\" rel=\"noopener\">on his website\u003c/a> in a few weeks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Goh Nakamura’s first album \u003cb>Daylight Savings\u003c/b>, while strictly pleasurable, was most notable for convincing San Francisco that our homegrown singer-songwriting could keep up with Zach Braff’s hungry playlist. Full of melancholy nice-guys-don’t-get-the girl maunderings and Beatles-influenced chord progressions, \u003cb>Savings\u003c/b> even contributed its title song to \u003ca href=\"http://www.imdb.com/title/tt0800027/\" target=\"offsite\" rel=\"noopener\">an ensemble romance\u003c/a> soundtrack. Yes it did.\u003c/p>\n\u003cp>There’s only so much falsetto and good songwriting a girl can take, so I’m thrilled to find Nakamura’s second album, \u003cb>Ulysses\u003c/b>, branching out in every way, without abandoning his well-established virtues. In fact these are stronger and hardier in service of the songs. We still have the steel-stringed brightness, the non-gratuitous chord changes and unpredictable melodies. And Nakamura’s silver-edged voice has limbered up and timbred down; it’s not just a delivery device anymore, but a pleasure of its own. He’s engaged a full band without seeming to encounter most of the usual pitfalls of transferring a solo practice into a collaborative one. His arrangements test the limits of some of his songwriting against a range of styles, from the obvious folk rock, to bossa nova, even pushing into the prog-rock-inflected. They don’t all work out — the folk rock works best here, as you might expect — but you’re glad to hear him do it.\u003c/p>\n\u003cp>Thus we get to hear Nakamura pushing stylistically \u003cem>and\u003c/em> thematically. The title suggests a concept album, and it almost works as one. Although the songs are still centered around relationships, listeners are allowed to organize the songs into an Odyssey, with a push here and there from the title track, from a musical interlude called “Telemachus,” and from sprinklings of quasi-classical allusions. The intention seems to be that the singer is a modern-day Ulysses on a years-long journey in search of home and love, but the moments of Penelopean perspective — especially in the lovely “Suitcase,” which sends a lover off on a journey with echoes of “Leaving on a Jet Plane” — play more strongly into the theme, and let a lot of air into the narrative.\u003c/p>\n\u003cp>Nakamura has always loved wordplay. Now, prodding his cleverness less, his lyrics turn up more of the intuitive verbal connections that work most powerfully in pop music. I don’t like to quote lyrics outside of their musical context, but my current favorite, “Somewhere,” namechecks moments from Nakamura’s historical landscape of folk and rock while describing their emotional effect. The “somewhere” is the own private place the singer is searching for among these pop-classic islands. Very Odyssean.\u003c/p>\n\u003cp>Of course, Nakamura makes a nine course meal of his influences, and at times they are only half-digested. It may be the zeitgeist, but there’s way too much Elliott Smith here; putting in strains of everybody from Clapton to James Taylor — or Suzanne Vega — doesn’t meld him away. There’s murkiness and turgidity in \u003cb>Ulysses\u003c/b>, too, as befits a near-concept album. The title track is too heavy for its surroundings and exhausts its own lyrics; a strangely portentous passage at the end of “Flowers” sucks all the warmth out of the song; and the residual nice-guy resentment of “Shoulder” would be better left off future albums. But again, the stumbles are those of someone aiming high and tripping over his shoelaces, and not of someone who doesn’t know what he wants to do, or what he’s doing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in the final measure: there are songs here that I wish were meadows, so I could lie in them all day. I’ve racked up quite a playcount for “Somewhere,” “Suitcase,” “Sarah Rose,” and “Section of Sky,” and there are a couple more I’m eyeing in a friendly manner. Consider this a strong recommendation for your iPods.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Ulysses\u003c/b> is \u003ca href=\"http://cdbaby.com/cd/nakamura3\" target=\"offsite\" rel=\"noopener\">available for purchase from CDBaby\u003c/a>. The artist will also be offering a free download of a medium quality recording, or a “fan package” with extra songs from some of his favorite bands \u003ca href=\"http://gohnakamura.com/\" target=\"offsite\" rel=\"noopener\">on his website\u003c/a> in a few weeks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While every weekend in the Bay Area is packed with fantastic local shows, seldom do we see a triple CD-release, particularly from three of the most up-and-coming bands in the Bay Area — in this case: Tartufi, Built for the Sea and Low Red Land. The show, presented by \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>, will take place Thursday, Sept. 18 at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The headliner for the show is \u003ca href=\"http://www.myspace.com/tartufi\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> — a band that won The San Francisco Bay Guardian’s “Best Indie Band of 2007” and whose new album \u003cb>Nests of Waves and Wire\u003c/b> is highly anticipated among local indie fans. This show is a bit of a tease as the album isn’t officially out yet, but presale is available, and the band will play many songs from the new album.\u003c/p>\n\u003cp>Trying to describe Tartufi’s music is difficult, more so than your typical good indie band. “Eclectic” is an understatement; “noisy” doesn’t do it justice. The music is varied enough to be able to draw out influences anywhere from indie pop to heavy metal. Vocalist Lynne Angel has the projection of an opera singer (minus the crazy vibrato) and emotion to match. Paired with Brian Gorman on drums, this duo could pull off any sound in the rock realm.\u003c/p>\n\u003cp>Certainly during their live show but particularly on the album, this band in no way sounds like a two-piece. The raw and driving guitar sounds are varied in effects, and interspersed with bass, delicate bell sounds and even sirens throughout the record. Not only that, but the drums’ sound is so heavy it often sounds like a choir of drums. This show kicks off a national tour for Tartufi that runs through the beginning of November.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, who have not released an album in over two years, will release a new EP that seamlessly brings together all of the elements the band has been working on over the years. As their name hints, the sound is indeed aquatic, as the instruments flow and lap into each other, with Lia Rose’s vocals supported atop like a floating leaf. With the guitar and vocals heavy on the reverb, and the occasional fairytale lyric, the package is indeed dreamlike, but definitely not soporific.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And speaking of waking up, the opening band on the bill is \u003ca href=\"http://www.myspace.com/lowredland\" target=\"offsite\" rel=\"noopener\">Low Red Land\u003c/a>, a band that has recently been all over the local indie radar. Despite this band’s ability to play heartbreakingly beautiful acoustic sets, their electrified show gets quite raucous. The new album \u003cb>Dog’s Hymns\u003c/b> is a breathtaking combination of folky lyrics and phrasing over driving, distorted and sometimes feedback-laden guitars. Vocalists Neil Thompson and Ben Thorne are not afraid to tear their vocal chords, whether it’s in unison or in harmony.\u003c/p>\n\u003cp>The song topics Low Red Land chooses are also quite uncharacteristic of their noisy indie or alternative counterparts. Instead of bedroom love songs and teenage angst, the band sings poetic tunes of gunfighters and ancestry.\u003c/p>\n\u003cp>To top off the evening, \u003ca href=\"http://www.myspace.com/threadproductions\" target=\"offsite\" rel=\"noopener\">Thread Productions\u003c/a>, a collaborative that includes both Low Red Land and Tartufi, will be releasing their latest compilation, \u003cb>The Dragon Slayers, Volume III\u003c/b> at the show. Don’t miss this amazing lineup Thurs. beginning at 8pm. The show costs $12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While every weekend in the Bay Area is packed with fantastic local shows, seldom do we see a triple CD-release, particularly from three of the most up-and-coming bands in the Bay Area — in this case: Tartufi, Built for the Sea and Low Red Land. The show, presented by \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>, will take place Thursday, Sept. 18 at \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">Slim’s\u003c/a> in San Francisco.\u003c/p>\n\u003cp>The headliner for the show is \u003ca href=\"http://www.myspace.com/tartufi\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> — a band that won The San Francisco Bay Guardian’s “Best Indie Band of 2007” and whose new album \u003cb>Nests of Waves and Wire\u003c/b> is highly anticipated among local indie fans. This show is a bit of a tease as the album isn’t officially out yet, but presale is available, and the band will play many songs from the new album.\u003c/p>\n\u003cp>Trying to describe Tartufi’s music is difficult, more so than your typical good indie band. “Eclectic” is an understatement; “noisy” doesn’t do it justice. The music is varied enough to be able to draw out influences anywhere from indie pop to heavy metal. Vocalist Lynne Angel has the projection of an opera singer (minus the crazy vibrato) and emotion to match. Paired with Brian Gorman on drums, this duo could pull off any sound in the rock realm.\u003c/p>\n\u003cp>Certainly during their live show but particularly on the album, this band in no way sounds like a two-piece. The raw and driving guitar sounds are varied in effects, and interspersed with bass, delicate bell sounds and even sirens throughout the record. Not only that, but the drums’ sound is so heavy it often sounds like a choir of drums. This show kicks off a national tour for Tartufi that runs through the beginning of November.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/builtforthesea\" target=\"offsite\" rel=\"noopener\">Built for the Sea\u003c/a>, who have not released an album in over two years, will release a new EP that seamlessly brings together all of the elements the band has been working on over the years. As their name hints, the sound is indeed aquatic, as the instruments flow and lap into each other, with Lia Rose’s vocals supported atop like a floating leaf. With the guitar and vocals heavy on the reverb, and the occasional fairytale lyric, the package is indeed dreamlike, but definitely not soporific.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And speaking of waking up, the opening band on the bill is \u003ca href=\"http://www.myspace.com/lowredland\" target=\"offsite\" rel=\"noopener\">Low Red Land\u003c/a>, a band that has recently been all over the local indie radar. Despite this band’s ability to play heartbreakingly beautiful acoustic sets, their electrified show gets quite raucous. The new album \u003cb>Dog’s Hymns\u003c/b> is a breathtaking combination of folky lyrics and phrasing over driving, distorted and sometimes feedback-laden guitars. Vocalists Neil Thompson and Ben Thorne are not afraid to tear their vocal chords, whether it’s in unison or in harmony.\u003c/p>\n\u003cp>The song topics Low Red Land chooses are also quite uncharacteristic of their noisy indie or alternative counterparts. Instead of bedroom love songs and teenage angst, the band sings poetic tunes of gunfighters and ancestry.\u003c/p>\n\u003cp>To top off the evening, \u003ca href=\"http://www.myspace.com/threadproductions\" target=\"offsite\" rel=\"noopener\">Thread Productions\u003c/a>, a collaborative that includes both Low Red Land and Tartufi, will be releasing their latest compilation, \u003cb>The Dragon Slayers, Volume III\u003c/b> at the show. Don’t miss this amazing lineup Thurs. beginning at 8pm. The show costs $12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week’s podcast features Bart Davenport, a Berkeley native whose lengthy music career has spanned RB, garage rock, and electronic pop with The Loved Ones, The Kinetics, Persephone’s Bees and Honeycut, as well as several well-received albums as a solo singer-songwriter. After years of successful touring with Honeycut, Bart now returns to the solo artist world with \u003cb>Palaces\u003c/b>, out today on Antenna Farm Records. Full of compelling, catchy melodies and great pop songwriting, \u003cb>Palaces\u003c/b> is definitely one of the best records we’ve heard this year.\u003c/p>\n\u003cp>Initially planned as collaborative effort with local producer and songwriter Kelley Stoltz, Davenport found himself taking over the reigns with only a handful of songs completed, when scheduling conflicts directed Stoltz elsewhere. Perhaps as a result, the album draws from across the talented performer’s broad spectrum of musical tastes, with songs ranging from folksy to funky and melancholic to upbeat. And while Stoltz, the guys from Honeycut, and others appear on the album, it’s clearly Bart’s show, as he manages to channel his love of classic RB and pop into a thoroughly modern affair.\u003c/p>\n\u003cp>We spoke with Bart a few weeks back for a fascinating discussion of tour stories, evolving musical influences and more. We’re also excited to include four songs from \u003cb>Palaces\u003c/b> in the episode and you should be sure to catch Bart live at his CD release show later this month, or on his upcoming national tour.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Cafe du Nord\u003cbr>with Sugar and Gold and Miles Benjamin Anthony Robinson\u003cbr>Friday, Sept. 19, 9:30pm, $12\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>From the looks of them, the members of \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster\u003c/a> are slightly unlikely folk-heads. They are skinny and wear tight jeans. Their hair is disheveled perfection. But when the music starts, it is raw and heartfelt, sometimes twangy — indie-folk tunes with grace.\u003c/p>\n\u003cp>With their new album \u003cb>From the Mountain to the Sea\u003c/b>, Birdmonster offers a collection of characters that demonstrates their great grasp of melody and harmony. The songs, while not overly complicated, are carefully sculpted to produce a soothing balance.\u003c/p>\n\u003cp>One of the most distinct elements of the album (and the band in general) is Peter Arcuni’s vocals, which mimic a Buddy Holly-type lightness and exude the necessary frontman confidence. The other members gracefully accompany, adding banjo, mandolin, guitar and bass-drum heavy percussion, respectively, with a dignified enthusiasm.\u003c/p>\n\u003cp>At their CD listening party a few weeks ago, the band broke their performance into two sections, acoustic and electric, which is telling. The album is nicely sprinkled with a good balance of each, and to break them up was almost a shame, but it ultimately worked in their favor. It showcased the different personality of each song in the context of his or her brothers and sisters, while also highlighting the difference between the two styles, setting them apart as the quiet, intelligent types and the rebellious punk rockers.\u003c/p>\n\u003cp>Tracing the lineage of these songs back to previous Birdmonster albums is quite fascinating — this album takes a significant step away from loud indie rock and into softer, more sentimental folk realms. Perhaps that’s just what happens when you, and your musical progeny, get older.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The family of songs fits nicely together, but there is one black sheep, “Heart of the Dead.” It’s a great song — a poppy and modern salute to post-punk — but it sticks out like a sore thumb in an otherwise smooth indie-folk album. Perhaps we can think of it as the adopted second cousin.\u003c/p>\n\u003cp>Upon hearing the tune “Born to be Your Man,” it’s evident that it will be the crowd favorite (the Marcia Brady of this particular sonic family). Beginning with a sprightly vocal line and lyrics that will make the teenage girls swoon, the song builds nicely, introducing poppy guitar licks and a few subtle but key vocal harmonies. It’s sure to make the others a little jealous.\u003c/p>\n\u003cp>But there are many other tunes that hold their own, such as (in the acoustic family) “I Might Have Guessed,” “Lost at Sea,” and (from the electric family) “The Iditarod.” It’s a well-groomed bunch — the mixing of the album prevents stark contrasts between songs from being too evident, and the instrument that stands out changes in each.\u003c/p>\n\u003cp>Birdmonster play The Great American Music Hall in San Francisco September 3, 2008 with Nada Surf. You can get to know the new album on \u003ca href=\"http://www.myspace.com/birdmonster\" target=\"offsite\" rel=\"noopener\">Birdmonster’s MySpace page\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for, \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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