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"content": "\u003cp>This Friday and Saturday, April 18 and 19, eight nationally-recognized independent bands will grace the stage near Mendocino for the second annual \u003cb>Awesome Fest\u003c/b>, presented by the Honorable Mention Collective. The festival will take place in California’s smallest city, Point Arena, in the 1928 Art Deco-style \u003ca href=\"http://www.arenatheater.org/About%20the%20Theater.htm\" target=\"offsite\" rel=\"noopener\">Arena Theatre\u003c/a>.\u003c/p>\n\u003cp>The festival will include five Bay Area acts — \u003ca href=\"http://www.myspace.com/girlssanfran\" target=\"offsite\" rel=\"noopener\">Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/themorningbenders\" target=\"offsite\" rel=\"noopener\">The Morning Benders\u003c/a>, \u003ca href=\"http://www.myspace.com/portobrien\" target=\"offsite\" rel=\"noopener\">Port O’Brien\u003c/a>, Adam Stevens (of \u003ca href=\"http://www.myspace.com/twogallants\" target=\"offsite\" rel=\"noopener\">Two Gallants\u003c/a>) and \u003ca href=\"http://www.myspace.com/ohsees\" target=\"offsite\" rel=\"noopener\">The Oh Sees\u003c/a> — and three others — \u003ca href=\"http://www.myspace.com/chieftheband\" target=\"offsite\" rel=\"noopener\">Chief\u003c/a> from NYC, \u003ca href=\"http://www.myspace.com/goldenanimals\" target=\"offsite\" rel=\"noopener\">Golden Animals\u003c/a> and \u003ca href=\"http://www.myspace.com/lbcgrowlers\" target=\"offsite\" rel=\"noopener\">The Growlers\u003c/a>, both from LA. The festival creators pride themselves on putting together an all-star indie lineup while still being able to maintain the DIY, independent and personal form.\u003c/p>\n\u003cp>The featured bands are certainly none to take lightly. East Bay band The Morning Benders, who also played last year’s \u003cb>Awesome Fest\u003c/b>, will bring their sentimental indie pop accompanying UK indie sensations and fellow \u003ca href=\"http://www.plusonemusic.net/\" target=\"offsite\" rel=\"noopener\">+1 Records\u003c/a> band \u003ca href=\"http://www.myspace.com/thekooks\" target=\"offsite\" rel=\"noopener\">The Kooks\u003c/a> on a number of stops across the country — many of which are already sold out. The Morning Benders will release their debut album \u003cb>Talking Through Tin Cans\u003c/b> on May 6.\u003c/p>\n\u003cp>Port O’Brien has a very busy year ahead of them, starting with the release of their debut studio album \u003cb>All We Could Do Was Sing\u003c/b>. They will tour with \u003ca href=\"http://www.morawk.com/boris/\" target=\"offsite\" rel=\"noopener\">Someone Still Loves You Boris Yeltsin\u003c/a> and stop in Barcelona for the \u003ca href=\"http://www.primaverasound.com/index.php?idioma=en&sec=home\" target=\"offsite\" rel=\"noopener\">Primavera Festival\u003c/a> to share the stage with Portishead, Devo, Cat Power and Animal Collective, among others. Likewise, The Oh Sees will spend most of May and June in Europe, promoting their just-released album \u003cb>The Masters Bedroom Is Worth Spending A Night In\u003c/b>.\u003c/p>\n\u003cp>Alas, \u003cb>Awesome Fest\u003c/b> provides a rare glimpse at a gaggle of bands that could easily be stolen away by the international music machine, but at the moment are just up Highway 1. The festival costs $25 per day or $45 for both days. You can purchase tickets at \u003ca href=\"http://www.brownpapertickets.com/event/31695\" target=\"offsite\" rel=\"noopener\">brown paper tickets\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Friday and Saturday, April 18 and 19, eight nationally-recognized independent bands will grace the stage near Mendocino for the second annual \u003cb>Awesome Fest\u003c/b>, presented by the Honorable Mention Collective. The festival will take place in California’s smallest city, Point Arena, in the 1928 Art Deco-style \u003ca href=\"http://www.arenatheater.org/About%20the%20Theater.htm\" target=\"offsite\" rel=\"noopener\">Arena Theatre\u003c/a>.\u003c/p>\n\u003cp>The festival will include five Bay Area acts — \u003ca href=\"http://www.myspace.com/girlssanfran\" target=\"offsite\" rel=\"noopener\">Girls\u003c/a>, \u003ca href=\"http://www.myspace.com/themorningbenders\" target=\"offsite\" rel=\"noopener\">The Morning Benders\u003c/a>, \u003ca href=\"http://www.myspace.com/portobrien\" target=\"offsite\" rel=\"noopener\">Port O’Brien\u003c/a>, Adam Stevens (of \u003ca href=\"http://www.myspace.com/twogallants\" target=\"offsite\" rel=\"noopener\">Two Gallants\u003c/a>) and \u003ca href=\"http://www.myspace.com/ohsees\" target=\"offsite\" rel=\"noopener\">The Oh Sees\u003c/a> — and three others — \u003ca href=\"http://www.myspace.com/chieftheband\" target=\"offsite\" rel=\"noopener\">Chief\u003c/a> from NYC, \u003ca href=\"http://www.myspace.com/goldenanimals\" target=\"offsite\" rel=\"noopener\">Golden Animals\u003c/a> and \u003ca href=\"http://www.myspace.com/lbcgrowlers\" target=\"offsite\" rel=\"noopener\">The Growlers\u003c/a>, both from LA. The festival creators pride themselves on putting together an all-star indie lineup while still being able to maintain the DIY, independent and personal form.\u003c/p>\n\u003cp>The featured bands are certainly none to take lightly. East Bay band The Morning Benders, who also played last year’s \u003cb>Awesome Fest\u003c/b>, will bring their sentimental indie pop accompanying UK indie sensations and fellow \u003ca href=\"http://www.plusonemusic.net/\" target=\"offsite\" rel=\"noopener\">+1 Records\u003c/a> band \u003ca href=\"http://www.myspace.com/thekooks\" target=\"offsite\" rel=\"noopener\">The Kooks\u003c/a> on a number of stops across the country — many of which are already sold out. The Morning Benders will release their debut album \u003cb>Talking Through Tin Cans\u003c/b> on May 6.\u003c/p>\n\u003cp>Port O’Brien has a very busy year ahead of them, starting with the release of their debut studio album \u003cb>All We Could Do Was Sing\u003c/b>. They will tour with \u003ca href=\"http://www.morawk.com/boris/\" target=\"offsite\" rel=\"noopener\">Someone Still Loves You Boris Yeltsin\u003c/a> and stop in Barcelona for the \u003ca href=\"http://www.primaverasound.com/index.php?idioma=en&sec=home\" target=\"offsite\" rel=\"noopener\">Primavera Festival\u003c/a> to share the stage with Portishead, Devo, Cat Power and Animal Collective, among others. Likewise, The Oh Sees will spend most of May and June in Europe, promoting their just-released album \u003cb>The Masters Bedroom Is Worth Spending A Night In\u003c/b>.\u003c/p>\n\u003cp>Alas, \u003cb>Awesome Fest\u003c/b> provides a rare glimpse at a gaggle of bands that could easily be stolen away by the international music machine, but at the moment are just up Highway 1. The festival costs $25 per day or $45 for both days. You can purchase tickets at \u003ca href=\"http://www.brownpapertickets.com/event/31695\" target=\"offsite\" rel=\"noopener\">brown paper tickets\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is News Editor for \u003ca href=\"http://www.thebaybridged.com/%20target=\" offsite>The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I think it was the sudden proliferation of musical genres that ended in “?core” that led to my sudden mental retreat from classifying new artists and music by genre. If the system of taxonomy was going to get so discriminating as to only have ten bands per subgroup, I was pretty sure I didn’t want to memorize all those categories. But one that stuck with me was the term IDM, or Intelligent Dance Music.\u003c/p>\n\u003cp>Popular dance music had, especially in the ’90s, fallen into a mind-numbingly repetitive, made-by-a-machine sound that lacked much in the way of innovation, so it only made sense that the term would arise for a new generation of dance music makers like \u003ca href=\"http://www.warprecords.com/comm/links.php?artist_id=afx\" target=\"offsite\" rel=\"noopener\">Aphex Twin\u003c/a> and \u003ca href=\"http://www.futuresoundoflondon.com\" target=\"offsite\" rel=\"noopener\">Future Sound of London\u003c/a>, who used technology to augment their creativy, not replace it. \u003ca href=\"http://www.myspace.com/mdslktr\" target=\"offsite\" rel=\"noopener\">Modeselektor\u003c/a> is a descendant of this generation of intelligent beat-makers, who ground their glitch in rhythms from ragga to breakbeat to polka (yup) on \u003cb>Happy Birthday!\u003c/b> (Bpitch Control, 2007).\u003c/p>\n\u003cp>\u003cb>Happy Birthday!\u003c/b> is a moody sort of bastard, starting you off in the bowels of the UK dancehall club scene, then taking you to France for a little glitched out techno hip hop courtesy of a collaboration with rapper \u003ca href=\"http://www.myspace.com/inbedwithttc\" target=\"offsite\" rel=\"noopener\">TTC\u003c/a>, followed by the title song “Happy Birthday,” which brings a flighty carnival atmosphere to your polka party. The rest of the staggering 17 songs on the album take you pretty much all over the map in a whirlwind tour of every genre spawned by electronic music in the last ten years.\u003c/p>\n\u003cp>“Let Your Love Grow” is one of the standouts on the album, showcasing \u003ca href=\"http://www.last.fm/music/Paul+St.+Hilaire\" target=\"offsite\" rel=\"noopener\">Paul St. Hilaire’s\u003c/a> warm and soaring vocals and evoking Massive Attack’s stunning collaboration with Horace Andy on “Angel.” But the very next song, “B.M.I.” reverts to a jerky beat factory designed to make glitch-hounds strike up their interpretive dance movements. Some of Modeselektor’s other collaborations are just as welcome, including Thom Yorke on “The White Flash,” which could easily have turned up on \u003cb>The Eraser\u003c/b>, his solo release.\u003c/p>\n\u003cp>There are a few uneven points on \u003cb>Happy Birthday!\u003c/b> like the transition from “The First Rebirth,” aptly described by my boyfriend as a concerto for dot matrix printers, to “The Dark Side of the Frog/Sun,” which brings in a gangster rap over a rather dull beatscape. But these are far outweighed by the album’s audacious exploration of genres and driving energy from track to track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Modeselektor just came through San Francisco this month and is on to the rest of the world for the foreseeable future, but for now, you can watch \u003ca href=\"http://www.youtube.com/watch?v=g0vpWsNqNpE\" target=\"offsite\" rel=\"noopener\">the video for single “Blackbox”\u003c/a> from \u003cb>Happy Birthday!\u003c/b>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I think it was the sudden proliferation of musical genres that ended in “?core” that led to my sudden mental retreat from classifying new artists and music by genre. If the system of taxonomy was going to get so discriminating as to only have ten bands per subgroup, I was pretty sure I didn’t want to memorize all those categories. But one that stuck with me was the term IDM, or Intelligent Dance Music.\u003c/p>\n\u003cp>Popular dance music had, especially in the ’90s, fallen into a mind-numbingly repetitive, made-by-a-machine sound that lacked much in the way of innovation, so it only made sense that the term would arise for a new generation of dance music makers like \u003ca href=\"http://www.warprecords.com/comm/links.php?artist_id=afx\" target=\"offsite\" rel=\"noopener\">Aphex Twin\u003c/a> and \u003ca href=\"http://www.futuresoundoflondon.com\" target=\"offsite\" rel=\"noopener\">Future Sound of London\u003c/a>, who used technology to augment their creativy, not replace it. \u003ca href=\"http://www.myspace.com/mdslktr\" target=\"offsite\" rel=\"noopener\">Modeselektor\u003c/a> is a descendant of this generation of intelligent beat-makers, who ground their glitch in rhythms from ragga to breakbeat to polka (yup) on \u003cb>Happy Birthday!\u003c/b> (Bpitch Control, 2007).\u003c/p>\n\u003cp>\u003cb>Happy Birthday!\u003c/b> is a moody sort of bastard, starting you off in the bowels of the UK dancehall club scene, then taking you to France for a little glitched out techno hip hop courtesy of a collaboration with rapper \u003ca href=\"http://www.myspace.com/inbedwithttc\" target=\"offsite\" rel=\"noopener\">TTC\u003c/a>, followed by the title song “Happy Birthday,” which brings a flighty carnival atmosphere to your polka party. The rest of the staggering 17 songs on the album take you pretty much all over the map in a whirlwind tour of every genre spawned by electronic music in the last ten years.\u003c/p>\n\u003cp>“Let Your Love Grow” is one of the standouts on the album, showcasing \u003ca href=\"http://www.last.fm/music/Paul+St.+Hilaire\" target=\"offsite\" rel=\"noopener\">Paul St. Hilaire’s\u003c/a> warm and soaring vocals and evoking Massive Attack’s stunning collaboration with Horace Andy on “Angel.” But the very next song, “B.M.I.” reverts to a jerky beat factory designed to make glitch-hounds strike up their interpretive dance movements. Some of Modeselektor’s other collaborations are just as welcome, including Thom Yorke on “The White Flash,” which could easily have turned up on \u003cb>The Eraser\u003c/b>, his solo release.\u003c/p>\n\u003cp>There are a few uneven points on \u003cb>Happy Birthday!\u003c/b> like the transition from “The First Rebirth,” aptly described by my boyfriend as a concerto for dot matrix printers, to “The Dark Side of the Frog/Sun,” which brings in a gangster rap over a rather dull beatscape. But these are far outweighed by the album’s audacious exploration of genres and driving energy from track to track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’ve all heard them, those sad, delusional types who mutter darkly about how there’s “no good music around these days.” Unless you quickly stop them talking by deftly changing the subject or smacking them around the head with a handy length of two-by-four, they’ll probably also offer a few observations on the superior quality of music from some dusty era in the past, and even trot out a few clichés like “it’s all just noise,” or “go tidy your room.”\u003c/p>\n\u003cp>Lazy, lazy, lazy. True, there isn’t a whole lot of good music in the display racks of your local Wal-Mart or Best Buy, but that doesn’t mean it doesn’t exist. There is LOADS of good music around these days. But the truth is that often it takes a bit of work to find it. You’ve got to do some hunting, be brave, and sometimes even expose a little bit of your soul to the open air.\u003c/p>\n\u003cp>But none of us are completely immune to this kind of cynicism. Occasionally, as I get older, I worry that I’m getting too old and jaded to feel that same giddy rush of excitement from hearing new music I seemed to experience every other week as a teenager. But then something comes along like “She’s The One” by \u003ca href=\"http://www.caribou.fm/\" target=\"offsite\" rel=\"noopener\">Caribou\u003c/a>.\u003c/p>\n\u003cp>I’ve been aware of Dan Snaith’s musical adventures since he went by the name Manitoba (he had to change it to Caribou because of a \u003ca href=\"http://www.thegatewayonline.ca/caribou-s-manitoba-moniker-up-in-flames-20071029-1211.html\" target=\"offsite\" rel=\"noopener\">copyright dispute\u003c/a> too tedious to relate here). But we had kind of fallen out of touch in recent years and, even though I knew he had a new record out, it took me a while to get round to hearing it.\u003c/p>\n\u003cp>But then I found a random link to \u003ca href=\"http://www.youtube.com/watch?v=XUNTeYjQHt4\" target=\"offsite\" rel=\"noopener\">“She’s the One”\u003c/a> on YouTube. And I was blown away. Astonished. Gobsmacked. And completely infatuated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His voice is fuzzy and low in the mix (as it normally is), but it is the backing vocals, repeating and insistent like a Steve Reich sample that made me swoon. It doesn’t sound quite like it’s supposed to be there, but is also the thing that makes the song so special. On occasion the different parts are pulling in different directions so much that it sounds as if it is on the verge of falling apart into a mistimed, atonal mess. But then, like a tightrope walker in a high wind, it manages to maintain its balance and hold it together until the end. It is delicate, fragile, and utterly wonderful.\u003c/p>\n\u003cp>The rest of the album it comes from, \u003cb>Andorra\u003c/b>, contains some more wonderful surprises, particularly in the way it manages to sound so psychedelically retro and utterly modern at the same time. But, for me, it’s all about that one song, and about the power of music to make me fall hopelessly in love, over and over again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caribou plays \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 23. The single “She’s the One” and album \u003cb>Andorra\u003c/b> are both out now on \u003ca href=\"http://www.mergerecords.com/\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all heard them, those sad, delusional types who mutter darkly about how there’s “no good music around these days.” Unless you quickly stop them talking by deftly changing the subject or smacking them around the head with a handy length of two-by-four, they’ll probably also offer a few observations on the superior quality of music from some dusty era in the past, and even trot out a few clichés like “it’s all just noise,” or “go tidy your room.”\u003c/p>\n\u003cp>Lazy, lazy, lazy. True, there isn’t a whole lot of good music in the display racks of your local Wal-Mart or Best Buy, but that doesn’t mean it doesn’t exist. There is LOADS of good music around these days. But the truth is that often it takes a bit of work to find it. You’ve got to do some hunting, be brave, and sometimes even expose a little bit of your soul to the open air.\u003c/p>\n\u003cp>But none of us are completely immune to this kind of cynicism. Occasionally, as I get older, I worry that I’m getting too old and jaded to feel that same giddy rush of excitement from hearing new music I seemed to experience every other week as a teenager. But then something comes along like “She’s The One” by \u003ca href=\"http://www.caribou.fm/\" target=\"offsite\" rel=\"noopener\">Caribou\u003c/a>.\u003c/p>\n\u003cp>I’ve been aware of Dan Snaith’s musical adventures since he went by the name Manitoba (he had to change it to Caribou because of a \u003ca href=\"http://www.thegatewayonline.ca/caribou-s-manitoba-moniker-up-in-flames-20071029-1211.html\" target=\"offsite\" rel=\"noopener\">copyright dispute\u003c/a> too tedious to relate here). But we had kind of fallen out of touch in recent years and, even though I knew he had a new record out, it took me a while to get round to hearing it.\u003c/p>\n\u003cp>But then I found a random link to \u003ca href=\"http://www.youtube.com/watch?v=XUNTeYjQHt4\" target=\"offsite\" rel=\"noopener\">“She’s the One”\u003c/a> on YouTube. And I was blown away. Astonished. Gobsmacked. And completely infatuated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His voice is fuzzy and low in the mix (as it normally is), but it is the backing vocals, repeating and insistent like a Steve Reich sample that made me swoon. It doesn’t sound quite like it’s supposed to be there, but is also the thing that makes the song so special. On occasion the different parts are pulling in different directions so much that it sounds as if it is on the verge of falling apart into a mistimed, atonal mess. But then, like a tightrope walker in a high wind, it manages to maintain its balance and hold it together until the end. It is delicate, fragile, and utterly wonderful.\u003c/p>\n\u003cp>The rest of the album it comes from, \u003cb>Andorra\u003c/b>, contains some more wonderful surprises, particularly in the way it manages to sound so psychedelically retro and utterly modern at the same time. But, for me, it’s all about that one song, and about the power of music to make me fall hopelessly in love, over and over again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Caribou plays \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 23. The single “She’s the One” and album \u003cb>Andorra\u003c/b> are both out now on \u003ca href=\"http://www.mergerecords.com/\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Stipe once said that REM’s \u003cb>Fables of the Reconstruction\u003c/b> sounded like “two oranges being nailed together.” As well as being a great quote, it was also a joke (one missed by the journalist he was speaking to at the time, unfortunately). However, it made an important point: that trying to describe music in words is an essentially futile task.\u003c/p>\n\u003cp>Which is something that \u003cb>Some Racing, Some Stopping\u003c/b>, the new album by \u003ca href=\"http://www.headlightsmusic.com/\" target=\"offsite\" rel=\"noopener\">Headlights\u003c/a>, illustrates perfectly. The album was a bit of a guilty pleasure when I first heard it, as it seemed a little cutesy and lightweight. I was worried that it might turn out to be an Ikea record: attractive and enjoyable at first, but essentially an insubstantial piece of crap that was going to give way under the slightest pressure.\u003c/p>\n\u003cp>Then one day the sun came out, literally. And, just like in countless episodes of \u003cb>CSI\u003c/b>, a little UV light revealed all. No, not blood splatter patterns or the dried crust of sordid sexual activities, but the realization that this was a SUMMER album. As the warmth of spring spread over San Francisco, those sweet boy-girl harmonies and pop hooks suddenly made perfect sense. From beginning to end, whether it’s the effervescing pop of “Catch Them All,” “Cherry Tulips,” and “Market Girl,” or the lullaby-like softness of the title track, the sunshine never stops.\u003c/p>\n\u003cp>But there’s something else too, and that’s where it gets complicated. There’s a sadness, an aching meloncholia behind the honeyed harmonies and hooks, but one that somehow feels good at the same time. It’s sort of like the warmth of tears on cold cheeks, or perhaps the way even the most carefree Sunday is haunted by the Monday to come. Maybe it’s the whispered promise of love that cannot possibly last beyond fall? Whatever it is, it feels delicious.\u003c/p>\n\u003cp>Even the “do doo-doo” backing vocals on “School Boys” (a perfect slice of pop if ever there was one) are broken up by wistful sighs of “aah,” like a pinch of salt in caramel ice cream. Everywhere you turn, xylophones jingle like wind chimes in a light breeze while voices drenched in soft-focus reverb and faraway echo sing lines such as: “Wouldn’t it be sort of strange if we could hear our hearts all beating at once?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you listen for it, that indescribable, indefinable sadness is present in much of the very best summer music. But how to adequately describe it? Occasionally, a new word will come along to help us, as \u003ca href=\"http://music.guardian.co.uk/rock/laurabarton/story/0,,2264812,00.html\" target=\"offsite\" rel=\"noopener\">Nick Cave has discovered\u003c/a> by applying the concept of \u003ca href=\"http://en.wikipedia.org/wiki/Duende_(art)\" target=\"offsite\" rel=\"noopener\">duende\u003c/a> to the darkness at the heart of his own music (which is a far deeper, blacker thing than the thing I am trying to describe here). But for now there doesn’t seem to be any easy literary equivalent for the weird happysadness at the heart of the Headlights’ shimmering pop\u003c/p>\n\u003cp>. \u003c/p>\n\u003cp>Instead, you just need to wait for a suitably sunny moment, buy an ice cream, shed a few tears, and discover it for yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Some Racing, Some Stopping\u003c/b> is out now on \u003ca href=\"http://www.polyvinylrecords.com/\" target=\"offsite\" rel=\"noopener\">Polyvinyl Records\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you listen for it, that indescribable, indefinable sadness is present in much of the very best summer music. But how to adequately describe it? Occasionally, a new word will come along to help us, as \u003ca href=\"http://music.guardian.co.uk/rock/laurabarton/story/0,,2264812,00.html\" target=\"offsite\" rel=\"noopener\">Nick Cave has discovered\u003c/a> by applying the concept of \u003ca href=\"http://en.wikipedia.org/wiki/Duende_(art)\" target=\"offsite\" rel=\"noopener\">duende\u003c/a> to the darkness at the heart of his own music (which is a far deeper, blacker thing than the thing I am trying to describe here). But for now there doesn’t seem to be any easy literary equivalent for the weird happysadness at the heart of the Headlights’ shimmering pop\u003c/p>\n\u003cp>. \u003c/p>\n\u003cp>Instead, you just need to wait for a suitably sunny moment, buy an ice cream, shed a few tears, and discover it for yourself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Some Racing, Some Stopping\u003c/b> is out now on \u003ca href=\"http://www.polyvinylrecords.com/\" target=\"offsite\" rel=\"noopener\">Polyvinyl Records\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Saturday afternoon I drove to Cinema West in Fairfax, decided 12:30pm isn’t too early for popcorn, bought my ticket and went inside. Was I there for the latest epic romance? An indie film playing only at select theaters? A revival of a classic? Turns out it was a little of all three: San Francisco Opera’s first theatrical release of Giacomo Puccini’s \u003cb>La Rondine\u003c/b>.\u003c/p>\n\u003cp>I’d been looking forward to this matinee for months. My husband, on the other hand, spent the drive to Fairfax enumerating the many other ways that we could spend a beautiful Saturday afternoon. But even he was won over by the benefits of opera at the movies. For example: you can wear jeans, there’s no pressure about clapping at the right or wrong time, tickets cost under $20, and you can enjoy soda and candy during the show. More importantly the sound quality is excellent, the picture is in high definition, and the cameras capture subtleties and expressions that can get lost in a big opera house. We were both genuinely moved by the story and by the immediacy of seeing the performers up close, thirty feet high, revealing the characters’ lives and loves to Puccini’s sweeping, romantic music. While it can’t replace the energy and excitement of a live performance, the theatrical release provides a more intimate and casual way to experience opera.\u003c/p>\n\u003cp>\u003cb>La Rondine (The Swallow)\u003c/b> tells the story of Magda, a young Parisian woman who lives in luxury as the mistress of a wealthy banker. When she falls in love with Ruggero, a naive young man from the country, she gives up the pleasures of her life in Paris, and must eventually decide whether she will deceive her young lover about her past. Though the opera is rarely performed, this production is an argument for mounting it more often due largely to the magnetic and deeply felt performance by Romanian soprano Angela Gheorghiu as Magda. Her voice is clear and rich and she floats high notes with grace and power. Equally revelatory is her physical portrayal, inhabiting Magda as a lively and conflicted young woman who seems to want to squeeze every drop of life from each moment. Gheorghiu is supported by excellent physical and vocal performances from Gerard Powers as the dapper poet Prunier and Anna Christy as the flighty maid Lisette. Only Misha Didyk, as the lover Ruggero, appeared stiff and was better to listen to than to watch. But the opera belongs to Gheorghiu’s Magda, and she holds the audience’s attention throughout.\u003c/p>\n\u003cp>Operas have been filmed for decades, often for release on public television, with mixed results in capturing the vibrancy and depth of live performances. But recent advances in digital technology have opened up new options for filming live operatic performances. San Francisco Opera and the Metropolitan Opera in New York, both under new general directors since 2006, are taking advantage of this technology to bring opera out of the opera house and to wider audiences. In 2007, San Francisco Opera installed a high definition video production center at the War Memorial Opera House and filmed four operas from the season, which are now being released in movie theaters. The Met has been transmitting select operas in movie theaters since 2006. The management of both companies insist that opera is still best seen live, but with so many people unable to attend a performance (cost and distance are frequently prohibitive) these theatrical releases are an exciting way to reach new and old audiences alike.\u003c/p>\n\u003cp>If you’re interested in exploring this innovative way to enjoy opera, or you just like the idea of eating popcorn while a soprano warbles onscreen, there are plenty of opportunities. \u003cb>La Rondine\u003c/b> will play at the Castro Theater on March 17, 2008 with future productions of \u003cb>Samson and Delilah\u003c/b>, \u003cb>Don Giovanni\u003c/b>, and \u003cb>Madama Butterfly\u003c/b> airing in theaters around the Bay Area in March and April, 2008. \u003ca href=\"http://www.thebiggerpicture.us/opera/\" target=\"offsite\" rel=\"noopener\">More information\u003c/a> is available at thebiggerpicture. The Met’s next release is Benjamin Britten’s dark and brooding \u003cb>Peter Grimes\u003c/b>, which plays in local theaters March 15-16, 2008.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Saturday afternoon I drove to Cinema West in Fairfax, decided 12:30pm isn’t too early for popcorn, bought my ticket and went inside. Was I there for the latest epic romance? An indie film playing only at select theaters? A revival of a classic? Turns out it was a little of all three: San Francisco Opera’s first theatrical release of Giacomo Puccini’s \u003cb>La Rondine\u003c/b>.\u003c/p>\n\u003cp>I’d been looking forward to this matinee for months. My husband, on the other hand, spent the drive to Fairfax enumerating the many other ways that we could spend a beautiful Saturday afternoon. But even he was won over by the benefits of opera at the movies. For example: you can wear jeans, there’s no pressure about clapping at the right or wrong time, tickets cost under $20, and you can enjoy soda and candy during the show. More importantly the sound quality is excellent, the picture is in high definition, and the cameras capture subtleties and expressions that can get lost in a big opera house. We were both genuinely moved by the story and by the immediacy of seeing the performers up close, thirty feet high, revealing the characters’ lives and loves to Puccini’s sweeping, romantic music. While it can’t replace the energy and excitement of a live performance, the theatrical release provides a more intimate and casual way to experience opera.\u003c/p>\n\u003cp>\u003cb>La Rondine (The Swallow)\u003c/b> tells the story of Magda, a young Parisian woman who lives in luxury as the mistress of a wealthy banker. When she falls in love with Ruggero, a naive young man from the country, she gives up the pleasures of her life in Paris, and must eventually decide whether she will deceive her young lover about her past. Though the opera is rarely performed, this production is an argument for mounting it more often due largely to the magnetic and deeply felt performance by Romanian soprano Angela Gheorghiu as Magda. Her voice is clear and rich and she floats high notes with grace and power. Equally revelatory is her physical portrayal, inhabiting Magda as a lively and conflicted young woman who seems to want to squeeze every drop of life from each moment. Gheorghiu is supported by excellent physical and vocal performances from Gerard Powers as the dapper poet Prunier and Anna Christy as the flighty maid Lisette. Only Misha Didyk, as the lover Ruggero, appeared stiff and was better to listen to than to watch. But the opera belongs to Gheorghiu’s Magda, and she holds the audience’s attention throughout.\u003c/p>\n\u003cp>Operas have been filmed for decades, often for release on public television, with mixed results in capturing the vibrancy and depth of live performances. But recent advances in digital technology have opened up new options for filming live operatic performances. San Francisco Opera and the Metropolitan Opera in New York, both under new general directors since 2006, are taking advantage of this technology to bring opera out of the opera house and to wider audiences. In 2007, San Francisco Opera installed a high definition video production center at the War Memorial Opera House and filmed four operas from the season, which are now being released in movie theaters. The Met has been transmitting select operas in movie theaters since 2006. The management of both companies insist that opera is still best seen live, but with so many people unable to attend a performance (cost and distance are frequently prohibitive) these theatrical releases are an exciting way to reach new and old audiences alike.\u003c/p>\n\u003cp>If you’re interested in exploring this innovative way to enjoy opera, or you just like the idea of eating popcorn while a soprano warbles onscreen, there are plenty of opportunities. \u003cb>La Rondine\u003c/b> will play at the Castro Theater on March 17, 2008 with future productions of \u003cb>Samson and Delilah\u003c/b>, \u003cb>Don Giovanni\u003c/b>, and \u003cb>Madama Butterfly\u003c/b> airing in theaters around the Bay Area in March and April, 2008. \u003ca href=\"http://www.thebiggerpicture.us/opera/\" target=\"offsite\" rel=\"noopener\">More information\u003c/a> is available at thebiggerpicture. The Met’s next release is Benjamin Britten’s dark and brooding \u003cb>Peter Grimes\u003c/b>, which plays in local theaters March 15-16, 2008.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shane King and Arne Johnson wisely set up \u003cb>Girls Rock!\u003c/b>, their raucous documentary about a five-day, all-girl, Portland rock ‘n’ roll camp, as a hootin’ ‘n’ hollerin’ hunka swaggering female empowerment. Heaven knows we can always use a movie like that, and I wouldn’t want to dampen the powder on anyone’s blast at the movies. But as King and Johnson would no doubt admit (after you’ve bought your ticket), \u003cb>Girls Rock!\u003c/b> is anything but an escapist flick.\u003c/p>\n\u003cp>The Bay Area filmmakers (who hail from Portland originally) take the now-standard documentary approach of introducing a few offbeat but recognizable characters, then follow their journey through an uncommon experience. The setting here is the Rock ‘n’ Roll Camp for Girls, a rowdy, unruly mess o’ gals age eight to eighteen. The week begins with each camper picking her favored genre (from pop to hip-hop, with every stop in-between), and embarking on the awkward and intense process of forming a band with other kids under the same banner. Choosing a name seems to be the most stressful activity; writing original songs, rehearsing and performing at the closing-night blowout isn’t half as threatening to the average girl’s self-esteem.\u003c/p>\n\u003cp>At least that’s the case with Misty, a tough-talking but charming teenager who’s gone through a stretch of homelessness and drug abuse and has a miniscule fuse for any perceived slight. Good thing she’s not in a band with eight-year-old Amelia, who dominates and intimidates her wee peers with screeching lyrics and shrieking guitar. Another tyro terror, Palace, has the preternatural poise, posture and calculated self-awareness of a junior beauty pageant contestant, which makes her mother justifiably concerned that she’s way too appearance-obsessed.\u003c/p>\n\u003cp>Reactions will vary, but this middle-aged male discerned a good deal of pain behind the façade each girl has constructed to conceal her adolescent insecurities. By comparison, perpetually embarrassed heavy-metal misfit Laura — an outgoing Korean adoptee from Oklahoma (!) — appears downright healthy. At least someday she’ll outgrow her proclivity for voicing every goofy, self-deprecating thought that pops into her head. The other girls will have more difficulty shedding the personae they’ve devised to deal with the world.\u003c/p>\n\u003cp>This is \u003cb>Girls Rock\u003c/b>‘s powerful central theme, that it’s not just crazy-hard growing up female in America, but it’s getting harder earlier. Consider this factoid, one of many strewn throughout the film, “In 1970, the average age for girls to start dieting was 14. By 1990 it was 8.” We are provided this unsettling news in arresting fashion, via local filmmaker Liz Canning’s animated interludes mimicking the lo-fi, handmade style of zines, scrapbooks and ransom notes. Backed by abrasive guitar rock, her sequences supply a wealth of sobering statistics with a wholly appropriate shot of edge and energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re more inclined to accentuate the positive, the doc features plenty of affirming interviews with camp teachers and administrators (mostly tattooed rockers, of course) and giddy shots of girls starting to own their instrument. The closing night concert — not a competition, thankfully, so you needn’t dread another teen sports climax a la \u003cb>Spellbound\u003c/b> or \u003cb>Mad Hot Ballroom\u003c/b> — is inescapably heartwarming. The effect is enhanced by King and Johnson’s smart decision not to build up to the show throughout the movie; when each band hits the stage, we simply expect the four main girls to experience a sense of completion rather than a lightning moment of life-altering transformation.\u003c/p>\n\u003cp>That said, the upbeat ending isn’t completely earned. Good vibes surround the showcase concert, but we’re told about the ground each girl has covered over the previous five days instead of truly witnessing it for ourselves. What the film does reveal, most viscerally in the band dynamics — and this is what makes \u003cb>Girls Rock!\u003c/b> both a savvy and savage film — are the hostilities and turf wars that erupt when girls are compelled to cooperate with each other. As mean as boys and men are, sisters aren’t slouches about doin’ it to themselves.\u003c/p>\n\u003cp>Moviegoers are pretty well assured of walking out of \u003cb>Girls Rock!\u003c/b> with a contact high, jazzed about the growth opportunity that Rock ‘n’ Roll Camp for Girls afforded Amelia, Misty, Laura and Palace. The film’s longer-lasting contribution, though, is the degree of serious discussion, and reflection, it inspires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b> opens Friday, March 7, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck in Berkeley.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shane King and Arne Johnson wisely set up \u003cb>Girls Rock!\u003c/b>, their raucous documentary about a five-day, all-girl, Portland rock ‘n’ roll camp, as a hootin’ ‘n’ hollerin’ hunka swaggering female empowerment. Heaven knows we can always use a movie like that, and I wouldn’t want to dampen the powder on anyone’s blast at the movies. But as King and Johnson would no doubt admit (after you’ve bought your ticket), \u003cb>Girls Rock!\u003c/b> is anything but an escapist flick.\u003c/p>\n\u003cp>The Bay Area filmmakers (who hail from Portland originally) take the now-standard documentary approach of introducing a few offbeat but recognizable characters, then follow their journey through an uncommon experience. The setting here is the Rock ‘n’ Roll Camp for Girls, a rowdy, unruly mess o’ gals age eight to eighteen. The week begins with each camper picking her favored genre (from pop to hip-hop, with every stop in-between), and embarking on the awkward and intense process of forming a band with other kids under the same banner. Choosing a name seems to be the most stressful activity; writing original songs, rehearsing and performing at the closing-night blowout isn’t half as threatening to the average girl’s self-esteem.\u003c/p>\n\u003cp>At least that’s the case with Misty, a tough-talking but charming teenager who’s gone through a stretch of homelessness and drug abuse and has a miniscule fuse for any perceived slight. Good thing she’s not in a band with eight-year-old Amelia, who dominates and intimidates her wee peers with screeching lyrics and shrieking guitar. Another tyro terror, Palace, has the preternatural poise, posture and calculated self-awareness of a junior beauty pageant contestant, which makes her mother justifiably concerned that she’s way too appearance-obsessed.\u003c/p>\n\u003cp>Reactions will vary, but this middle-aged male discerned a good deal of pain behind the façade each girl has constructed to conceal her adolescent insecurities. By comparison, perpetually embarrassed heavy-metal misfit Laura — an outgoing Korean adoptee from Oklahoma (!) — appears downright healthy. At least someday she’ll outgrow her proclivity for voicing every goofy, self-deprecating thought that pops into her head. The other girls will have more difficulty shedding the personae they’ve devised to deal with the world.\u003c/p>\n\u003cp>This is \u003cb>Girls Rock\u003c/b>‘s powerful central theme, that it’s not just crazy-hard growing up female in America, but it’s getting harder earlier. Consider this factoid, one of many strewn throughout the film, “In 1970, the average age for girls to start dieting was 14. By 1990 it was 8.” We are provided this unsettling news in arresting fashion, via local filmmaker Liz Canning’s animated interludes mimicking the lo-fi, handmade style of zines, scrapbooks and ransom notes. Backed by abrasive guitar rock, her sequences supply a wealth of sobering statistics with a wholly appropriate shot of edge and energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re more inclined to accentuate the positive, the doc features plenty of affirming interviews with camp teachers and administrators (mostly tattooed rockers, of course) and giddy shots of girls starting to own their instrument. The closing night concert — not a competition, thankfully, so you needn’t dread another teen sports climax a la \u003cb>Spellbound\u003c/b> or \u003cb>Mad Hot Ballroom\u003c/b> — is inescapably heartwarming. The effect is enhanced by King and Johnson’s smart decision not to build up to the show throughout the movie; when each band hits the stage, we simply expect the four main girls to experience a sense of completion rather than a lightning moment of life-altering transformation.\u003c/p>\n\u003cp>That said, the upbeat ending isn’t completely earned. Good vibes surround the showcase concert, but we’re told about the ground each girl has covered over the previous five days instead of truly witnessing it for ourselves. What the film does reveal, most viscerally in the band dynamics — and this is what makes \u003cb>Girls Rock!\u003c/b> both a savvy and savage film — are the hostilities and turf wars that erupt when girls are compelled to cooperate with each other. As mean as boys and men are, sisters aren’t slouches about doin’ it to themselves.\u003c/p>\n\u003cp>Moviegoers are pretty well assured of walking out of \u003cb>Girls Rock!\u003c/b> with a contact high, jazzed about the growth opportunity that Rock ‘n’ Roll Camp for Girls afforded Amelia, Misty, Laura and Palace. The film’s longer-lasting contribution, though, is the degree of serious discussion, and reflection, it inspires.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Girls Rock!\u003c/b> opens Friday, March 7, 2008 at the Embarcadero Center Cinema in San Francisco and the Shattuck in Berkeley.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s so easy for us to over think our reactions to new music. The first time we hear a track or album, only one question should really matter: Is it any good? But, more realistically, the question we ask is “do \u003ci>I\u003c/i> like it?” And, before we know it, our pet peeves and personal prejudices are getting involved, and we’re well on the way to over thinking things.\u003c/p>\n\u003cp>For example, I have a terrible tendency to write off new artists unless they astonish me within the space of a single song, and/or sound incredibly different to anything I’ve heard before. Unfortunately, the first time I listened to \u003cb>Delayer\u003c/b>, the new album by Oakland’s \u003ca href=\"http://theheavenlystates.com/\" target=\"offsite\" rel=\"noopener\">The Heavenly States\u003c/a>, it achieved neither. But it had arrived recommended, so I persevered. Then, a few days later, I found myself happily humming the bouncy hook to album opener “Morning Exercise” while I was doing the washing up, and I realized I had been smitten.\u003c/p>\n\u003cp>Of course, I’m not saying this album is about to rewrite musical history after all, only that it was unreasonable to condemn it out of hand for this reason alone. After all, even those few recordings that do arrive like an incredible bolt from the blue and sound as if they’re going to turn the pop universe upside down, normally achieve something much, much less. Such as when I excitedly play some “amazing” new band to a friend, only to have them reply: “Oh, they just sound like [insert name of other, older, smugly obscure artist here].”\u003c/p>\n\u003cp>Instead of attempting to serve up a musical revolution, \u003cb>Delayer\u003c/b> concentrates on simpler pleasures. In particular, the first three tracks pop out of the traps with a gleeful, driving rush that, after a few listens, is hard to resist. The album does lose a little momentum in the middle, but there is enough quality on either side of this flat spot to compensate.\u003c/p>\n\u003cp>Highlights include “Lost in the Light,” which recalls the Velvet Underground circa \u003cb>Loaded\u003c/b>, the slower-paced “Make Up,” which breathes the same melancholic air as Jane’s Addiction in their quieter moments, and “The System,” which is propelled by the kind of squalling guitar riff that would have rocked just as hard in any decade out of the past five, but sounds none the worse for it. In fact, this is probably one of the keys to the band’s charm. Like The Raconteurs (to pick another recent example), they aren’t doing anything particularly new, they’re just doing it well. And, of course, it also helps that Ted Nesseth sings as if he was ordained to front a rock band from birth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s probably no coincidence that The Heavenly States remind me of a few other pop-edged indie outfits I grew to appreciate despite some initial misgivings. These include \u003ca href=\"http://www.theshins.com/\" target=\"offsite\" rel=\"noopener\">The Shins\u003c/a> (although with a bit more balls, which is no bad thing), \u003ca href=\"http://www.razorlight.co.uk/\" target=\"offsite\" rel=\"noopener\">Razorlight\u003c/a> (particularly at the start of “Pretty Life”) and \u003ca href=\"http://www.dandywarhols.com/index.php\" target=\"offsite\" rel=\"noopener\">The Dandy Warhols\u003c/a>.\u003c/p>\n\u003cp>In fact, this last example seems the most apt. When \u003cb>Thirteen Tales from Urban Bohemia\u003c/b> came out, I was working in an office with a stereo that seemingly had no “off” button, and just two volume settings: loud and louder. Once I got used to the noise levels, I discovered this arrangement offered two great benefits. The first was the Pepsi-challenge “blind taste test” effect; that is, hearing new music without first knowing who it’s by, which removed a great deal of personal prejudice from the equation. And the second was that even if I didn’t like something straight away, the chances were that someone else did, and I’d end up hearing it a few more times before my opinions hardened enough to complain.\u003c/p>\n\u003cp>Of course, the down side was ending up in a conversation that started with me explaining to a work colleague precisely why I’d always hated The Dandy Warhols and then going on to ask what was playing on the stereo because I really liked it. I’m sure you can guess the rest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Heavenly States’ record release party is at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on March 7, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s so easy for us to over think our reactions to new music. The first time we hear a track or album, only one question should really matter: Is it any good? But, more realistically, the question we ask is “do \u003ci>I\u003c/i> like it?” And, before we know it, our pet peeves and personal prejudices are getting involved, and we’re well on the way to over thinking things.\u003c/p>\n\u003cp>For example, I have a terrible tendency to write off new artists unless they astonish me within the space of a single song, and/or sound incredibly different to anything I’ve heard before. Unfortunately, the first time I listened to \u003cb>Delayer\u003c/b>, the new album by Oakland’s \u003ca href=\"http://theheavenlystates.com/\" target=\"offsite\" rel=\"noopener\">The Heavenly States\u003c/a>, it achieved neither. But it had arrived recommended, so I persevered. Then, a few days later, I found myself happily humming the bouncy hook to album opener “Morning Exercise” while I was doing the washing up, and I realized I had been smitten.\u003c/p>\n\u003cp>Of course, I’m not saying this album is about to rewrite musical history after all, only that it was unreasonable to condemn it out of hand for this reason alone. After all, even those few recordings that do arrive like an incredible bolt from the blue and sound as if they’re going to turn the pop universe upside down, normally achieve something much, much less. Such as when I excitedly play some “amazing” new band to a friend, only to have them reply: “Oh, they just sound like [insert name of other, older, smugly obscure artist here].”\u003c/p>\n\u003cp>Instead of attempting to serve up a musical revolution, \u003cb>Delayer\u003c/b> concentrates on simpler pleasures. In particular, the first three tracks pop out of the traps with a gleeful, driving rush that, after a few listens, is hard to resist. The album does lose a little momentum in the middle, but there is enough quality on either side of this flat spot to compensate.\u003c/p>\n\u003cp>Highlights include “Lost in the Light,” which recalls the Velvet Underground circa \u003cb>Loaded\u003c/b>, the slower-paced “Make Up,” which breathes the same melancholic air as Jane’s Addiction in their quieter moments, and “The System,” which is propelled by the kind of squalling guitar riff that would have rocked just as hard in any decade out of the past five, but sounds none the worse for it. In fact, this is probably one of the keys to the band’s charm. Like The Raconteurs (to pick another recent example), they aren’t doing anything particularly new, they’re just doing it well. And, of course, it also helps that Ted Nesseth sings as if he was ordained to front a rock band from birth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s probably no coincidence that The Heavenly States remind me of a few other pop-edged indie outfits I grew to appreciate despite some initial misgivings. These include \u003ca href=\"http://www.theshins.com/\" target=\"offsite\" rel=\"noopener\">The Shins\u003c/a> (although with a bit more balls, which is no bad thing), \u003ca href=\"http://www.razorlight.co.uk/\" target=\"offsite\" rel=\"noopener\">Razorlight\u003c/a> (particularly at the start of “Pretty Life”) and \u003ca href=\"http://www.dandywarhols.com/index.php\" target=\"offsite\" rel=\"noopener\">The Dandy Warhols\u003c/a>.\u003c/p>\n\u003cp>In fact, this last example seems the most apt. When \u003cb>Thirteen Tales from Urban Bohemia\u003c/b> came out, I was working in an office with a stereo that seemingly had no “off” button, and just two volume settings: loud and louder. Once I got used to the noise levels, I discovered this arrangement offered two great benefits. The first was the Pepsi-challenge “blind taste test” effect; that is, hearing new music without first knowing who it’s by, which removed a great deal of personal prejudice from the equation. And the second was that even if I didn’t like something straight away, the chances were that someone else did, and I’d end up hearing it a few more times before my opinions hardened enough to complain.\u003c/p>\n\u003cp>Of course, the down side was ending up in a conversation that started with me explaining to a work colleague precisely why I’d always hated The Dandy Warhols and then going on to ask what was playing on the stereo because I really liked it. I’m sure you can guess the rest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Heavenly States’ record release party is at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on March 7, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Greek myth of Orpheus is a timeless legend about the power and futility of human love, in which Orpheus, a gifted musician, braves the dangers of the underworld to beg for the return of his beloved Eurydice. It’s been a popular subject for centuries, with composers inspired by the sacred ideals of love and music as embodied by Orpheus’ pursuit of his beloved even in death.\u003c/p>\n\u003cp>But if you like your Greek mythology with a little more spice, then read on! Everything is turned upside down in Jacques Offenbach’s 1858 operetta \u003cb>Orpheus in the Underworld\u003c/b>. Instead of a noble pair of lovers, Orpheus is now a conceited music professor pursuing nymphs while his wife Eurydice hates his music and is having an affair with a shepherd. Instead of noble gods and goddesses led by the brave Jupiter, Mount Olympus is populated by bored and dissolute deities who can’t wait to revolt against Jupiter’s hypocritical reign. There is seduction, infidelity, sexual innuendo, and inebriation. There’s even an infectious can-can.\u003c/p>\n\u003cp>\u003cb>Orpheus in the Underworld\u003c/b> is the opening production of Pocket Opera’s 2008 season. For more than thirty years, Pocket Opera has been presenting intimate, accessible opera productions to Bay Area audiences, performing mostly in English with translations by the company’s founder, Donald Pippin. Now in his early eighties, Pippin still leads from the piano and introduces each scene with brevity and wit. His libretti are clever, flexible, and accessible. Pippin believes in translating “the spirit of the work rather than word by word, with complete fidelity to the composer’s musical intentions” and the translations serve the singers, audience, and original texts alike.\u003c/p>\n\u003cp>Pocket Opera works in small houses with minimal sets, costumes, and staging. The orchestra is small, usually 8-15 instrumentalists with Pippin at the piano. There is none of the pomp and circumstance that you can expect from larger operatic productions, which often include dramatic set changes, elaborate costumes and even animals onstage (I’ve seen everything from a toy poodle to an elephant!). Pocket Opera’s \u003cb>Orpheus\u003c/b> is both approachable and enjoyable, but there’s also nowhere to hide — during opening night, on the few occasions when a line was missed or the singers and orchestra were out of sync, you could tell immediately.\u003c/p>\n\u003cp>While energetic and committed, the cast possessed a wide range of vocal and dramatic ability. The production was anchored by Jillian Boye’s excellent performance as Eurydice. She brought a powerful voice, good comedic instincts and a vivacious presence to the role. Michael Mendelsohn was a hilarious Pluto, changing easily from seductive to scheming to silly as the situation required. In smaller roles, Jennifer Nadig as Venus and Julia Louise Hosack as Diana stood out for their bright singing and comic energy. A bit less comfortable when singing, Nicholas Patton as Orpheus and Donna Olson as Public Opinion were persuasive and funny during their speaking parts. Public Opinion’s characterization as a member of the paparazzi, frequently snapping pictures of the main characters, was an amusing modern touch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Orpheus in the Underworld\u003c/b> is an operetta, a light comedic genre that is frequently performed in English. As a result, this production lacks the sense of revelation that can come from seeing a well-known foreign work performed in a good translation. The rest of Pocket Opera’s season includes plenty of opportunities to see English versions of familiar favorites that are usually performed in foreign languages, including Mozart’s \u003cb>Cosi Fan Tutte\u003c/b> and Puccini’s \u003cb>La Bohème\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Pocket Opera’s \u003cb>Orpheus in the Underworld\u003c/b> runs through March 15, 2008 at the Legion of Honor, located in Lincoln Park at 34th Avenue and Clement Street in San Francisco. For \u003ca href=\"http://www.pocketopera.org/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit pocketopera.org or call 415-972-8934.\u003c/p>\n\n",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "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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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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