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"content": "\u003cp>Opera San José’s current production of Giuseppe Verdi’s \u003cb>Rigoletto\u003c/b> gives you your Verdi straight. The opera is simply staged, with traditional costumes and sets. This is not a production that seeks new interpretations or insights by updating or rethinking the opera. Instead, with strong singing and acting from the leads and the ensemble, the brilliance of the score and the drama of the carefully constructed libretto by Francesco Maria Piave come alive.\u003c/p>\n\u003cp>Opera San José maintains a resident company, meaning that many of the singers stay with the company for at least a year and perform a variety of roles throughout the season. Working primarily with young singers early in their careers, Opera San José offers them opportunities to perform significant roles and to work together as a company over time. Many of the productions, including this one, are double cast.\u003c/p>\n\u003cp>A quick synopsis: Rigoletto is a hunchbacked court jester for the corrupt and licentious Duke of Mantua. In the opening scene, Rigoletto is cursed by a nobleman whose daughter has been ruined by the Duke. The curse terrifies Rigoletto because he has a daughter, Gilda, whom he is keeping secluded in order to protect her from the decadent court. Despite Rigoletto’s precautions, the Duke seduces Gilda. Rigoletto swears revenge and plots to kill the Duke, but unbeknownst to him Gilda decides to sacrifice herself for love and is killed instead. At the end of the opera, Rigoletto discovers her body and is devastated at the loss of the only thing he loved in the world.\u003c/p>\n\u003cp>In this performance, Rigoletto, Gilda, and the Duke were all portrayed by strong singers and actors with specific and believable approaches to their roles. Andrew Fernando physically embodied the challenging role of Rigoletto, limping heavily on one leg. While he sometimes strained in the upper register, he had a rich lower sound and conveyed a sense of barely contained fury and frustration. As the Duke, Isaac Hurtado sang with a smooth tenor and had a charm that recalled the iconic high school golden boy… star athlete, top student, president of the class. But the Duke’s magnetism is equaled only by his indifference to the suffering that he leaves in his wake. As Gilda, Rochelle Bard enchanted the audience with a bright tone and floating coloratura. Gilda came alive as she fell in love with the Duke, transforming from an uneasily obedient child into a more complex and confident young woman.\u003c/p>\n\u003cp>In the overture the orchestra set the tone for the dark story to come, creating a foreboding mood that clashed with the hedonistic laughter of the opening scene. Soon after Rigoletto’s terror came through clearly as he recalled the old man’s curse in a dotted rhythm echoing another famous avenging father of opera, the Commendatore in Mozart’s \u003cb>Don Giovanni\u003c/b>. But some of the most stirring moments of the evening were quieter, including Bard’s riveting and seemingly effortless performance of the virtuosic ‘Caro nome” in which Gilda recalls the name of her beloved. Another quietly compelling scene occurred in Rigoletto and Gilda’s duet in Act II, after Rigoletto discovered that the Duke seduced his daughter. The father and daughter began standing apart from each other but the music slowly united them for a rare moment in which forgiveness trumped vengeance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Melodrama at the level and intensity established during the first two acts is difficult to sustain, and there was a noticeable drop in energy during the third act. But overall the performers had enough commitment and emotion to keep audience members on the edges of their seats. With this \u003cb>Rigoletto\u003c/b>, Opera San José offers a strong and compelling production of one of Italian opera’s great masterpieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Opera San José’s production of \u003cb>Rigoletto\u003c/b> is at the California Theatre through Sunday, February 24, 2008. The California Theatre is located at 345 South First Street, San José. For \u003ca href=\"http://www.operasj.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.operasj.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera San José’s current production of Giuseppe Verdi’s \u003cb>Rigoletto\u003c/b> gives you your Verdi straight. The opera is simply staged, with traditional costumes and sets. This is not a production that seeks new interpretations or insights by updating or rethinking the opera. Instead, with strong singing and acting from the leads and the ensemble, the brilliance of the score and the drama of the carefully constructed libretto by Francesco Maria Piave come alive.\u003c/p>\n\u003cp>Opera San José maintains a resident company, meaning that many of the singers stay with the company for at least a year and perform a variety of roles throughout the season. Working primarily with young singers early in their careers, Opera San José offers them opportunities to perform significant roles and to work together as a company over time. Many of the productions, including this one, are double cast.\u003c/p>\n\u003cp>A quick synopsis: Rigoletto is a hunchbacked court jester for the corrupt and licentious Duke of Mantua. In the opening scene, Rigoletto is cursed by a nobleman whose daughter has been ruined by the Duke. The curse terrifies Rigoletto because he has a daughter, Gilda, whom he is keeping secluded in order to protect her from the decadent court. Despite Rigoletto’s precautions, the Duke seduces Gilda. Rigoletto swears revenge and plots to kill the Duke, but unbeknownst to him Gilda decides to sacrifice herself for love and is killed instead. At the end of the opera, Rigoletto discovers her body and is devastated at the loss of the only thing he loved in the world.\u003c/p>\n\u003cp>In this performance, Rigoletto, Gilda, and the Duke were all portrayed by strong singers and actors with specific and believable approaches to their roles. Andrew Fernando physically embodied the challenging role of Rigoletto, limping heavily on one leg. While he sometimes strained in the upper register, he had a rich lower sound and conveyed a sense of barely contained fury and frustration. As the Duke, Isaac Hurtado sang with a smooth tenor and had a charm that recalled the iconic high school golden boy… star athlete, top student, president of the class. But the Duke’s magnetism is equaled only by his indifference to the suffering that he leaves in his wake. As Gilda, Rochelle Bard enchanted the audience with a bright tone and floating coloratura. Gilda came alive as she fell in love with the Duke, transforming from an uneasily obedient child into a more complex and confident young woman.\u003c/p>\n\u003cp>In the overture the orchestra set the tone for the dark story to come, creating a foreboding mood that clashed with the hedonistic laughter of the opening scene. Soon after Rigoletto’s terror came through clearly as he recalled the old man’s curse in a dotted rhythm echoing another famous avenging father of opera, the Commendatore in Mozart’s \u003cb>Don Giovanni\u003c/b>. But some of the most stirring moments of the evening were quieter, including Bard’s riveting and seemingly effortless performance of the virtuosic ‘Caro nome” in which Gilda recalls the name of her beloved. Another quietly compelling scene occurred in Rigoletto and Gilda’s duet in Act II, after Rigoletto discovered that the Duke seduced his daughter. The father and daughter began standing apart from each other but the music slowly united them for a rare moment in which forgiveness trumped vengeance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Melodrama at the level and intensity established during the first two acts is difficult to sustain, and there was a noticeable drop in energy during the third act. But overall the performers had enough commitment and emotion to keep audience members on the edges of their seats. With this \u003cb>Rigoletto\u003c/b>, Opera San José offers a strong and compelling production of one of Italian opera’s great masterpieces.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Opera San José’s production of \u003cb>Rigoletto\u003c/b> is at the California Theatre through Sunday, February 24, 2008. The California Theatre is located at 345 South First Street, San José. For \u003ca href=\"http://www.operasj.org\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit www.operasj.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If everything was right with the world, then the new \u003ca href=\"http://www.american-music-club.com/index.html\" target=\"offsite\" rel=\"noopener\">American Music Club\u003c/a> album would be an absolute stinker.\u003c/p>\n\u003cp>Consider the evidence: The band only recently reformed after a decade-long break. And, as if having the “reunion” tag hanging over them wasn’t bad enough, three members of the band have since left, leaving only singer Mark Eitzel and guitarist Vudi to record and tour a new album with a replacement rhythm section. Not only that, but the record they have finally come up with has a song about the World Trade Center on it. Uh-oh.\u003c/p>\n\u003cp>Perhaps most troubling of all is the apparent change in Mark Eitzel’s mental state over the past few years. He has always been the band’s artistic focal point and, after many years of being a reluctant, awkward, and famously depressed poster boy for wretchedly miserable music fans the world over, these days Eitzel seems much happier and more comfortable in himself: almost cheerful, in fact. Could things get any worse?\u003c/p>\n\u003cp>Let’s face it: if there’s one thing — ONE thing — we all know to be absolutely true about the world of modern music, it’s that artists make better records when they are battling the demons of depression and dependancy. As Marvin Gaye said “great artists suffer for the people” and, as Eitzel’s back catalog proves, he has suffered more than most.\u003c/p>\n\u003cp>Amazingly, despite all of this, and perhaps even because of a lot of it, \u003cb>The Golden Age\u003c/b> is a genuine triumph. Eitzel’s new-found contentment may rob the new album of some of the blacker, bleaker extremes of AMC records past, but this is no bad thing. It means instead that the songs are now better balanced, with more space for hope, humor, and redemption.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album’s sound is also more mellow, making full use of excellent back-up harmonies from new recruits Sean Hoffman on bass and drummer Steve Didelot. The opening and closing songs “All My Love” and “The Grand Duchess of San Francisco” have a beautifully muted delicacy, and there are moments in between that could almost be described as easy listening. Just like Nick Cave could make a credible metamorphosis from hardcore punk to crooning lounge lizard precisely because of, rather than in spite of, his Birthday Party past, so Eitzel has made his move towards the middle of the road with authority after a turbulent life spent on the fringes. This is the cathartic sound of the calm after the storm.\u003c/p>\n\u003cp>Not that it is all light and grace. Even in the album’s mellowest moments, Vudi’s guitar carries the threat of something darker, always hinting at distortion and feedback despite (mostly) holding it in check. And the demons of Eitzel’s past are rarely far away either, as lines such as the repeating “no one here is going to save you” chorus from “The Decibels and the Little Pills” remind us.\u003c/p>\n\u003cp>And, yes, there really is a song about the World Trade Center. “The Windows on the World” is about a party in the restaurant that once topped the North Tower, which Eitzel was taken to by a friend. But gone are the overt politics and righteous anger of 2004’s comeback album \u003cb>Love Songs For Patriots\u003c/b> when, for example, Uncle Sam was recast as a desperate male stripper in “Patriot’s Heart.” Instead, this song is not only quietly poignant, but also funny: “I said to Kit, look at me, look at me, I’m on top of the First World with a free beer / He said, don’t worry my dear, they’ll let any trash in here.”\u003c/p>\n\u003cp>In yet another apparent contradiction, the album also contains two songs about San Francisco, despite the fact that the band, if not Eitzel himself, is now based in Los Angeles. But the band’s roots will always lie in the Bay Area and, in particular, “All the Lost Souls Welcome You to San Francisco” captures the city’s charms in a way that ought to banish all mention of lost hearts and hair-based flora forever.\u003c/p>\n\u003cp>The fact that it probably won’t, shouldn’t distract us from how much this album achieves, and how many important lessons it teaches in the process. Reunions are OK. Change is good. Happy and sad aren’t mutually exclusive. And, everything being right with the world isn’t necessarily a good thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Golden Age\u003c/b> is released February 19, 2008 on \u003ca href=\"http://www.mergerecords.com/band.php?band_id=99&\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>. American Music Club begin their US tour at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 2, 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album’s sound is also more mellow, making full use of excellent back-up harmonies from new recruits Sean Hoffman on bass and drummer Steve Didelot. The opening and closing songs “All My Love” and “The Grand Duchess of San Francisco” have a beautifully muted delicacy, and there are moments in between that could almost be described as easy listening. Just like Nick Cave could make a credible metamorphosis from hardcore punk to crooning lounge lizard precisely because of, rather than in spite of, his Birthday Party past, so Eitzel has made his move towards the middle of the road with authority after a turbulent life spent on the fringes. This is the cathartic sound of the calm after the storm.\u003c/p>\n\u003cp>Not that it is all light and grace. Even in the album’s mellowest moments, Vudi’s guitar carries the threat of something darker, always hinting at distortion and feedback despite (mostly) holding it in check. And the demons of Eitzel’s past are rarely far away either, as lines such as the repeating “no one here is going to save you” chorus from “The Decibels and the Little Pills” remind us.\u003c/p>\n\u003cp>And, yes, there really is a song about the World Trade Center. “The Windows on the World” is about a party in the restaurant that once topped the North Tower, which Eitzel was taken to by a friend. But gone are the overt politics and righteous anger of 2004’s comeback album \u003cb>Love Songs For Patriots\u003c/b> when, for example, Uncle Sam was recast as a desperate male stripper in “Patriot’s Heart.” Instead, this song is not only quietly poignant, but also funny: “I said to Kit, look at me, look at me, I’m on top of the First World with a free beer / He said, don’t worry my dear, they’ll let any trash in here.”\u003c/p>\n\u003cp>In yet another apparent contradiction, the album also contains two songs about San Francisco, despite the fact that the band, if not Eitzel himself, is now based in Los Angeles. But the band’s roots will always lie in the Bay Area and, in particular, “All the Lost Souls Welcome You to San Francisco” captures the city’s charms in a way that ought to banish all mention of lost hearts and hair-based flora forever.\u003c/p>\n\u003cp>The fact that it probably won’t, shouldn’t distract us from how much this album achieves, and how many important lessons it teaches in the process. Reunions are OK. Change is good. Happy and sad aren’t mutually exclusive. And, everything being right with the world isn’t necessarily a good thing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Golden Age\u003c/b> is released February 19, 2008 on \u003ca href=\"http://www.mergerecords.com/band.php?band_id=99&\" target=\"offsite\" rel=\"noopener\">Merge Records\u003c/a>. American Music Club begin their US tour at \u003ca href=\"http://www.theindependentsf.com/\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> in San Francisco on April 2, 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 7pm on most Monday nights, JJ’s Blues is about as quiet as you’d expect a dive with modest signage on Stevens Creek Boulevard to be. Melissa is standing behind the long counter, chatting with a couple of regulars while pouring an irregular, me, a drink. Johnnie, the proprietor of San Jose’s most venerable blues club, is dividing his attention between a computer, to update the online calendar for the club’s website, and a mixing board. On stage, singer, guitarist, and all-around swell guy Peter Stanley is prattling into a microphone and noodling on his red Gibson Firebird to check and double check the levels in the monitors. Looking up, Johnnie lifts a hand from the keyboard, turns just three of the board’s hundred or so dials, and returns to his task. He’s been here before.\u003c/p>\n\u003cp>Kneeling next to Stanley, harmonica player Brad Kava aims a penlight into an equipment case to fish out a harp. Behind Kava, Chris Trevisan warms up at his keyboard, switching variously from a punchy Fender Rhodes sound to the heavenly tones of a Hammond B-3. Meanwhile, the rhythm section (Gregory Sandoval on drums and John Braselton on bass) crash and rumble through their pre-show calisthenics. Doghouse Riley is about to tear up JJ’s postage-stamp stage, and it doesn’t seem to bother anyone that there are currently more people up there than in the audience. Wait, scratch that; here come a couple of friends.\u003c/p>\n\u003cp>Doghouse Riley has been filling the early-show slot at JJ’s three Mondays a month for two years now. A jam of local pros, some of whom play in bands fronted by the likes of Carlos Santana, follows at around 9 or 9:30, depending on how long it takes Doghouse Riley to pack up its gear. With rare exceptions there’s no cover at JJ’s on Sunday through Thursday, so a working stiff like me can begin the week with a couple of beers, an hour or two of what Stanley jokingly calls “the suburban blues,” and still be home by 10.\u003c/p>\n\u003cp>Kidding aside, suburban blues is not a terrible description for Doghouse Riley’s music. Yes you’ll hear traditional blues chestnuts like “Born Under A Bad Sign,” “Mama Talk To Your Daughter,” and “If You Love Me Like You Say,” but the band also sprinkles more contemporary covers into its set, including ZZ Top’s, “Jesus Just Left Chicago” and, on a recent night, no less than two Steely Dan numbers (“That was a song by those great blues pioneers, Donald Fagen and Walter Becker,” Kava jokes after grinding through “Pretzel Logic”).\u003c/p>\n\u003cp>Which is not to suggest that Doghouse Riley is just another cover band. These guys are serious about their music and respectful of its roots, although never morbidly so. Kava is a man possessed when he’s wailing on his harp, producing everything from low freight-train moans to those classic harmonica squeaks; by the end of the 90-plus minute set he’s pretty much drenched. Trevisan varies his sound from song to song, sometimes exploring synthesized tones that you might expect from Steve Molitz of Particle, other times channeling the great Jimmy Smith. As for Stanley, he finds ways to surprise his audience all night long, crafting fluid leads that benefit from an intuitive touch, a deft hand when speed is the need, and a willingness to simply have some fun (the Los Lobos rocker “Don’t Worry Baby” is interrupted, but only once, by the famous Jimmy Page riff in Led Zeppelin’s head-banger anthem “How Many More Times”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>JJ’s is the perfect place for this sort of thing. The walls of the long, narrow space are covered by lots of mirrors and even more photographs of famous blues artists, many of whom make regular pilgrimages to tiny JJ’s when they are passing through town on tours that typically take them to larger, more lucrative rooms. There are also pictures of people you’ve never heard of, which is an important part of Johnnie’s mission for JJ’s: to give emerging artists a safe and friendly place where they can refine their craft.\u003c/p>\n\u003cp>That’s why Doghouse Riley is here on Monday nights. It certainly isn’t for the money. At the end of the evening, as the band members are loading amps and instruments into their cars, Stanley hands each player a five-dollar bill, an equal share from the night’s tip jar. Even in the suburbs, you’ve got to suffer if you want to sing the blues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doghouse Riley plays every Monday, except the first Monday of the month, at JJ’s Blues, 3439 Stevens Creek Blvd., San Jose; (408) 243-6441. Music starts about 7pm and admission is free. 21 and over.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 7pm on most Monday nights, JJ’s Blues is about as quiet as you’d expect a dive with modest signage on Stevens Creek Boulevard to be. Melissa is standing behind the long counter, chatting with a couple of regulars while pouring an irregular, me, a drink. Johnnie, the proprietor of San Jose’s most venerable blues club, is dividing his attention between a computer, to update the online calendar for the club’s website, and a mixing board. On stage, singer, guitarist, and all-around swell guy Peter Stanley is prattling into a microphone and noodling on his red Gibson Firebird to check and double check the levels in the monitors. Looking up, Johnnie lifts a hand from the keyboard, turns just three of the board’s hundred or so dials, and returns to his task. He’s been here before.\u003c/p>\n\u003cp>Kneeling next to Stanley, harmonica player Brad Kava aims a penlight into an equipment case to fish out a harp. Behind Kava, Chris Trevisan warms up at his keyboard, switching variously from a punchy Fender Rhodes sound to the heavenly tones of a Hammond B-3. Meanwhile, the rhythm section (Gregory Sandoval on drums and John Braselton on bass) crash and rumble through their pre-show calisthenics. Doghouse Riley is about to tear up JJ’s postage-stamp stage, and it doesn’t seem to bother anyone that there are currently more people up there than in the audience. Wait, scratch that; here come a couple of friends.\u003c/p>\n\u003cp>Doghouse Riley has been filling the early-show slot at JJ’s three Mondays a month for two years now. A jam of local pros, some of whom play in bands fronted by the likes of Carlos Santana, follows at around 9 or 9:30, depending on how long it takes Doghouse Riley to pack up its gear. With rare exceptions there’s no cover at JJ’s on Sunday through Thursday, so a working stiff like me can begin the week with a couple of beers, an hour or two of what Stanley jokingly calls “the suburban blues,” and still be home by 10.\u003c/p>\n\u003cp>Kidding aside, suburban blues is not a terrible description for Doghouse Riley’s music. Yes you’ll hear traditional blues chestnuts like “Born Under A Bad Sign,” “Mama Talk To Your Daughter,” and “If You Love Me Like You Say,” but the band also sprinkles more contemporary covers into its set, including ZZ Top’s, “Jesus Just Left Chicago” and, on a recent night, no less than two Steely Dan numbers (“That was a song by those great blues pioneers, Donald Fagen and Walter Becker,” Kava jokes after grinding through “Pretzel Logic”).\u003c/p>\n\u003cp>Which is not to suggest that Doghouse Riley is just another cover band. These guys are serious about their music and respectful of its roots, although never morbidly so. Kava is a man possessed when he’s wailing on his harp, producing everything from low freight-train moans to those classic harmonica squeaks; by the end of the 90-plus minute set he’s pretty much drenched. Trevisan varies his sound from song to song, sometimes exploring synthesized tones that you might expect from Steve Molitz of Particle, other times channeling the great Jimmy Smith. As for Stanley, he finds ways to surprise his audience all night long, crafting fluid leads that benefit from an intuitive touch, a deft hand when speed is the need, and a willingness to simply have some fun (the Los Lobos rocker “Don’t Worry Baby” is interrupted, but only once, by the famous Jimmy Page riff in Led Zeppelin’s head-banger anthem “How Many More Times”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>JJ’s is the perfect place for this sort of thing. The walls of the long, narrow space are covered by lots of mirrors and even more photographs of famous blues artists, many of whom make regular pilgrimages to tiny JJ’s when they are passing through town on tours that typically take them to larger, more lucrative rooms. There are also pictures of people you’ve never heard of, which is an important part of Johnnie’s mission for JJ’s: to give emerging artists a safe and friendly place where they can refine their craft.\u003c/p>\n\u003cp>That’s why Doghouse Riley is here on Monday nights. It certainly isn’t for the money. At the end of the evening, as the band members are loading amps and instruments into their cars, Stanley hands each player a five-dollar bill, an equal share from the night’s tip jar. Even in the suburbs, you’ve got to suffer if you want to sing the blues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doghouse Riley plays every Monday, except the first Monday of the month, at JJ’s Blues, 3439 Stevens Creek Blvd., San Jose; (408) 243-6441. Music starts about 7pm and admission is free. 21 and over.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Record sales rise and fall, entire genres of music come and go, even \u003ca href=\"http://www.thestar.com/entertainment/article/286195\" target=\"offsite\" rel=\"noopener\">interminable Las Vegas concert runs\u003c/a> occasionally come to an end. But one constant remains in the strange world that is the music industry — bands with rubbish names.\u003c/p>\n\u003cp>And there are two entirely separate, fun things you can do this month to remind yourself of this consistent source of both amusement and bemusement: \u003ca href=\"http://blackkidsmusic.com/\" target=\"offsite\" rel=\"noopener\">download\u003c/a> the excellent and totally free \u003cb>Wizzard of Ahhhs\u003c/b> EP by knowingly cool indie-pop outfit \u003ca href=\"http://www.myspace.com/blackkidsrock\" target=\"offsite\" rel=\"noopener\">Black Kids\u003c/a>, and go to \u003ca href=\"http://www.theindependentsf.com/jan2008.htm\" target=\"offsite\" rel=\"noopener\">The Independent\u003c/a> on January 17, 2008 to see the similarly titled \u003ca href=\"http://www.myspace.com/gocoolkids\" target=\"offsite\" rel=\"noopener\">Cool Kids\u003c/a> perform their much-lauded retro-infused hip-hop.\u003c/p>\n\u003cp>One only needs to remember the middle-aged members of Sonic Youth to know why both Black Kids and Cool Kids have names that suck, and that’s before we cast our eyes over the other, troublesome parts of their titles. What makes the situation even more bewildering is that, while their music may be quite different, they share at least one other important trait less obvious than their names: they both seem to be savvy media operators.\u003c/p>\n\u003cp>For example, Black Kids are offering their debut as a free download, which is so painfully right now that it might even be in the future. And in a similarly up-to-the-minute move, The Cool Kids’ most recent step toward wider recognition was made by appearing in someone else’s TV advert. (You know the one: it features some dweeby guy dressed in a towel dancing around his living room, oblivious to the fact that a bizarrely contradictory bunch of musicians appear to have crept into his house while he wasn’t looking.) Such canny marketing moves make it hard to believe they arrived at the most important elements of their brand identities by accident.\u003c/p>\n\u003cp>What is hardest to fathom is why they have both appeared at the same time. Add the recently surfaced \u003ca href=\"http://www.coldwarkids.com/\" target=\"offsite\" rel=\"noopener\">Cold War Kids\u003c/a> and you virtually have a movement. Not so long ago, the same thing happened when proto-metallers Wolfmother, indie rockers Wolf Parade and the largely uncategorizable Patrick Wolf all began bothering the music scene at around the same time, which is not to mention the similarly named psychedelic Krautrockers Lupine Howl. Coincidence? Weirdly, there doesn’t seem to be any more logical explanation on offer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, it is also important to remember that even the worst epithet is rarely a barrier to sales success, at least not on its own. From the terrible pun that no one ever seems to notice on the cover of every Beatles record onwards, music history is littered with examples of acts who have sold many more records than their names ever deserved. So why not close your eyes and give the “kids” a chance. You might be pleasantly surprised.\u003c/p>\n\n",
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"content": "\u003cp>It is high praise indeed if you are playing a show and of the seven people in the audience three of them happen to be Robert Crumb, his wife Aileen and director Terry Zwigoff (\u003cb>Crumb\u003c/b>, \u003cb>Ghost World\u003c/b>, \u003cb>Bad Santa\u003c/b>). I had heard The Divine Jug Band a few weeks before at Papa Toby’s Revolution Cafe and was so impressed by their outrageous and just plain wacky performance that I traveled across town to Socha to catch them again. What I didn’t know was that their music was a favorite of the Crumbs and Zwigoff.\u003c/p>\n\u003cp>When the band finished, and people were milling about, two of the musicians started spontaneously playing a tune and singing quietly. I was standing just behind Mr. Crumb and to my surprise he began to sing along softly, just under his breath, I see he was smiling and they couldn’t hear him — but he knew all the words.\u003c/p>\n\u003cp>The Divine Jug Band plays their super hillbilly music at \u003ca href=\"http://sochacafe.com/\" target=\"offsite\" rel=\"noopener\">Socha\u003c/a> on Tuesdays, just a few doors down from the hip nightspot, Knockout. On a typical weeknight, dozens of drunk twenty-somethings get busy dancing to electronica while amazing music is going on next door at Socha. In addition to Socha, Andre and Jennifer Larzul also own \u003ca href=\"http://sanfrancisco.citysearch.com/profile/37229584\" target=\"offsite\" rel=\"noopener\">Papa Toby’s Revolution Cafe\u003c/a>, \u003ca href=\"http://www.alamosquareseafoodgrill.com/index.php\">Alamo Square Seafood Grill\u003c/a>, and \u003ca href=\"http://www.yelp.com/biz/bluejay-cafe-san-francisco\" target=\"offsite\" rel=\"noopener\">Bluejay Cafe\u003c/a>. Their cafes in the Mission are currently some of the best places in town to hear live music nearly every night of the week, and it’s all free.\u003c/p>\n\u003cp>Another musical treasure worth checking out is the ad hoc classical string section, which wavers between trio and septet (depending on their schedules), that appear at Revolution Cafe on Sunday evenings. This presents a solid alternative to the bar scene in the Mission, for those of us who have hungered for something to do at night without drinking. Now you can sip your tea and listen to Beethoven or short Vivaldi pieces. And who knows, next time you pass by you might see somebody famous lurking in the shadows.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/sochacafe\">Visit Socha’s music schedule\u003c/a> (at myspace.com).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The November 2007 edition of the \u003cb>Noise Pop New Music Podcast\u003c/b> features 10 tracks of new independent and underground music. This episode includes a new track from Sonic Youth’s Thurston Moore, Beirut, Jason Schwarzman’s Coconut Records, an alternate version of a Grizzly Bear song, as well as songs from upcoming artists Audrye Sessions, Nicole Atkins and The Sea, The Blakes, and more!\u003c/p>\n\u003cp>Due to technical difficulties, we were unable to publish this episode on KQED in November. Podcast subscribers were not affected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Los Campesinos! cause a twee bit of trouble",
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"content": "\u003cp>Being a music fan used to be much simpler when I was younger. Back then, I saw the world in delicately nuanced shades of Black or White. But with age comes a sort of wisdom, which in turn just seems to make life much more complicated. Take, for example, Cardiff-based indie kids \u003ca href=\"http://www.loscampesinos.com/\" target=\"offsite\" rel=\"noopener\">Los Campesinos!\u003c/a> who are due to land in San Francisco for the first time on November 28, 2007. Seven members strong, they burst onstage with a youthful, infectious energy that is hard not to love. But they also carry with them the unmistakeable whiff of \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:4517~T00\" target=\"offsite\" rel=\"noopener\">twee\u003c/a>, which troubles me.\u003c/p>\n\u003cp>Over the years, I have developed a strange, contradictory relationship with this fey branch of indie rock. Occasionally, it produces glorious moments of shimmering pop that cause me to fall in love with music all over again. Which is all the more surprising when I find the vast majority of the twee tribes to be an irritating, self-absorbed, weirdly conservative bunch of cardigan abusers.\u003c/p>\n\u003cp>But, instead of pretending that this side of Los Campesinos! doesn’t really exist, or that I don’t have a problem with twee after all, I have decided to face my fears like a grown-up should. Are they really twee and, if so, is this such a bad thing?\u003c/p>\n\u003cp>\u003cb>Twee sign one: Boy-girl harmonies\u003c/b>\u003cbr>Any twee band worth their salt should feature mixed-gender singing. Ideally neither voice should be particularly strong or tuneful: the boy errs towards weak and yelpy, while the girl turns up the bubblegum sweetness while simultaneously channeling the spirit of \u003ca href=\"http://www.spearedpeanut.com/tajmoehal/bio/moebio.html\" target=\"offsite\" rel=\"noopener\">Moe Tucker\u003c/a>. Los Campesinos! lead vocalist Gareth and back-up singer Aleks fit this classic template perfectly, but both also have enough moxie in their voices to avoid the limp, lisping, tuneless excesses of twee pop past. In fact, Aleks’ voice is really rather nice.\u003c/p>\n\u003cp>\u003cb>Twee sign two: Being indie\u003c/b>\u003cbr>Of course, releasing your first record on small-format vinyl via an indie label doesn’t in itself make you twee, but it definitely helps. LC have done it twice: first in the UK with their debut seven-inch single “We Throw Parties, You Throw Knives” on Wichita Recordings, then in North American by re-releasing their first two UK singles as a six-song EP called “Sticking Fingers into Sockets” on Canadian indie label Arts&Crafts, available, naturally enough, on 10-inch vinyl. But quirky releases are fun, and one thing twee bands can’t be faulted for is keeping the punk tradition of DIY mail-order-only singles with hand-printed sleeves alive and well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Twee sign three: Twee roots\u003c/b>\u003cbr>One of the surest indicators of a band being twee is if they formed out of a shared love for some other twee band. For example, perhaps the most twee moment in history occurred when the founding members of \u003ca href=\"http://utterlyutterly.co.uk/talulahgosh/\" target=\"offsite\" rel=\"noopener\">Talulah Gosh\u003c/a> met because they were both wearing \u003ca href=\"http://www.sheepish.org/pastels/\" target=\"offsite\" rel=\"noopener\">Pastels\u003c/a> badges. Ditto for Los Campesinos! Their lead guitarist Tom met the three original members of the band (Neil/guitar, Ollie/drums, and Ellen/bass) when he overheard them chatting about American indie pop act \u003ca href=\"http://www.decemberists.com/\" target=\"offsite\" rel=\"noopener\">The Decemberists\u003c/a> in a Cardiff bar. Which is the kind of cute story that is forever destined to overshadow their shared love for more credible acts, such as \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a> and \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign four: Odd instrumentation\u003c/b>\u003cbr>Los Campesinos! are loaded with musical extras, including a violin, a glockenspiel, and melodica (which looks a bit like a cross between one of those mini Casio keyboards from the eighties and a bong). But there is nothing wrong with expanding your musical horizons beyond the standard guitar/bass/drum template; it’s what you do with them that counts. For Los Campesinos!, that means creating a big sound more redolent of \u003ca href=\"http://www.arcadefire.com/flash.html\" target=\"offsite\" rel=\"noopener\">Arcade Fire\u003c/a> than the likes of \u003ca href=\"http://www.myspace.com/bmxbanditsgroup\" target=\"offsite\" rel=\"noopener\">BMX Bandits\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign five: Childishness\u003c/b>\u003cbr>Music critic and author \u003ca href=\"http://blissout.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Simon Reynolds\u003c/a> famously described the twee movement as a “revolt into childhood,” and Los Campesinos! certainly fit the bill on that front thanks to their cartoonish aesthetic and songs filled with kiddie references (most of them too peculiarly British to bother trying to explain here). However, a certain youthfulness is forgiveable in a band who are all still only 22, and thankfully they are already showing signs of maturing. Like wearing cheerleader’s outfits or hanging around school playgrounds, the childish side of twee becomes increasingly dubious with age.\u003c/p>\n\u003cp>\u003cb>Twee sign six: Self-referentialism\u003c/b>\u003cbr>Their latest single is called “The International Tweexcore Underground.” It doesn’t get much more twee than that. But dig a little deeper and you realise the song doesn’t just name-check twee icons such as \u003ca href=\"http://home2.btconnect.com/smoke/shinkansen.htm\" target=\"offsite\" rel=\"noopener\">Sarah Records\u003c/a>, \u003ca href=\"http://www.indie-mp3.co.uk/2005/04/bands-of-amelia-fletcher_25.html\" target=\"offsite\" rel=\"noopener\">Amelia Fletcher\u003c/a>, and \u003ca href=\"http://www.krecs.com/html/artists/artistbio.php?interest=62\" target=\"offsite\" rel=\"noopener\">Calvin Johnson\u003c/a>, it disses them too. And then it does the same thing to \u003ca href=\"http://21361.com/\" target=\"offsite\" rel=\"noopener\">Henry Rollins\u003c/a>, which is far too tough to be twee. So are they twee or not? Ah, screw it. I’ve no idea. But they’re dead good, so who cares?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Campesinos! play the \u003ca href=\"http://www.gamh.com/\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> on November 28, 2007. Their EP “Sticking Fingers into Sockets” (Arts&Crafts) is out now, and their most recent single “International Tweexcore Underground” (Wichita) is available via import from \u003ca href=\"http://www.recordstore.co.uk/home.jsp?CatalogNumber=WEBB155*\" target=\"offsite\" rel=\"noopener\">RecordStore\u003c/a> in the UK. Their debut album is due for release in March 2008.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being a music fan used to be much simpler when I was younger. Back then, I saw the world in delicately nuanced shades of Black or White. But with age comes a sort of wisdom, which in turn just seems to make life much more complicated. Take, for example, Cardiff-based indie kids \u003ca href=\"http://www.loscampesinos.com/\" target=\"offsite\" rel=\"noopener\">Los Campesinos!\u003c/a> who are due to land in San Francisco for the first time on November 28, 2007. Seven members strong, they burst onstage with a youthful, infectious energy that is hard not to love. But they also carry with them the unmistakeable whiff of \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:4517~T00\" target=\"offsite\" rel=\"noopener\">twee\u003c/a>, which troubles me.\u003c/p>\n\u003cp>Over the years, I have developed a strange, contradictory relationship with this fey branch of indie rock. Occasionally, it produces glorious moments of shimmering pop that cause me to fall in love with music all over again. Which is all the more surprising when I find the vast majority of the twee tribes to be an irritating, self-absorbed, weirdly conservative bunch of cardigan abusers.\u003c/p>\n\u003cp>But, instead of pretending that this side of Los Campesinos! doesn’t really exist, or that I don’t have a problem with twee after all, I have decided to face my fears like a grown-up should. Are they really twee and, if so, is this such a bad thing?\u003c/p>\n\u003cp>\u003cb>Twee sign one: Boy-girl harmonies\u003c/b>\u003cbr>Any twee band worth their salt should feature mixed-gender singing. Ideally neither voice should be particularly strong or tuneful: the boy errs towards weak and yelpy, while the girl turns up the bubblegum sweetness while simultaneously channeling the spirit of \u003ca href=\"http://www.spearedpeanut.com/tajmoehal/bio/moebio.html\" target=\"offsite\" rel=\"noopener\">Moe Tucker\u003c/a>. Los Campesinos! lead vocalist Gareth and back-up singer Aleks fit this classic template perfectly, but both also have enough moxie in their voices to avoid the limp, lisping, tuneless excesses of twee pop past. In fact, Aleks’ voice is really rather nice.\u003c/p>\n\u003cp>\u003cb>Twee sign two: Being indie\u003c/b>\u003cbr>Of course, releasing your first record on small-format vinyl via an indie label doesn’t in itself make you twee, but it definitely helps. LC have done it twice: first in the UK with their debut seven-inch single “We Throw Parties, You Throw Knives” on Wichita Recordings, then in North American by re-releasing their first two UK singles as a six-song EP called “Sticking Fingers into Sockets” on Canadian indie label Arts&Crafts, available, naturally enough, on 10-inch vinyl. But quirky releases are fun, and one thing twee bands can’t be faulted for is keeping the punk tradition of DIY mail-order-only singles with hand-printed sleeves alive and well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Twee sign three: Twee roots\u003c/b>\u003cbr>One of the surest indicators of a band being twee is if they formed out of a shared love for some other twee band. For example, perhaps the most twee moment in history occurred when the founding members of \u003ca href=\"http://utterlyutterly.co.uk/talulahgosh/\" target=\"offsite\" rel=\"noopener\">Talulah Gosh\u003c/a> met because they were both wearing \u003ca href=\"http://www.sheepish.org/pastels/\" target=\"offsite\" rel=\"noopener\">Pastels\u003c/a> badges. Ditto for Los Campesinos! Their lead guitarist Tom met the three original members of the band (Neil/guitar, Ollie/drums, and Ellen/bass) when he overheard them chatting about American indie pop act \u003ca href=\"http://www.decemberists.com/\" target=\"offsite\" rel=\"noopener\">The Decemberists\u003c/a> in a Cardiff bar. Which is the kind of cute story that is forever destined to overshadow their shared love for more credible acts, such as \u003ca href=\"http://www.matadorrecords.com/pavement/\" target=\"offsite\" rel=\"noopener\">Pavement\u003c/a> and \u003ca href=\"http://www.sonicyouth.com/\" target=\"offsite\" rel=\"noopener\">Sonic Youth\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign four: Odd instrumentation\u003c/b>\u003cbr>Los Campesinos! are loaded with musical extras, including a violin, a glockenspiel, and melodica (which looks a bit like a cross between one of those mini Casio keyboards from the eighties and a bong). But there is nothing wrong with expanding your musical horizons beyond the standard guitar/bass/drum template; it’s what you do with them that counts. For Los Campesinos!, that means creating a big sound more redolent of \u003ca href=\"http://www.arcadefire.com/flash.html\" target=\"offsite\" rel=\"noopener\">Arcade Fire\u003c/a> than the likes of \u003ca href=\"http://www.myspace.com/bmxbanditsgroup\" target=\"offsite\" rel=\"noopener\">BMX Bandits\u003c/a>.\u003c/p>\n\u003cp>\u003cb>Twee sign five: Childishness\u003c/b>\u003cbr>Music critic and author \u003ca href=\"http://blissout.blogspot.com/\" target=\"offsite\" rel=\"noopener\">Simon Reynolds\u003c/a> famously described the twee movement as a “revolt into childhood,” and Los Campesinos! certainly fit the bill on that front thanks to their cartoonish aesthetic and songs filled with kiddie references (most of them too peculiarly British to bother trying to explain here). However, a certain youthfulness is forgiveable in a band who are all still only 22, and thankfully they are already showing signs of maturing. Like wearing cheerleader’s outfits or hanging around school playgrounds, the childish side of twee becomes increasingly dubious with age.\u003c/p>\n\u003cp>\u003cb>Twee sign six: Self-referentialism\u003c/b>\u003cbr>Their latest single is called “The International Tweexcore Underground.” It doesn’t get much more twee than that. But dig a little deeper and you realise the song doesn’t just name-check twee icons such as \u003ca href=\"http://home2.btconnect.com/smoke/shinkansen.htm\" target=\"offsite\" rel=\"noopener\">Sarah Records\u003c/a>, \u003ca href=\"http://www.indie-mp3.co.uk/2005/04/bands-of-amelia-fletcher_25.html\" target=\"offsite\" rel=\"noopener\">Amelia Fletcher\u003c/a>, and \u003ca href=\"http://www.krecs.com/html/artists/artistbio.php?interest=62\" target=\"offsite\" rel=\"noopener\">Calvin Johnson\u003c/a>, it disses them too. And then it does the same thing to \u003ca href=\"http://21361.com/\" target=\"offsite\" rel=\"noopener\">Henry Rollins\u003c/a>, which is far too tough to be twee. So are they twee or not? Ah, screw it. I’ve no idea. But they’re dead good, so who cares?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Los Campesinos! play the \u003ca href=\"http://www.gamh.com/\" target=\"offsite\" rel=\"noopener\">Great American Music Hall\u003c/a> on November 28, 2007. Their EP “Sticking Fingers into Sockets” (Arts&Crafts) is out now, and their most recent single “International Tweexcore Underground” (Wichita) is available via import from \u003ca href=\"http://www.recordstore.co.uk/home.jsp?CatalogNumber=WEBB155*\" target=\"offsite\" rel=\"noopener\">RecordStore\u003c/a> in the UK. Their debut album is due for release in March 2008.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When it comes to music, “authenticity” is a hugely overrated concept. Despite being widely considered an expression of praise, the idea carries with it a lot of baggage including: the notions that artists can only play types of music that match their background or upbringing; that commercial success negates artistic achievement; or that you aren’t a proper artist unless you write your own songs. \u003c/p>\n\u003cp>Which is all clearly crap. If it were true, then Elvis would have remained just another country singer, and Eminem would probably be stacking shelves in Detroit right now. \u003cb>Sgt. Pepper\u003c/b> wouldn’t have meant a thing, nor would anything Radiohead released after \u003cb>The Bends\u003c/b>. And, crucially in the context of this column, Aretha Franklin would never have recorded “Say a Little Prayer,” nor Jimi Hendrix “All Along the Watchtower,” Soft Cell “Tainted Love,” Jeff Buckley “Hallelujah,” Johnny Cash “Hurt” (along with most of the rest of his final five albums)… and so on. The list of great cover versions is as long as it is varied.\u003c/p>\n\u003cp>I’m not talking about lazy copies here, but versions of songs that bring something new to the original. This can be dramatic or subtle, but the essential fact is a good cover version can force you to reconsider the original entirely, and create something completely new and surprising in the process. Cover versions are fundamental to the fabric of modern music, helping artists to create the hybrid genres and new ideas that keep pushing things forward.\u003c/p>\n\u003cp>Not convinced? Then here are some songs to persuade you that first isn’t always best:\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=dYngU49mBQ8\" target=\"offsite\" rel=\"noopener\">“Just”\u003c/a> by Mark Ronson featuring Alex Greenwald (originally by Radiohead)\u003cbr>\u003ca href=\"http://www.markronson.net/\" target=\"offsite\" rel=\"noopener\">Mark Ronson\u003c/a>‘s recent album of covers, \u003cb>Version\u003c/b>, produced two standout tracks: a stomping, Amy Winehouse-fueled Motown take on \u003ca href=\"http://www.thezutons.com/\" target=\"offsite\" rel=\"noopener\">The Zutons’\u003c/a> “Valerie,” and “Just,” which proves that jewels of pure pop can be found in the most unexpected places. Phantom Planet vocalist Greenwald may sound like he’s competing in a Thom Yorke karaoke contest, but Radiohead’s anguished \u003ca href=\"http://www.youtube.com/watch?v=R5X7HKxpiQA\" target=\"offsite\" rel=\"noopener\">original\u003c/a> is nevertheless transformed by its new horn-drenched backing into something not just upbeat but also downright funky. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003ca href=\"http://www.nouvellesvagues.com/english/music.html\" target=\"offsite\" rel=\"noopener\">Guns of Brixton\u003c/a>” by Nouvelle Vague (The Clash)\u003cbr>French covers-only act \u003ca href=\"http://www.nouvellesvagues.com/\" target=\"offsite\" rel=\"noopener\">Nouvelle Vague\u003c/a> takes a different tack from the dancefloor-friendly Ronson by creating mellowed-out, bossa nova versions of punk and new wave classics. Their smoky, sultry sashay through The Clash’s “Guns of Brixton” (from their self-titled debut), for example, ignores any punk beligerence in the \u003ca href=\"http://www.youtube.com/watch?v=hiQoq-wqZxg\" target=\"offsite\" rel=\"noopener\">original\u003c/a> and instead highlights the song’s underlying sense of creeping menace.\u003c/p>\n\u003cp>“\u003ca href=\"http://download.wbr.com/mirror/ninagordon.com/media/sounds/covers-straightouttacompton.mp3\" target=\"offsite\" rel=\"noopener\">Straight Outta Compton\u003c/a>” by Nina Gordon (NWA)\u003cbr>While your first reaction to hearing this might be to laugh in disbelief, ex-Veruca Salt member Gordon’s delicate, acoustic, folk-core cover of the \u003ca href=\"http://www.youtube.com/watch?v=nkPb4s0-QcI\" target=\"offsite\" rel=\"noopener\">original\u003c/a> NWA classic is also strangely beguiling. We have become so inured to all sorts of violent and profane words coming out of the mouths of rappers. But, by singing “My AK-47 is a tool / So don’t make me act the motherf–king fool” with a sweet, melodic voice, Gordon makes the words sound both more innocent and more shocking at the same time. My only gripe is why she didn’t record “Folk the Police” instead.\u003c/p>\n\u003cp>“\u003ca href=\"http://odeo.com/audio/5463143/view\" target=\"offsite\" rel=\"noopener\">Break My Body\u003c/a>” by Hanne Hukkelberg (Pixies)\u003cbr>This is an object lesson in how to change the style of a song so much it’s almost unrecognizable, but also stay true to the spirit of the original. Despite being a huge Pixies fan, the first time I heard Norwegian singer \u003ca href=\"http://hanne.hukkelberg.net/\" target=\"offsite\" rel=\"noopener\">Hanne Hukkelberg\u003c/a>‘s version of this \u003cb>Surfer Rosa\u003c/b> track, I couldn’t work out where on earth I knew it from until the chorus arrived one-and-a-half minutes in. (What’s even more surprising is that I did exactly the same thing the second time I heard it, but perhaps that says more about my memory than anything else.) It may not howl as loudly as the \u003ca href=\"http://www.youtube.com/watch?v=E18beaR-odI\" target=\"offsite\" rel=\"noopener\">original\u003c/a>, but this whisper-quiet rendering somehow packs the same emotional punch.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ilike.com/artist/Candi+Staton/album/Candi+Staton\" target=\"offsite\" rel=\"noopener\">“In the Ghetto”\u003c/a> by Candi Staton (Elvis Presley)\u003cbr>Despite the fact that for years this was my favorite Elvis track, \u003ca href=\"http://www.myspace.com/candistaton\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a>‘s version has a power that makes you forget all about that whatshisname from Memphis. Unfortunately, the link above only gives you a sample of the song, but I cannot recommend the album it comes from, \u003ca href=\"http://www.amazon.com/Candi-Staton/dp/samples/B0000DG5N0/ref=dp_tracks_all_1/104-7903565-1014365#disc_1\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a> (a collection of her pre-disco, southern soul recordings released in 2004), highly enough. It also features a great version of “Stand by Your Man.” (Of course, the \u003ca href=\"http://www.youtube.com/watch?v=zmVFnhO3A98\" target=\"offsite\" rel=\"noopener\">original “In the Ghetto”\u003c/a> was actually written by Mac Davis, but first recorded by Presley).\u003c/p>\n\u003cp>\u003ca href=\"http://www.oompahbrass.com/sounds/Living_on_a_Prayer.mp3\" target=\"offsite\" rel=\"noopener\">“Living on a Prayer”\u003c/a> by Octoberfest Oompah Band (Bon Jovi)\u003cbr>This tongue-in-cheek instrumental track by London’s self-described \u003ca href=\"http://www.oompahbrass.com/index.html\" target=\"offsite\" rel=\"noopener\">“newest, freshest, most temulent Oompah ensemble”\u003c/a> somehow transforms the overblown hair-rock \u003ca href=\"http://www.youtube.com/watch?v=nE11Zrrp24I\" target=\"offsite\" rel=\"noopener\">original\u003c/a> into something much more poignant. The new version ends up sounding more like the gypsy stylings of Eastern Europhiles \u003ca href=\"http://www.beirutband.com/\" target=\"offsite\" rel=\"noopener\">Beirut\u003c/a> than a song written by New Jersey’s most famous poodle-perms.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dancetracksdigital.com/clipplayer/playlist.php?TRACK_ID=4550\" target=\"offsite\" rel=\"noopener\">“Song 2wo”\u003c/a> by Earl Zinger (Blur)\u003cbr>When this dub-heavy, reggae transformation of the “woo-hoo” song was first released, it sounded so old school that some people began wondering if Blur’s \u003ca href=\"http://www.youtube.com/watch?v=C0Xl0ZEKJzo\" target=\"offsite\" rel=\"noopener\">original\u003c/a> was really the cover version. But, despite many \u003ca href=\"http://www.k7-de.com/db_robotssubpage.php?id=Put%20Your%20Phasers%20on%20....I.PRO436\" target=\"offsite\" rel=\"noopener\">self-propogated rumors\u003c/a> to the contrary, it turned out that Earl Zinger was a modern-day alias of ex-Galliano mainman Rob Gallagher. Which is a shame, as the whole thing would have been much more entertaining the other way round.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Next week, Dan Brown will re-write this article to highlight how a shady cabal of Catholics are to blame for Willie Nelson’s 2005 reggae album.\u003c/i>\u003c/p>\n\n",
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"excerpt": "When it comes to music, \"authenticity\" is a hugely overrated concept. Despite being widely considered an expression of praise, the idea carries with it a lot of baggage including: the notions that artists can only play types of music that match their background or upbringing; that commercial success negates artistic achievement; or that you aren't a proper artist unless you write your own songs. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it comes to music, “authenticity” is a hugely overrated concept. Despite being widely considered an expression of praise, the idea carries with it a lot of baggage including: the notions that artists can only play types of music that match their background or upbringing; that commercial success negates artistic achievement; or that you aren’t a proper artist unless you write your own songs. \u003c/p>\n\u003cp>Which is all clearly crap. If it were true, then Elvis would have remained just another country singer, and Eminem would probably be stacking shelves in Detroit right now. \u003cb>Sgt. Pepper\u003c/b> wouldn’t have meant a thing, nor would anything Radiohead released after \u003cb>The Bends\u003c/b>. And, crucially in the context of this column, Aretha Franklin would never have recorded “Say a Little Prayer,” nor Jimi Hendrix “All Along the Watchtower,” Soft Cell “Tainted Love,” Jeff Buckley “Hallelujah,” Johnny Cash “Hurt” (along with most of the rest of his final five albums)… and so on. The list of great cover versions is as long as it is varied.\u003c/p>\n\u003cp>I’m not talking about lazy copies here, but versions of songs that bring something new to the original. This can be dramatic or subtle, but the essential fact is a good cover version can force you to reconsider the original entirely, and create something completely new and surprising in the process. Cover versions are fundamental to the fabric of modern music, helping artists to create the hybrid genres and new ideas that keep pushing things forward.\u003c/p>\n\u003cp>Not convinced? Then here are some songs to persuade you that first isn’t always best:\u003c/p>\n\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=dYngU49mBQ8\" target=\"offsite\" rel=\"noopener\">“Just”\u003c/a> by Mark Ronson featuring Alex Greenwald (originally by Radiohead)\u003cbr>\u003ca href=\"http://www.markronson.net/\" target=\"offsite\" rel=\"noopener\">Mark Ronson\u003c/a>‘s recent album of covers, \u003cb>Version\u003c/b>, produced two standout tracks: a stomping, Amy Winehouse-fueled Motown take on \u003ca href=\"http://www.thezutons.com/\" target=\"offsite\" rel=\"noopener\">The Zutons’\u003c/a> “Valerie,” and “Just,” which proves that jewels of pure pop can be found in the most unexpected places. Phantom Planet vocalist Greenwald may sound like he’s competing in a Thom Yorke karaoke contest, but Radiohead’s anguished \u003ca href=\"http://www.youtube.com/watch?v=R5X7HKxpiQA\" target=\"offsite\" rel=\"noopener\">original\u003c/a> is nevertheless transformed by its new horn-drenched backing into something not just upbeat but also downright funky. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003ca href=\"http://www.nouvellesvagues.com/english/music.html\" target=\"offsite\" rel=\"noopener\">Guns of Brixton\u003c/a>” by Nouvelle Vague (The Clash)\u003cbr>French covers-only act \u003ca href=\"http://www.nouvellesvagues.com/\" target=\"offsite\" rel=\"noopener\">Nouvelle Vague\u003c/a> takes a different tack from the dancefloor-friendly Ronson by creating mellowed-out, bossa nova versions of punk and new wave classics. Their smoky, sultry sashay through The Clash’s “Guns of Brixton” (from their self-titled debut), for example, ignores any punk beligerence in the \u003ca href=\"http://www.youtube.com/watch?v=hiQoq-wqZxg\" target=\"offsite\" rel=\"noopener\">original\u003c/a> and instead highlights the song’s underlying sense of creeping menace.\u003c/p>\n\u003cp>“\u003ca href=\"http://download.wbr.com/mirror/ninagordon.com/media/sounds/covers-straightouttacompton.mp3\" target=\"offsite\" rel=\"noopener\">Straight Outta Compton\u003c/a>” by Nina Gordon (NWA)\u003cbr>While your first reaction to hearing this might be to laugh in disbelief, ex-Veruca Salt member Gordon’s delicate, acoustic, folk-core cover of the \u003ca href=\"http://www.youtube.com/watch?v=nkPb4s0-QcI\" target=\"offsite\" rel=\"noopener\">original\u003c/a> NWA classic is also strangely beguiling. We have become so inured to all sorts of violent and profane words coming out of the mouths of rappers. But, by singing “My AK-47 is a tool / So don’t make me act the motherf–king fool” with a sweet, melodic voice, Gordon makes the words sound both more innocent and more shocking at the same time. My only gripe is why she didn’t record “Folk the Police” instead.\u003c/p>\n\u003cp>“\u003ca href=\"http://odeo.com/audio/5463143/view\" target=\"offsite\" rel=\"noopener\">Break My Body\u003c/a>” by Hanne Hukkelberg (Pixies)\u003cbr>This is an object lesson in how to change the style of a song so much it’s almost unrecognizable, but also stay true to the spirit of the original. Despite being a huge Pixies fan, the first time I heard Norwegian singer \u003ca href=\"http://hanne.hukkelberg.net/\" target=\"offsite\" rel=\"noopener\">Hanne Hukkelberg\u003c/a>‘s version of this \u003cb>Surfer Rosa\u003c/b> track, I couldn’t work out where on earth I knew it from until the chorus arrived one-and-a-half minutes in. (What’s even more surprising is that I did exactly the same thing the second time I heard it, but perhaps that says more about my memory than anything else.) It may not howl as loudly as the \u003ca href=\"http://www.youtube.com/watch?v=E18beaR-odI\" target=\"offsite\" rel=\"noopener\">original\u003c/a>, but this whisper-quiet rendering somehow packs the same emotional punch.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ilike.com/artist/Candi+Staton/album/Candi+Staton\" target=\"offsite\" rel=\"noopener\">“In the Ghetto”\u003c/a> by Candi Staton (Elvis Presley)\u003cbr>Despite the fact that for years this was my favorite Elvis track, \u003ca href=\"http://www.myspace.com/candistaton\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a>‘s version has a power that makes you forget all about that whatshisname from Memphis. Unfortunately, the link above only gives you a sample of the song, but I cannot recommend the album it comes from, \u003ca href=\"http://www.amazon.com/Candi-Staton/dp/samples/B0000DG5N0/ref=dp_tracks_all_1/104-7903565-1014365#disc_1\" target=\"offsite\" rel=\"noopener\">Candi Staton\u003c/a> (a collection of her pre-disco, southern soul recordings released in 2004), highly enough. It also features a great version of “Stand by Your Man.” (Of course, the \u003ca href=\"http://www.youtube.com/watch?v=zmVFnhO3A98\" target=\"offsite\" rel=\"noopener\">original “In the Ghetto”\u003c/a> was actually written by Mac Davis, but first recorded by Presley).\u003c/p>\n\u003cp>\u003ca href=\"http://www.oompahbrass.com/sounds/Living_on_a_Prayer.mp3\" target=\"offsite\" rel=\"noopener\">“Living on a Prayer”\u003c/a> by Octoberfest Oompah Band (Bon Jovi)\u003cbr>This tongue-in-cheek instrumental track by London’s self-described \u003ca href=\"http://www.oompahbrass.com/index.html\" target=\"offsite\" rel=\"noopener\">“newest, freshest, most temulent Oompah ensemble”\u003c/a> somehow transforms the overblown hair-rock \u003ca href=\"http://www.youtube.com/watch?v=nE11Zrrp24I\" target=\"offsite\" rel=\"noopener\">original\u003c/a> into something much more poignant. The new version ends up sounding more like the gypsy stylings of Eastern Europhiles \u003ca href=\"http://www.beirutband.com/\" target=\"offsite\" rel=\"noopener\">Beirut\u003c/a> than a song written by New Jersey’s most famous poodle-perms.\u003c/p>\n\u003cp>\u003ca href=\"http://www.dancetracksdigital.com/clipplayer/playlist.php?TRACK_ID=4550\" target=\"offsite\" rel=\"noopener\">“Song 2wo”\u003c/a> by Earl Zinger (Blur)\u003cbr>When this dub-heavy, reggae transformation of the “woo-hoo” song was first released, it sounded so old school that some people began wondering if Blur’s \u003ca href=\"http://www.youtube.com/watch?v=C0Xl0ZEKJzo\" target=\"offsite\" rel=\"noopener\">original\u003c/a> was really the cover version. But, despite many \u003ca href=\"http://www.k7-de.com/db_robotssubpage.php?id=Put%20Your%20Phasers%20on%20....I.PRO436\" target=\"offsite\" rel=\"noopener\">self-propogated rumors\u003c/a> to the contrary, it turned out that Earl Zinger was a modern-day alias of ex-Galliano mainman Rob Gallagher. Which is a shame, as the whole thing would have been much more entertaining the other way round.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Next week, Dan Brown will re-write this article to highlight how a shady cabal of Catholics are to blame for Willie Nelson’s 2005 reggae album.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Siouxsie: Mantaray",
"headTitle": "Siouxsie: Mantaray | KQED",
"content": "\u003cp>I have been listening to the voice of Siouxsie Sioux since the 1981 release of “Spellbound,” the first single off of Siouxsie and the Banshee’s classic \u003cb>Juju\u003c/b> album, a record often cited as the progenitor of all things goth. Siouxsie has evolved from post-punk to goth to alterna-pop as the ferocious front-woman of the Banshees, and explored various world musics with Budgie, her drummer husband and Creatures collaborator.\u003c/p>\n\u003cp>Siouxsie is now 50, divorced from said husband and, after 30 years in the music business, has released her first solo album, \u003cb>Mantaray\u003c/b>. She has always been a bit of a chameleon; anyone following her career won’t be a bit surprised with her updated sound and the exploration of yet another sonic space. No longer Siouxsie Sioux, \u003cb>Mantaray\u003c/b> marks the dark diva’s arrival as another of those one-named artists, just Siouxsie — though I suppose she’s been that all along.\u003c/p>\n\u003cp>The album opener, “Into a Swan” announces Siouxsie’s return with a grinding, propulsive beat and the mantra, “I feel a force I’ve never felt before.” Indeed, it bursts onto the airwaves, with a fierce statement of intent, twisting a new-found sense of purpose into a threat. The song is irresistible. No matter the quality of any Siouxsie album, she has always known how to make a proper single. Even the low-point of the Banshees’ career, 1991’s \u003cb>Superstition\u003c/b> lead off with “Kiss Them for Me,” an instant classic. At their best, Siouxsie, the Banshees and The Creatures create music that coils itself around the ears and burrows deep into the brain.\u003c/p>\n\u003cp>The second track, “About to Happen,” with its cheesy synth line and simplistic dance beat, is a throw away. Press the skip button and move on to “Here Comes That Day,” a slinky ode to comeuppance. The song is full of humor, drama and swing, with dazzling big band horns and an (oft mentioned) Shirley Bassey flavor. This is a direction Siouxsie has mined before with The Creatures’ 1984 cover of “Right Now,” but “Here Comes That Day” sounds urgent and modern.\u003c/p>\n\u003cp>All in all, there are three songs on the album that I can take or leave. “One Mile Below” sounds like a mediocre Banshees B-side and the album closer “Heaven and Alchemy,” which would fit perfectly on a Tina Turner record, is just too mainstream a sound for Siouxsie. Perhaps it’s unfair to ask her to push harder. How many pop masterpieces should we expect from one artist? Unfortunately for Siouxsie, each album whets the appetite for more — more experimentation, more growth and more drama. And the drum track on “Loveless” just makes me miss Budgie, one of the most innovative drummers ever to anchor a pop band. Too bad their divorce settlement didn’t include a clause forcing him to drum for his ex-frontwoman forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, \u003cb>Mantaray\u003c/b> is an album about the divorce. On it, we find a more exposed Siouxsie, battered and bruised, picking up the pieces from a life-changing event and persevering, if not ready yet to move on completely. “If It Doesn’t Kill You” communicates this point perfectly, in high, James Bond-theme style. (Again this phrase pops up a lot, but it’s just too apt.) “If It Doesn’t Kill You” harkens back to classic 007 themes of the sixties and reminds us of Siouxsie’s place at the center of pop, not on the “alternative,” “punk” or “goth” sidelines.\u003c/p>\n\u003cp>My journey through the album proceeds from “If It Doesn’t Kill You” to “Drone Zone,” which sounds like a collaboration with The Real Tuesday Weld, a combination of sampling, horns and vocals reminiscent of Depression era music, oddly appropriate for Siouxsie’s muscular voice. I move through the “Sea of Tranquility,” a gorgeous mambo that reaches poetically for the stars. It’s the one song on \u003cb>Mantaray\u003c/b> that sounds truly hopeful, with Siouxsie pondering infinity — “there are more stars in the sky than grains of sand” — and finding a state of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They Follow You” is, for me, a perfect coda, the music soars to the pop heavens. Vaguely retro ’80s and oddly European, it could be a song from anywhere and just about anytime. “They Follow You” also contains my favorite lines on the record, “Sew up these tears. Stitch up this smile. Embroidered tears drown the wishing well.” It’s touching to see the woman known round the world as the “Ice Queen” make herself so vulnerable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have been listening to the voice of Siouxsie Sioux since the 1981 release of “Spellbound,” the first single off of Siouxsie and the Banshee’s classic \u003cb>Juju\u003c/b> album, a record often cited as the progenitor of all things goth. Siouxsie has evolved from post-punk to goth to alterna-pop as the ferocious front-woman of the Banshees, and explored various world musics with Budgie, her drummer husband and Creatures collaborator.\u003c/p>\n\u003cp>Siouxsie is now 50, divorced from said husband and, after 30 years in the music business, has released her first solo album, \u003cb>Mantaray\u003c/b>. She has always been a bit of a chameleon; anyone following her career won’t be a bit surprised with her updated sound and the exploration of yet another sonic space. No longer Siouxsie Sioux, \u003cb>Mantaray\u003c/b> marks the dark diva’s arrival as another of those one-named artists, just Siouxsie — though I suppose she’s been that all along.\u003c/p>\n\u003cp>The album opener, “Into a Swan” announces Siouxsie’s return with a grinding, propulsive beat and the mantra, “I feel a force I’ve never felt before.” Indeed, it bursts onto the airwaves, with a fierce statement of intent, twisting a new-found sense of purpose into a threat. The song is irresistible. No matter the quality of any Siouxsie album, she has always known how to make a proper single. Even the low-point of the Banshees’ career, 1991’s \u003cb>Superstition\u003c/b> lead off with “Kiss Them for Me,” an instant classic. At their best, Siouxsie, the Banshees and The Creatures create music that coils itself around the ears and burrows deep into the brain.\u003c/p>\n\u003cp>The second track, “About to Happen,” with its cheesy synth line and simplistic dance beat, is a throw away. Press the skip button and move on to “Here Comes That Day,” a slinky ode to comeuppance. The song is full of humor, drama and swing, with dazzling big band horns and an (oft mentioned) Shirley Bassey flavor. This is a direction Siouxsie has mined before with The Creatures’ 1984 cover of “Right Now,” but “Here Comes That Day” sounds urgent and modern.\u003c/p>\n\u003cp>All in all, there are three songs on the album that I can take or leave. “One Mile Below” sounds like a mediocre Banshees B-side and the album closer “Heaven and Alchemy,” which would fit perfectly on a Tina Turner record, is just too mainstream a sound for Siouxsie. Perhaps it’s unfair to ask her to push harder. How many pop masterpieces should we expect from one artist? Unfortunately for Siouxsie, each album whets the appetite for more — more experimentation, more growth and more drama. And the drum track on “Loveless” just makes me miss Budgie, one of the most innovative drummers ever to anchor a pop band. Too bad their divorce settlement didn’t include a clause forcing him to drum for his ex-frontwoman forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cb>Mantaray\u003c/b> is an album about the divorce. On it, we find a more exposed Siouxsie, battered and bruised, picking up the pieces from a life-changing event and persevering, if not ready yet to move on completely. “If It Doesn’t Kill You” communicates this point perfectly, in high, James Bond-theme style. (Again this phrase pops up a lot, but it’s just too apt.) “If It Doesn’t Kill You” harkens back to classic 007 themes of the sixties and reminds us of Siouxsie’s place at the center of pop, not on the “alternative,” “punk” or “goth” sidelines.\u003c/p>\n\u003cp>My journey through the album proceeds from “If It Doesn’t Kill You” to “Drone Zone,” which sounds like a collaboration with The Real Tuesday Weld, a combination of sampling, horns and vocals reminiscent of Depression era music, oddly appropriate for Siouxsie’s muscular voice. I move through the “Sea of Tranquility,” a gorgeous mambo that reaches poetically for the stars. It’s the one song on \u003cb>Mantaray\u003c/b> that sounds truly hopeful, with Siouxsie pondering infinity — “there are more stars in the sky than grains of sand” — and finding a state of grace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They Follow You” is, for me, a perfect coda, the music soars to the pop heavens. Vaguely retro ’80s and oddly European, it could be a song from anywhere and just about anytime. “They Follow You” also contains my favorite lines on the record, “Sew up these tears. Stitch up this smile. Embroidered tears drown the wishing well.” It’s touching to see the woman known round the world as the “Ice Queen” make herself so vulnerable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The contrasts between “high” and “low” art, the sublime and the ridiculous, the earthy and the divine in Mozart’s final opera \u003cb>The Magic Flute\u003c/b> are all on display in the San Francisco Opera’s current production. \u003cb>The Magic Flute\u003c/b> can be considered a bipolar composition, beginning as a humorous and lively fairy tale and ending as a moral and spiritual lesson. This production, designed by Gerald Scarfe for the Los Angeles Opera in 1992 and fully refurbished for this run, conveys both aspects of the opera with moments of sublime transcendence and delightful comedy.\u003c/p>\n\u003cp>The opera moves rapidly through a variety of characters, scenes, and musical styles, sometimes seeming to contradict itself and leaving the audience unsure of its villains and heroes. In Act I, prince Tamino is convinced by the Queen of the Night to rescue her daughter Pamina, who has been kidnapped by the evil sorcerer Sarastro. By the end of Act I, Tamino has recognized Sarastro as a wise priest and leader of a spiritual community. Tamino renounces the Queen, and in Act II he and Pamina commit to Sarastro’s trials to achieve enlightenment together. They are accompanied reluctantly by the simple birdcatcher Papageno. More interested in food and wine than in spiritual purity, Papageno fails Sarastro’s tests but finds love with Papagena. Along the way there is enchantment, deception, love at first sight, attempted suicide, and giant snake attacks — just another night at the opera!\u003c/p>\n\u003cp>The first act abounds with whimsical details that serve the plot and characters, such as the scene in which Tamino, trying out his magic flute for the first time, calls forth “animals” from the forest. But these are unlike animals ever seen before: a giraffstrich, combination giraffe and ostrich, who enters on stilts; a strangely beautiful pink striped tigicorn (tiger and unicorn); and a short, hilarious crocoguin (crocodile and penguin) no more than three feet tall, who nudges Tamino’s flute, encouraging him to play more. The creatures give the scene a dreamy, otherworldly atmosphere that’s perfectly suited to the music of Tamino’s magic flute and \u003cb>The Magic Flute\u003c/b> as a whole.\u003c/p>\n\u003cp>A highlight of the production is the second aria sung by Erika Miklósa as the Queen of the Night, which provides a needed spark during Act II. The coloratura (very high, rapid vocal passages) is electric and the scene is further animated by the believable interaction between the Queen and Pamina, who tries and fails to stand up to her mother. Anyone who watches this scene should be glad that their mother can’t trill out high notes to win an argument!\u003c/p>\n\u003cp>The simplicity of the costumes and staging for the “heroic” characters of Tamino and Pamina creates an appropriate contrast with the colorful, manic theatrics of the comedic Papageno and the Three Ladies, aids to the Queen of the Night. While in some productions this contrast leaves the heroic roles seeming dull, they are saved here by the smooth, expressive singing of Piotr Beczala (Tamino) and Dina Kuznetsova (Pamina). As Sarastro, Georg Zeppenfeld combines a powerful, warm tone with a commanding and benevolent stage presence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This production begins with great energy but slows down significantly during Act II. This may be partly due to the structure of the opera itself. Characters introduced in Act I, including the vibrant and entertaining Three Ladies, are nearly forgotten in Act II as the chorus takes on a more prominent, but also more static role. There are plot inconsistencies between the two acts as well, such why the Queen’s gifts to Tamino (including the magic flute) continue to aid him even after he has turned against her.\u003c/p>\n\u003cp>Theories abound to explain these inconsistencies in plot and tone. Were Mozart and his librettist Emanual Schickaneder unable to reconcile their different artistic visions, with Schickaneder advocating for broader humor and Mozart focusing on the sublime spiritual elements? Did they make last-minute changes to differentiate the opera from a contemporary opera (called \u003cb>The Magic Zither\u003c/b>) that dealt with similar themes? Were Mozart’s dramatic instincts at odds with his attempts to express Enlightenment and Masonic ideals? Was there a rush to finish the work against a difficult deadline?\u003c/p>\n\u003cp>There may be no one explanation for the inconsistencies and seeming contradictions of this opera, and in fact these elements are part of what make the work so fascinating. \u003cb>The Magic Flute\u003c/b>, undeniably one of Mozart’s great masterpieces, is not easy to categorize or define. The opera encompasses many different aspects of human experience: bawdy jokes and ethereal visions, sensual enjoyment and the search for wisdom, sexual aggression and selfless love, revenge and empathy, hatred and forgiveness.\u003c/p>\n\u003cp>Each time you watch or listen to the opera, you may decide that the favor lies with a different side. Are you moved by Sarastro’s calm mercy, or do you thrill to the seductive virtuosity of the Queen of the Night? Do you envy Papageno and Papagena’s simple earthy love, or Tamino and Pamina’s enlightened selflessness? Would you rather live in the unpredictable forest of Act I, or in the peaceful temple of Act II?\u003c/p>\n\u003cp>In this production, the energy and interest is more sustained in the fairy tale of Act I. But perhaps the real truth of \u003cb>The Magic Flute\u003c/b> is that these tensions and contradictions are all aspects of the same experience. Maybe the fun is in not having to choose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Magic Flute\u003c/b> is at the San Francisco Opera through November 3, 2007. For \u003ca href=\"http://sfopera.com/opera.asp?o=254\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The contrasts between “high” and “low” art, the sublime and the ridiculous, the earthy and the divine in Mozart’s final opera \u003cb>The Magic Flute\u003c/b> are all on display in the San Francisco Opera’s current production. \u003cb>The Magic Flute\u003c/b> can be considered a bipolar composition, beginning as a humorous and lively fairy tale and ending as a moral and spiritual lesson. This production, designed by Gerald Scarfe for the Los Angeles Opera in 1992 and fully refurbished for this run, conveys both aspects of the opera with moments of sublime transcendence and delightful comedy.\u003c/p>\n\u003cp>The opera moves rapidly through a variety of characters, scenes, and musical styles, sometimes seeming to contradict itself and leaving the audience unsure of its villains and heroes. In Act I, prince Tamino is convinced by the Queen of the Night to rescue her daughter Pamina, who has been kidnapped by the evil sorcerer Sarastro. By the end of Act I, Tamino has recognized Sarastro as a wise priest and leader of a spiritual community. Tamino renounces the Queen, and in Act II he and Pamina commit to Sarastro’s trials to achieve enlightenment together. They are accompanied reluctantly by the simple birdcatcher Papageno. More interested in food and wine than in spiritual purity, Papageno fails Sarastro’s tests but finds love with Papagena. Along the way there is enchantment, deception, love at first sight, attempted suicide, and giant snake attacks — just another night at the opera!\u003c/p>\n\u003cp>The first act abounds with whimsical details that serve the plot and characters, such as the scene in which Tamino, trying out his magic flute for the first time, calls forth “animals” from the forest. But these are unlike animals ever seen before: a giraffstrich, combination giraffe and ostrich, who enters on stilts; a strangely beautiful pink striped tigicorn (tiger and unicorn); and a short, hilarious crocoguin (crocodile and penguin) no more than three feet tall, who nudges Tamino’s flute, encouraging him to play more. The creatures give the scene a dreamy, otherworldly atmosphere that’s perfectly suited to the music of Tamino’s magic flute and \u003cb>The Magic Flute\u003c/b> as a whole.\u003c/p>\n\u003cp>A highlight of the production is the second aria sung by Erika Miklósa as the Queen of the Night, which provides a needed spark during Act II. The coloratura (very high, rapid vocal passages) is electric and the scene is further animated by the believable interaction between the Queen and Pamina, who tries and fails to stand up to her mother. Anyone who watches this scene should be glad that their mother can’t trill out high notes to win an argument!\u003c/p>\n\u003cp>The simplicity of the costumes and staging for the “heroic” characters of Tamino and Pamina creates an appropriate contrast with the colorful, manic theatrics of the comedic Papageno and the Three Ladies, aids to the Queen of the Night. While in some productions this contrast leaves the heroic roles seeming dull, they are saved here by the smooth, expressive singing of Piotr Beczala (Tamino) and Dina Kuznetsova (Pamina). As Sarastro, Georg Zeppenfeld combines a powerful, warm tone with a commanding and benevolent stage presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This production begins with great energy but slows down significantly during Act II. This may be partly due to the structure of the opera itself. Characters introduced in Act I, including the vibrant and entertaining Three Ladies, are nearly forgotten in Act II as the chorus takes on a more prominent, but also more static role. There are plot inconsistencies between the two acts as well, such why the Queen’s gifts to Tamino (including the magic flute) continue to aid him even after he has turned against her.\u003c/p>\n\u003cp>Theories abound to explain these inconsistencies in plot and tone. Were Mozart and his librettist Emanual Schickaneder unable to reconcile their different artistic visions, with Schickaneder advocating for broader humor and Mozart focusing on the sublime spiritual elements? Did they make last-minute changes to differentiate the opera from a contemporary opera (called \u003cb>The Magic Zither\u003c/b>) that dealt with similar themes? Were Mozart’s dramatic instincts at odds with his attempts to express Enlightenment and Masonic ideals? Was there a rush to finish the work against a difficult deadline?\u003c/p>\n\u003cp>There may be no one explanation for the inconsistencies and seeming contradictions of this opera, and in fact these elements are part of what make the work so fascinating. \u003cb>The Magic Flute\u003c/b>, undeniably one of Mozart’s great masterpieces, is not easy to categorize or define. The opera encompasses many different aspects of human experience: bawdy jokes and ethereal visions, sensual enjoyment and the search for wisdom, sexual aggression and selfless love, revenge and empathy, hatred and forgiveness.\u003c/p>\n\u003cp>Each time you watch or listen to the opera, you may decide that the favor lies with a different side. Are you moved by Sarastro’s calm mercy, or do you thrill to the seductive virtuosity of the Queen of the Night? Do you envy Papageno and Papagena’s simple earthy love, or Tamino and Pamina’s enlightened selflessness? Would you rather live in the unpredictable forest of Act I, or in the peaceful temple of Act II?\u003c/p>\n\u003cp>In this production, the energy and interest is more sustained in the fairy tale of Act I. But perhaps the real truth of \u003cb>The Magic Flute\u003c/b> is that these tensions and contradictions are all aspects of the same experience. Maybe the fun is in not having to choose.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Magic Flute\u003c/b> is at the San Francisco Opera through November 3, 2007. For \u003ca href=\"http://sfopera.com/opera.asp?o=254\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a> visit sfopera.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disco is not dead. On the contrary, it is alive and well all over \u003cb>Night Drive\u003c/b>, the newly released and hotly anticipated album from Portland’s Chromatics (you might know them from their contributions to the \u003cb>After Dark\u003c/b> compilation earlier this year or through their overlap with another great band, Glass Candy). This batch of songs is a departure from the band’s prior noisy punk efforts. Usually, a band or artist changing his stripes and musical direction amounts to lackluster results (think Gwen Stefani, who gave up her reign as ska prom queen for a harem of mute Japanese girls), but that couldn’t be farther from the truth here. The refocus from punk to a sleek Italo-disco aesthetic has revitalized the band.\u003c/p>\n\u003cp>The album consists of moody melodies with a certain dark sentimentality attached. Certainly not the disco of yore, but an innovative redefinition of what once was. The psychedelic, languorous songs are supported by the voice of Ruth Radalet, who often sounds like a drugged intergalactic goddess in love, the production talents of Johnny Jewel, and the guitar tricks of Adam Miller. All of which makes for a groovy foray into infectious hypnosis.\u003c/p>\n\u003cp>The album begins with Radalet calling her boy after leaving a club. The conversation endears us to the vocalist, especially when she promises to bring home some wine, and prepares us for our journey with her kittenish coo. Next comes one of the standout tracks and the album’s title song. “Night Drive” really sells the idea behind the album, a musical representation of nocturnal patterns mostly noticed from the seat of a moving vehicle. Radalet’s vocals call to mind a groggy drug-addled dream from which one wishes never to wake. The same goes for the next track, “I Want Your Love,” a neatly packed craving for affection buoyed by stimulating guitar sequences.\u003c/p>\n\u003cp>The album’s major moment comes with “Running Up That Hill,” a momentous cover of Kate Bush’s classic. This version is more restrained than its inspiration and sounds sexier and more elegant. Radelet turns the simple line “It’s you and me” into a persuasive mantra, slowly convincing the listener that her words are meant for him. Alas, it’s not reality, just a side effect of her ethereal pipes, which coalesce perfectly with the distorted harmonicas. The song’s haunting guitar arpeggios and Radelet’s passionate delivery will place this spectacular redo into heavy rotation.\u003c/p>\n\u003cp>“The Killing Spree” takes a turn away from love “hill” down a dark, narrow road that shouldn’t be driven this late at night. Thoughts of cold murder and bogeymen arise sounding much like the score of a Dario Argento flick (\u003cb>Suspiria\u003c/b> is a must-see). If you’ve escaped with your life, “Healer,” a standout Joy Division-influenced number, and “Mask,” a groove-worthy experience of bouncing moog synth, follow to rid any residual hesitation or doubt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As on most long night drives, an are-we-there-yet? moment arrives during the last two or three songs of the album. Absent Radalet’s voice, which grounds the preceding tracks, the beats sound repetitive and unconvincing. Nonetheless, the album’s previous gems greatly eclipse the spiritless end notes and convey that disco is still alive and these are its heartbeats.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disco is not dead. On the contrary, it is alive and well all over \u003cb>Night Drive\u003c/b>, the newly released and hotly anticipated album from Portland’s Chromatics (you might know them from their contributions to the \u003cb>After Dark\u003c/b> compilation earlier this year or through their overlap with another great band, Glass Candy). This batch of songs is a departure from the band’s prior noisy punk efforts. Usually, a band or artist changing his stripes and musical direction amounts to lackluster results (think Gwen Stefani, who gave up her reign as ska prom queen for a harem of mute Japanese girls), but that couldn’t be farther from the truth here. The refocus from punk to a sleek Italo-disco aesthetic has revitalized the band.\u003c/p>\n\u003cp>The album consists of moody melodies with a certain dark sentimentality attached. Certainly not the disco of yore, but an innovative redefinition of what once was. The psychedelic, languorous songs are supported by the voice of Ruth Radalet, who often sounds like a drugged intergalactic goddess in love, the production talents of Johnny Jewel, and the guitar tricks of Adam Miller. All of which makes for a groovy foray into infectious hypnosis.\u003c/p>\n\u003cp>The album begins with Radalet calling her boy after leaving a club. The conversation endears us to the vocalist, especially when she promises to bring home some wine, and prepares us for our journey with her kittenish coo. Next comes one of the standout tracks and the album’s title song. “Night Drive” really sells the idea behind the album, a musical representation of nocturnal patterns mostly noticed from the seat of a moving vehicle. Radalet’s vocals call to mind a groggy drug-addled dream from which one wishes never to wake. The same goes for the next track, “I Want Your Love,” a neatly packed craving for affection buoyed by stimulating guitar sequences.\u003c/p>\n\u003cp>The album’s major moment comes with “Running Up That Hill,” a momentous cover of Kate Bush’s classic. This version is more restrained than its inspiration and sounds sexier and more elegant. Radelet turns the simple line “It’s you and me” into a persuasive mantra, slowly convincing the listener that her words are meant for him. Alas, it’s not reality, just a side effect of her ethereal pipes, which coalesce perfectly with the distorted harmonicas. The song’s haunting guitar arpeggios and Radelet’s passionate delivery will place this spectacular redo into heavy rotation.\u003c/p>\n\u003cp>“The Killing Spree” takes a turn away from love “hill” down a dark, narrow road that shouldn’t be driven this late at night. Thoughts of cold murder and bogeymen arise sounding much like the score of a Dario Argento flick (\u003cb>Suspiria\u003c/b> is a must-see). If you’ve escaped with your life, “Healer,” a standout Joy Division-influenced number, and “Mask,” a groove-worthy experience of bouncing moog synth, follow to rid any residual hesitation or doubt.\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>As on most long night drives, an are-we-there-yet? moment arrives during the last two or three songs of the album. Absent Radalet’s voice, which grounds the preceding tracks, the beats sound repetitive and unconvincing. Nonetheless, the album’s previous gems greatly eclipse the spiritless end notes and convey that disco is still alive and these are its heartbeats.\u003c/p>\n\n\u003c/div>\u003c/p>",
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