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"content": "\u003cp>What’s the difference between a solo musician and a band?\u003c/p>\n\u003cp>The answer was easy back in the good old golden oldie days, when acts could be easily divided between those who went by the names of individuals (Elvis Presley) or adopted some collective title (The Beatles). But times change, and things get more complicated. Personally, I blame the \u003ca href=\"http://en.wikipedia.org/wiki/Thompson_Twins\" target=\"offsite\" rel=\"noopener\">Thompson Twins\u003c/a>. As soon as people found out there were more than two of them, none of whom were called Thompson, all the rules went out of the window. Or perhaps it was Manfred Mann’s fault. Whatever. The point is that these days more and more musical individuals are pretending to be groups, and the world is a more confusing place as a result.\u003c/p>\n\u003cp>This is especially true in the electronica section of your local record store, where you’ll find any number of bedroom-based laptop-botherers releasing records under band-like names (think Aphex Twin, Wagon Christ, and Squarepusher) perhaps in some misguided attempt to sound less like socially awkward boys with an unhealthy interest in bleepy, squelchy sounds. More confusing is that the same practise is also common among the folky/alt-country crowd. Despite having roots containing many a traditional solo singer-songwriter, the likes of Sam Beam (Iron & Wine), Chan Marshall (Cat Power) and Will Oldham (Palace) are also blurring the line between the singular and collective. \u003c/p>\n\u003cp>Which brings me to Bill Callahan and his folky, lo-fi one-man band, Smog. I’ll admit that I came to him (them?) late, despite the fact that he has been releasing music under the Smog name since the late 1980s. But as soon as I heard his low voice sing “Winter weather is not my soul/But the biding for spring” at the start of 2005’s \u003cb>A River Ain’t Too Much Love\u003c/b>, I just couldn’t love it enough. The album is both sparse and luxurious, stripped back to the bone in all the right places in order to let his deep, melancholic voice and black humor glow.\u003c/p>\n\u003cp>So when I heard that Callahan’s next release would be under his own name, I was worried. As Smog, his music has varied in style, and even his biggest fans will probably admit that his back catalog has its rough patches, quality-wise. So what kind of radical shift was this name change signaling?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It turns out I had little reason to fret. \u003cb>Woke on a Whaleheart\u003c/b>, released this year, may be different, but the adjustments are subtle, and don’t disappoint. Ironically, the most notable change between the last Smog album and Callahan’s first as a “solo” artist, is that the newer release sounds much more like the work of a band than an individual. The arrangements are fuller and more complex, with added musicians and backing singers chiming in all over the place, whereas many of the tracks on the last album could have been recorded by one lonely guy in a mountain shack (and quite possibly were). But, despite all the added warmth and color, Callahan’s droll baritone still sets the tone. More accessible it may be, but shiny happy people it ain’t — thankfully.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, as if to further confuse his fans, the artist formerly known as Smog is planning to play not one but two San Francisco shows in a single day. On October 7 you can catch Callahan first at Golden Gate Park as part of the \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> free festival, and then indoors at \u003ca href=\"http://www.theindependentsf.com/oct2007.htm\">The Independent\u003c/a> later that same day. I can only recommend you go see him — but whether he’s going to turn up with a backing band or on his own is anyone’s guess.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s the difference between a solo musician and a band?\u003c/p>\n\u003cp>The answer was easy back in the good old golden oldie days, when acts could be easily divided between those who went by the names of individuals (Elvis Presley) or adopted some collective title (The Beatles). But times change, and things get more complicated. Personally, I blame the \u003ca href=\"http://en.wikipedia.org/wiki/Thompson_Twins\" target=\"offsite\" rel=\"noopener\">Thompson Twins\u003c/a>. As soon as people found out there were more than two of them, none of whom were called Thompson, all the rules went out of the window. Or perhaps it was Manfred Mann’s fault. Whatever. The point is that these days more and more musical individuals are pretending to be groups, and the world is a more confusing place as a result.\u003c/p>\n\u003cp>This is especially true in the electronica section of your local record store, where you’ll find any number of bedroom-based laptop-botherers releasing records under band-like names (think Aphex Twin, Wagon Christ, and Squarepusher) perhaps in some misguided attempt to sound less like socially awkward boys with an unhealthy interest in bleepy, squelchy sounds. More confusing is that the same practise is also common among the folky/alt-country crowd. Despite having roots containing many a traditional solo singer-songwriter, the likes of Sam Beam (Iron & Wine), Chan Marshall (Cat Power) and Will Oldham (Palace) are also blurring the line between the singular and collective. \u003c/p>\n\u003cp>Which brings me to Bill Callahan and his folky, lo-fi one-man band, Smog. I’ll admit that I came to him (them?) late, despite the fact that he has been releasing music under the Smog name since the late 1980s. But as soon as I heard his low voice sing “Winter weather is not my soul/But the biding for spring” at the start of 2005’s \u003cb>A River Ain’t Too Much Love\u003c/b>, I just couldn’t love it enough. The album is both sparse and luxurious, stripped back to the bone in all the right places in order to let his deep, melancholic voice and black humor glow.\u003c/p>\n\u003cp>So when I heard that Callahan’s next release would be under his own name, I was worried. As Smog, his music has varied in style, and even his biggest fans will probably admit that his back catalog has its rough patches, quality-wise. So what kind of radical shift was this name change signaling?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It turns out I had little reason to fret. \u003cb>Woke on a Whaleheart\u003c/b>, released this year, may be different, but the adjustments are subtle, and don’t disappoint. Ironically, the most notable change between the last Smog album and Callahan’s first as a “solo” artist, is that the newer release sounds much more like the work of a band than an individual. The arrangements are fuller and more complex, with added musicians and backing singers chiming in all over the place, whereas many of the tracks on the last album could have been recorded by one lonely guy in a mountain shack (and quite possibly were). But, despite all the added warmth and color, Callahan’s droll baritone still sets the tone. More accessible it may be, but shiny happy people it ain’t — thankfully.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, as if to further confuse his fans, the artist formerly known as Smog is planning to play not one but two San Francisco shows in a single day. On October 7 you can catch Callahan first at Golden Gate Park as part of the \u003ca href=\"http://www.strictlybluegrass.com/\" target=\"offsite\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> free festival, and then indoors at \u003ca href=\"http://www.theindependentsf.com/oct2007.htm\">The Independent\u003c/a> later that same day. I can only recommend you go see him — but whether he’s going to turn up with a backing band or on his own is anyone’s guess.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Probably the most commonly asked small-talk question on the shiny dance floor of the always-classy Bimbo’s 365 Club Wednesday (August 22, 2007) night was, “Have you seen the movie?” \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=5541\">The Devil And Daniel Johnston\u003c/a>, the 2004 documentary, has done for Johnston’s career what the “Pink Moon” \u003ca href=\"http://www.youtube.com/watch?v=BIOW9fLT9eY\" target=\"offsite\" rel=\"noopener\">Volkswagen ad\u003c/a> did for Nick Drake. It turned him from a cult figure into a universally beloved one, it turned your secret favorite undiscovered genius into everyone’s favorite undiscovered genius. Johnston’s name used to be like the password that gained you access to the secret club. Either you knew the words to every song, or you’d never heard of him. Luckily for Daniel, he didn’t die at age 24 like Nick Drake did. He is alive and (more or less) well, kept stable with medication, obese and gray and living with his parents in suburban Waller, Texas.\u003c/p>\n\u003cp> If you’ve seen the movie, you already know the major plot points in the Daniel Johnston legend. Raised in a tight-knit fundamentalist Christian family in West Virginia, Johnston eventually he ended up in Austin, Texas, got a job at McDonald’s, and charmed his way into a role as pet of the early ’90s Austin music scene by handing out cassette tapes he recorded in his parents’ basement and his brother’s garage. He even managed to hustle his way onto MTV. But along with his tremendous (if untutored) talent as a songwriter, Daniel had an uncontrolled, florid bipolar disorder that often blossomed into full-blown psychosis. Over the years he beat a friend over the head with a pipe, crashed his father’s small airplane, terrified an old lady so bad she jumped out a window, and had a total freakout during a trip to New York City, such that Thurston Moore of Sonic Youth was compelled to drive around New Jersey looking for him, and found him on the side of the road, raving about Satan in the pouring rain.\u003c/p>\n\u003cp>Thanks to the miracles of modern medicine, Daniel is not only stable, he’s on tour. I had expected to see an audience of aging gen-Xers in the Bimbo’s crowd, but they were nowhere in evidence. Everyplace I looked was 22-year-olds in skinny jeans. Opening for Daniel was the Ohsees, a local outfit headed up by the multitalented John Dwyer, formerly of the Coachwhips. Dwyer announced that they had a new drummer, and it was his 21st birthday.\u003c/p>\n\u003cp>There was a long interval between the Ohsees leaving the stage and Johnston’s entrance. The skinny-jeaned, art-schoolish crowd got restless, chanting “Dan-iel! Dan-iel!” for a good few minutes. Eventually he shambled out, and the cheers were rapturous. Dressed in a gray long-sleeved t-shirt tucked into his sweatpants (“SWEATPANTS?” yelled a kid standing near me, sounding actually offended), Daniel did what he does best. In his cracked high tenor, much more cracked and scratchy than it once was, Daniel sang about love and heartbreak and god and the devil, hunched around the microphone so that it almost seemed he didn’t know or care that any of us were even there. He played the first few songs on an odd little square wooden electric guitar that had the tuning pegs in the body itself, in recesses above and below the strings. His guitar playing, never his strongest suit, was especially wobbly this evening. After a few numbers, another guitarist, Brett Hartenbach, played while Daniel just sang. The reason for this became clear: his hands were shaking. My armchair psychiatry “degree” leads me to think that the tremor is a side effect of anti-psychotic meds.\u003c/p>\n\u003cp>In old footage, Johnston always looked and sounded about sixteen, skinny with brown curly hair and wild sad eyes. Now that he’s so overweight and gray and palsied, I had to keep reminding myself that he’s only 46. He looks ten years older, at least. But there was nothing diminished about his spirit or the power of his music, and the art-school kid crowd was right there with him. The resurgent love for Daniel Johnston’s music does not appear, as I’d feared, to come out of an ironic it’s-great-because-it’s-terrible thing. They were loving him because he is utterly authentic, free of artifice, expressing out loud a kind of adolescent turmoil that saner people hide at all costs. “Mean girls give pleasure/it’s my greatest treasure,” went his opening number. “All of your problems are probably fake/and she tastes just like ice cream and cake.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Johnston and Hartenbach played favorites off his classic early cassettes, including the oft-covered “Walking The Cow,” and “Almost Got Hit By A Truck.” He’d sing the first line and the audience would roar in recognition. His between-song patter didn’t disappoint. “We went out for a spaghetti dinner, and it was the best spaghetti dinner I ever ate,” he announced. Later he talked about a dream he’d had about a man sentenced to death for attempting suicide. “And in the dream the man was ME!” he said. “I woke up and I didn’t know what to think.” In the middle of an astonishing rendition of “Living Life” (“Hold me like a mother would/like I always knew somebody should/even though tomorrow don’t look that good”) my companion for the evening turned to me and said “Oh my god, he’s ripping my heart in half!” It was a sentiment you could hear echoed around the room.\u003c/p>\n\u003cp>After Hartenbach left the stage, Daniel sat at the piano, and played just a couple songs. “Would you follow me anywhere?” he sang. “Are you entertained by deep despair?” Then the Ohsees returned and backed him for the rest of the night. They did their best to follow him, but it’s like trying to outbox the heavyweight champ. The 21-year-old drummer was no match for Daniel Johnston. The king of songs of pain was being backed by a band of ice-cream-and-cake kids, and as much as I like the Ohsees on their own (and I do!) I just wanted them to turn their amps down and get out of his way.\u003c/p>\n\u003cp>Daniel is very much alive, obviously, but I can never shake the feeling that he is enjoying a sort of posthumous career. A tribute album released a few years back was called \u003ca href=\"http://www.amazon.com/Late-Great-Daniel-Johnston-Discovered/dp/B0002MH3KQ/ref=pd_bbs_sr_1/102-9379755-0144137?ie=UTF8&s=music&qid=1187901570&sr=1-1\" target=\"offsite\" rel=\"noopener\">The Late Great Daniel Johnston\u003c/a>. One of his signature songs is “Casper The Friendly Ghost,” about a lonely guy who becomes beloved — only after he drowns in a wishing well. “You can’t buy respect, the librarian said/but everyone respects the dead,” he sang. “And so the legend grew/and all his friends spread the news/he’s Casper, the friendly ghost.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After a fast rendition of “Rock This Town,” it was all over. Maybe other members of the crowd felt, as I did, that they were seeing something they never thought they’d get to see, and may never get to see again. The sold-out, packed house stomped and cheered and clapped as long as possible, but Johnston never came back for an encore. Between each song, all night, someone was yelling, “We love you, Daniel.” You could tell they meant it.\u003c/p>\n\n",
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"excerpt": "Probably the most commonly asked small-talk question on the shiny dance floor of the always-classy Bimbo's 365 Club Wednesday (August 22, 2007) night was, \"Have you seen the movie?\" \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=5541\">The Devil And Daniel Johnston\u003c/a>, the 2004 documentary, has done for Johnston's career what the \"Pink Moon\" \u003ca href=\"http://www.youtube.com/watch?v=BIOW9fLT9eY\" target=\"offsite\" rel=\"noopener\">Volkswagen ad\u003c/a> did for Nick Drake. It turned him from a cult figure into a universally beloved one, it turned your secret favorite undiscovered genius into everyone's favorite undiscovered genius. Johnston's name used to be like the password that gained you access to the secret club. Either you knew the words to every song, or you'd never heard of him. Luckily for Daniel, he didn't die at age 24 like Nick Drake did. He is alive and (more or less) well, kept stable with medication, obese and gray and living with his parents in suburban Waller, Texas.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Probably the most commonly asked small-talk question on the shiny dance floor of the always-classy Bimbo’s 365 Club Wednesday (August 22, 2007) night was, “Have you seen the movie?” \u003ca href=\"http://www.kqed.org/arts/movies/index.jsp?id=5541\">The Devil And Daniel Johnston\u003c/a>, the 2004 documentary, has done for Johnston’s career what the “Pink Moon” \u003ca href=\"http://www.youtube.com/watch?v=BIOW9fLT9eY\" target=\"offsite\" rel=\"noopener\">Volkswagen ad\u003c/a> did for Nick Drake. It turned him from a cult figure into a universally beloved one, it turned your secret favorite undiscovered genius into everyone’s favorite undiscovered genius. Johnston’s name used to be like the password that gained you access to the secret club. Either you knew the words to every song, or you’d never heard of him. Luckily for Daniel, he didn’t die at age 24 like Nick Drake did. He is alive and (more or less) well, kept stable with medication, obese and gray and living with his parents in suburban Waller, Texas.\u003c/p>\n\u003cp> If you’ve seen the movie, you already know the major plot points in the Daniel Johnston legend. Raised in a tight-knit fundamentalist Christian family in West Virginia, Johnston eventually he ended up in Austin, Texas, got a job at McDonald’s, and charmed his way into a role as pet of the early ’90s Austin music scene by handing out cassette tapes he recorded in his parents’ basement and his brother’s garage. He even managed to hustle his way onto MTV. But along with his tremendous (if untutored) talent as a songwriter, Daniel had an uncontrolled, florid bipolar disorder that often blossomed into full-blown psychosis. Over the years he beat a friend over the head with a pipe, crashed his father’s small airplane, terrified an old lady so bad she jumped out a window, and had a total freakout during a trip to New York City, such that Thurston Moore of Sonic Youth was compelled to drive around New Jersey looking for him, and found him on the side of the road, raving about Satan in the pouring rain.\u003c/p>\n\u003cp>Thanks to the miracles of modern medicine, Daniel is not only stable, he’s on tour. I had expected to see an audience of aging gen-Xers in the Bimbo’s crowd, but they were nowhere in evidence. Everyplace I looked was 22-year-olds in skinny jeans. Opening for Daniel was the Ohsees, a local outfit headed up by the multitalented John Dwyer, formerly of the Coachwhips. Dwyer announced that they had a new drummer, and it was his 21st birthday.\u003c/p>\n\u003cp>There was a long interval between the Ohsees leaving the stage and Johnston’s entrance. The skinny-jeaned, art-schoolish crowd got restless, chanting “Dan-iel! Dan-iel!” for a good few minutes. Eventually he shambled out, and the cheers were rapturous. Dressed in a gray long-sleeved t-shirt tucked into his sweatpants (“SWEATPANTS?” yelled a kid standing near me, sounding actually offended), Daniel did what he does best. In his cracked high tenor, much more cracked and scratchy than it once was, Daniel sang about love and heartbreak and god and the devil, hunched around the microphone so that it almost seemed he didn’t know or care that any of us were even there. He played the first few songs on an odd little square wooden electric guitar that had the tuning pegs in the body itself, in recesses above and below the strings. His guitar playing, never his strongest suit, was especially wobbly this evening. After a few numbers, another guitarist, Brett Hartenbach, played while Daniel just sang. The reason for this became clear: his hands were shaking. My armchair psychiatry “degree” leads me to think that the tremor is a side effect of anti-psychotic meds.\u003c/p>\n\u003cp>In old footage, Johnston always looked and sounded about sixteen, skinny with brown curly hair and wild sad eyes. Now that he’s so overweight and gray and palsied, I had to keep reminding myself that he’s only 46. He looks ten years older, at least. But there was nothing diminished about his spirit or the power of his music, and the art-school kid crowd was right there with him. The resurgent love for Daniel Johnston’s music does not appear, as I’d feared, to come out of an ironic it’s-great-because-it’s-terrible thing. They were loving him because he is utterly authentic, free of artifice, expressing out loud a kind of adolescent turmoil that saner people hide at all costs. “Mean girls give pleasure/it’s my greatest treasure,” went his opening number. “All of your problems are probably fake/and she tastes just like ice cream and cake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Johnston and Hartenbach played favorites off his classic early cassettes, including the oft-covered “Walking The Cow,” and “Almost Got Hit By A Truck.” He’d sing the first line and the audience would roar in recognition. His between-song patter didn’t disappoint. “We went out for a spaghetti dinner, and it was the best spaghetti dinner I ever ate,” he announced. Later he talked about a dream he’d had about a man sentenced to death for attempting suicide. “And in the dream the man was ME!” he said. “I woke up and I didn’t know what to think.” In the middle of an astonishing rendition of “Living Life” (“Hold me like a mother would/like I always knew somebody should/even though tomorrow don’t look that good”) my companion for the evening turned to me and said “Oh my god, he’s ripping my heart in half!” It was a sentiment you could hear echoed around the room.\u003c/p>\n\u003cp>After Hartenbach left the stage, Daniel sat at the piano, and played just a couple songs. “Would you follow me anywhere?” he sang. “Are you entertained by deep despair?” Then the Ohsees returned and backed him for the rest of the night. They did their best to follow him, but it’s like trying to outbox the heavyweight champ. The 21-year-old drummer was no match for Daniel Johnston. The king of songs of pain was being backed by a band of ice-cream-and-cake kids, and as much as I like the Ohsees on their own (and I do!) I just wanted them to turn their amps down and get out of his way.\u003c/p>\n\u003cp>Daniel is very much alive, obviously, but I can never shake the feeling that he is enjoying a sort of posthumous career. A tribute album released a few years back was called \u003ca href=\"http://www.amazon.com/Late-Great-Daniel-Johnston-Discovered/dp/B0002MH3KQ/ref=pd_bbs_sr_1/102-9379755-0144137?ie=UTF8&s=music&qid=1187901570&sr=1-1\" target=\"offsite\" rel=\"noopener\">The Late Great Daniel Johnston\u003c/a>. One of his signature songs is “Casper The Friendly Ghost,” about a lonely guy who becomes beloved — only after he drowns in a wishing well. “You can’t buy respect, the librarian said/but everyone respects the dead,” he sang. “And so the legend grew/and all his friends spread the news/he’s Casper, the friendly ghost.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Architecture in Helsinki: Places Like This",
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"content": "\u003cp>Caution: If you take your music with two lumps of serious, then this album may not be for you. Architecture in Helsinki’s third studio effort finds them at their kinetic peak, sounding a lot less twee, a bit more playful and much more new wave than on previous albums.\u003c/p>\n\u003cp>\u003cb>Places Like This\u003c/b> is a blissful romp through new wave, funk, calypso and pop. Intricate, piping-hot rhythms bubble just below the surface and high-energy, herky-jerky vocals echo wildly over a musical jungle densely overgrown with alien synth sounds, bongos and thick horns. The Aussie six-piece has pumped up their twee so full of exuberance and kicked up the funk just enough that it becomes almost subversively over-the-top, yet oddly suitable for repeat listening.\u003c/p>\n\u003cp>You might mistake the third song, titled “Hold Music,” for a lost track from the B-52’s 1979 self-titled debut album. Cameron Bird’s campy vocals echo Fred Schneider and, paired with Kellie Sutherland’s Kate Pierson-esque expressive harmonies, get a goose from some peppy percussion and a fuzzy synth bass line. Later on, the funk rhythms and soulful horns on “Debbie” provide a solid ground from which you can gaze up at Bird’s screeching falsetto. Toward the end of the album, the bongos and insistent staccato melody of “Nothing’s Wrong” unravel into spacey noise after being drawn together winningly by Sutherland’s bubblegum pop vocals — only to reform like water on a freshly waxed car in a pleasant lyric coda.\u003c/p>\n\u003cp>Not surprisingly for these ambitious multi-instrumentalists, there are so many harmonic ideas on this album that a lesser band might have been overwhelmed and created a head-scratching hodgepodge of an album. Architecture in Helsinki, however, throws them all in the pot and spices it beautifully with dustings of several different genres delivering some of the best aural curry you’ve ever had.\u003c/p>\n\u003cp>In the end, despite its diversity, at no point in the album do you feel lost in a sea of disparate sounds — it all seems to make sense together when bound by the band’s contagious energy. Uncommonly strong nearly from start to finish (I’m not quite as intrigued by “Feather in a Baseball Cap” or the closer “The Same Old Innocence”), you should make sure to rip \u003cb>Places Like This\u003c/b> as soon as you buy it because you just might wear the CD out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Checking out the most recent indie film or a new play can be an uncomfortable experience, a little bit like watching a high-wire act at the circus. Will the rope-walker make it across? Will s/he stumble? Will we laugh or shrink in our seats when s/he hits the ground with an ugly thud?\u003c/p>\n\u003cp>Before I set foot into Opera Plaza’s theaters, I’d heard that \u003cb>Colma: The Musical\u003c/b> had been made on less than a shoestring budget, with the filmmaker paying for much of it himself. I’d been told it was made by college buddies. And I knew its storyline centered on the trials and tribulations of a gaggle of adolescents waxing philosophical in suburbia. This was a musical, mind you. I entered the theater cringing but curious, prepared for a cinematic belly-flop.\u003c/p>\n\u003cp>The story is set in Colma, CA, where heavy fog and one of the nation’s largest collection of cemeteries add a touch of morbid charm to the standard suburban landscape. This town of squat, pastel-colored houses, headstones, stretches of big box stores and car dealerships is the quintessential teenage wasteland. And it’s the perfect location to explore that grey space between The End of High School and the beginning of Whatever Comes Next.\u003c/p>\n\u003cp>Enter the three main characters: Billy Castillo, the mild-mannered thespian with the Kermit-the-Frog voice who’s dead-set on landing a summer job, a girlfriend, and a speaking part in the local theater; Maribel, fun-loving, chic-ly attired partygirl, looking for a lighthearted summer or at least a good lay; and Rodel, the dark, romantic hero, seeking a way out of Colma, and struggling with his identity as a gay Filipino man, with a sense of flair and an acerbic wit that unnerves everyone around him.\u003c/p>\n\u003cp>Much of the film’s action is driven by Rodel’s fall-out with his conservative father, who discovers his son is gay from an ex-boyfriend, and Billy’s relationship hang-ups: he’s stuck between his ex-girlfriend and the possibility of a new relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film is grainy. At points the frame wobbles. Some of the dialog is a little wooden and the break-out musical numbers are accompanied by a chintzy-sounding electric keyboard. At its opening, the film seems as unstable and awkward as its main characters. Only the sweeping, fog-strewn shots of Colma and the soundtrack — which is amazing throughout — hold it together, allowing the plot to meander along with its wayward cast. To be sure, there are some incredibly inventive scenes early on: An a cappella duet with car alarm; a full-bar, first beer sing-along led by a Hulk Hogan look-a-like; and plenty of wicked one-liners and inside jokes that just barely stumble clear of corny. But it’s not until the film’s end that the musical numbers begin to land like punches, enhancing the storyline and evoking the adolescent angst and wonder of that desolate space after high school.\u003c/p>\n\u003cp>Though it falters here and there, \u003cb>Colma: The Musical\u003c/b> comes through in the end. Part of me wonders whether the stumbling served to heighten the dramatic tension. By the last scenes, you find yourself cheering for the film as much as for its characters, who somehow stumble over the abyss and safely reach the other side. Colma successfully does what any good independent should, taking huge risks on a tight budget and, despite the odds, playfully carrying it all off with an almost artless sense of ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More at \u003ca href=\"http://colmafilm.com/\" target=\"offsite\" rel=\"noopener\">colmafilm.com\u003c/a>\u003c/p>\n\n",
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"content": "\u003cp>They have a job title for people who classify things like music into distinct sets and subsets. They’re called taxonomists. The reason there’s a whole field of study attached to this task is that it’s an exceedingly difficult one. Just ask any music journalist or employee of \u003ca href=\"http://www.allmusic.com/\" target=\"offsite\" rel=\"noopener\">All Music Guide\u003c/a> who’s charged with categorizing bands into genres.\u003c/p>\n\u003cp>On the other end, bands will gripe to no end about being mischaracterized as “freak folk” or “alt-country.” This brand of aggravation is not an unfamiliar one to either band that appeared on the bill at the Independent last Friday, June 22, 2007.\u003c/p>\n\u003cp>Openers The F***ing Champs, a three-piece featuring two guitars and a drummer, have had to come to grips with their classification as a metal band, or, only slightly better, members of the subcategory indie metal.\u003c/p>\n\u003cp>The reasons for and against this classification are equally compelling when listening to their April 27 release on Drag City titled \u003cb>VI\u003c/b>, but stand in even more stark contrast at their live show. Though I caught just four or five songs of this particular F***ing Champs show, you couldn’t miss the young kids in front of the stage thrusting devil horns in the air or beckoning notes from their musical heroes’ wailing guitars. And the sound coming from those guitars is unmistakably metal — heavy on the power chords and distortion. On the other hand, these guys do distill the best sonic elements of the genre and leave the rest. There is no posturing. The swagger is all in the guitars and drums, not in the clothing, strutting, soloing, or wailing overwrought, illiterate, grade-school lyrics.\u003c/p>\n\u003cp>As with the Minutemen and punk, the F***ing Champs are way too complex for the genre in which they’ve been placed. Metal brings to mind guys with hair hanging halfway down their backs who wear painted-on stonewashed jeans or (wince) spandex, not the ones who showed up on stage at The Independent in t-shirts and plain denim jeans (and not particularly tight ones at that). And beyond that, the arrangements are more complex than those of the vast majority of metal bands. Nonetheless, before leaving the stage, the guys did allow themselves one indulgence to the traditional metal ethos, raising their guitars over their heads and shaking the last squeals out them before triumphantly crossing guitar necks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Headliner Tortoise has managed, for one reason or another, to distract the jam-band crowd from their vaporizers and hacky sacks long enough to be lumped in with that much-maligned genre. Their sound, especially in recent years, has much more in common with jazz (somewhere between smooth and experimental), but is too-often described by critics as post-rock, a label only a taxonomist could love.\u003c/p>\n\u003cp>The crowd displayed some of the telltale signs of the jam-band aficionado, but on stage, it was all jazz grooves and electronica. Tortoise leaned heavily on material from their classic 1998 album, appropriately titled \u003cb>Standards\u003c/b> and threw in a fair amount of tracks from 2001’s \u003cb>TNT\u003c/b> and 2004’s \u003cb>It’s All Around You\u003c/b>. Not only did the band feature vibraphone and a pair of drummers, they also broke out the mallet synth (a sort of electronic vibraphone) on \u003cb>TNT\u003c/b>‘s “Ten-Day Interval.” Like The F***ing Champs, Tortoise is light on the pomp. Stoners may have relished the lighting and the ever-shifting patterns projected behind the band, but the notable lack of banter and relative immobility of the players would have been more familiar to fans of electronic music, noise or indie rock than the Phish crowd.\u003c/p>\n\u003cp>At this particular juncture in the life of the band, Tortoise is playing as a five-piece with keyboards, two laptops, a guitar, a bass and even a cowbell joining the vibes and drums.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their set was eclectic to say the least. Moving effortlessly from the dynamic tom-heavy rhythm of “Monica” to the Latin guitar and heavy, serpentine bass groove of “In Sarah, Mencken, Christ and Beethoven There Were Women and Men” to the surf guitar of “Six-Pack” to the tense drum-roll build-up to “Seneca”, Tortoise seems to take on a new sound with every song of their set. That’ll keep the taxonomists guessing.\u003c/p>\n\n",
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"content": "\u003cp>While death metal and indie rock have both gained a strong following among its people, Sweden is primarily on the music map for its pop stars. From mega-super pop stars on crack \u003ca href=\"http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:fifoxqw5ld0e\" target=\"offsite\" rel=\"noopener\">ABBA\u003c/a> to Top Gun-soundtrack-spawn \u003ca href=\"http://www.roxette.se/\" target=\"offsite\" rel=\"noopener\">Roxette\u003c/a> to alternative-bubble-gum-popsters \u003ca href=\"http://www.cardigans.com/\" target=\"offsite\" rel=\"noopener\">The Cardigans\u003c/a>, Sweden has produced massively and internationally successful pop acts. Now, \u003ca href=\"http://www.peterbjornandjohn.com/\" target=\"offsite\" rel=\"noopener\">Peter Bjorn and John\u003c/a> carry on the tradition with stylish yet awkward indie pop that translates brilliantly in their live show. Currently on tour to support their recent release Writer’s Block, Peter Bjorn and John stopped in at \u003ca href=\"http://www.bimbos365club.com/\" target=\"offsite\" rel=\"noopener\">Bimbo’s 365 Club\u003c/a> in North Beach with happy beat-thing makers \u003ca href=\"http://www.fujiya-miyagi.co.uk/\" target=\"offsite\" rel=\"noopener\">Fujiya & Miyagi\u003c/a> lending able support.\u003c/p>\n\u003cp>I love Bimbo’s. Its swanky surroundings always make me feel like I’m at a particularly special show, and the rest of the crowd seems to share that sentiment. Despite the fact that it was a drab Wednesday evening, there was an excellent showing by the time opener Fujiya & Miyagi took the stage. My pre-show exposure to them had been limited to a couple of singles off their new album \u003cb>Transparent Things\u003c/b> but I suspect there were audience members who had turned out specifically to see them. Bringing a rich and slightly more improvised sound to their live show, Fujiya & Miyagi boasts chill beats and breathy, rhythmic vocals with deliciously rolled Rs. For their forty-minute-plus set, they brought it — it being the infinite groove — a quality very few bands possess. And they brought it in spades. By the end of their set, the house was packed and primed for \u003cb>Peter Bjorn and John\u003c/b>.\u003c/p>\n\u003cp>\u003cb>Peter Bjorn and John\u003c/b> live turned out to be a whole different beast from what I was expecting. While the sensitive indie pop angle played up in their studio work (especially on their most recent release \u003cb>Writer’s Block\u003c/b>) was certainly part of their live sound, it was complemented by a level of rocking out I was simply not expecting. I also hadn’t anticipated that there would be the sounds of female screaming reminiscent of early Beatles shows punctuating the set. Throughout the evening, the gorgeous two-person vocal harmonies that distinguish their sound were showcased in somewhat reworked versions of their songs. One minor disappointment was hearing “Young Folks” without Victoria Bergsman’s vocals. On the other hand, this song and several others did feature guest percussion from the best bongo playing band manager in Stockholm (I have this on good authority). By the end of the evening, the trio’s argyle sweaters and dress shirts were soaked in sweat, and the demanding crowd was satiated.\u003c/p>\n\u003cp>Both of these acts feel like they’re at the top of their game right now and make a particularly good showing in their live performances. I expect both to be regular fixtures on the festival scene in the next few years, so if either does make a reappearance in the Bay Area soon, I encourage you to check them out. In the meantime, content yourself with 2006 releases \u003cb>Writer’s Block\u003c/b> and \u003cb>Transparent Things\u003c/b>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Breaking up the week with a live show can enliven the mind and the spirits, and there’s plenty of great li’l venues like Cafe du Nord and El Rio that offer the opportunity to hear some of the excellent bands that populate the local scene. For a measly $8, I got to hear \u003cb>Cult of Sue Todd\u003c/b>, \u003cb>The Red Thread\u003c/b>, and \u003cb>Pidgeon\u003c/b>, three bands with distinctly different sounds but great energy. \u003c/p>\n\u003cp>Despite its status as an active venue with a venerable history of serving acclaimed acts, Cafe du Nord has never been at the top of my list of places to see live shows. The interior looks lovely — a good-sized space with a surprisingly small stage and extremely intimate feel. The bar is well stocked and the bartenders are always chummy. But the sound. I’ve always had a problem with the sound. Before this concert, I’d never heard a show there that wasn’t completely muddy. I always figured it was the acoustics, but I was proved wrong. \u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cultofsuetodd\" target=\"offsite\" rel=\"noopener\">Cult of Sue Todd\u003c/a> opened with a blistering set of unpredictable tempo changes and the pseudo-pathetic punk stylings of singer and guitarist Steven Perry. I’ve been lucky enough to know the folks in Cult of Sue Todd for a while, and have seen the band go from a shambling four-piece with banjo player and a no-show bassist to an incredibly tight three-piece of guitar, bass and drums. Having seen them play a number of times over the past couple of years, I marvel at how they manage to put on a different kind of show each time in terms of mood, but are incredibly consistent in their playing. Thursday was no exception as they ran through their set of fast-paced punk folk songs and smattering of excellent witty banter with a polish not often found in this genre. Look for Cult of Sue Todd’s new EP \u003cb>Not…\u003c/b> out soon, and \u003ca href=\"http://www.myspace.com/notcultofsuetodd\" target=\"offsite\" rel=\"noopener\">hear some of the new tracks\u003c/a>.\u003c/p>\n\u003cp>They were followed by \u003ca href=\"http://www.theredthread.com\" target=\"offsite\" rel=\"noopener\">The Red Thread\u003c/a>, a more mellow rock outfit with a rich sound and well-coordinated set including some new material. The Red Thread combines an alt-country sensibility with indie rock melodies and while they do take it down a notch, still bring a good amount of energy to their live performance. While I saw the keyboardist playing onstage, I didn’t hear him at all — but couldn’t tell if this was because the keyboard is there to enhance the richness of the music, or because it was just too low in the mix. While I enjoyed the set, I have to admit, I found the bass player’s ball cap extremely distracting — it’s just not what I expect to see on stage. Questionable fashion choices aside, The Red Thread put on a solid show, and will be playing out again soon — May 12th at \u003ca href=\"http://www.elriosf.com\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>. \u003c/p>\n\u003cp>\u003ca href=\"http://www.%20pidgeonsf.com\" target=\"offsite\" rel=\"noopener\">Pidgeon\u003c/a> closed out the night, which was not the order I would have chosen. With their screamy vocals and determination to rock harder than anyone ever has, I felt like they might have done better earlier in the evening. By the time they came on, I in my old age was ready for a glass of milk and bedtime, not earnest philosophical views expressed through screaming and thrashing. Young, raucous, and messy — I wouldn’t be surprised if Pidgeon emerged from the 924 Gilman school, which can be a refreshing change to hear in San Francisco, but didn’t pair well with the other bands, who have a more subtle sound. Pidgeon played Bottom of the Hill last month, which I’m guessing is the perfect place to see them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>San Francisco has often been deplored for ignoring its local offerings until they go to LA or NY and gain some success there. But there’s loads of local shows going on all the time, and with a low low price tag and excellent venues, there’s no reason to stay away. So go already! Check out Cult of Sue Todd June 23rd at the Hotel Utah, and The Red Thread May 12th at El Rio.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking up the week with a live show can enliven the mind and the spirits, and there’s plenty of great li’l venues like Cafe du Nord and El Rio that offer the opportunity to hear some of the excellent bands that populate the local scene. For a measly $8, I got to hear \u003cb>Cult of Sue Todd\u003c/b>, \u003cb>The Red Thread\u003c/b>, and \u003cb>Pidgeon\u003c/b>, three bands with distinctly different sounds but great energy. \u003c/p>\n\u003cp>Despite its status as an active venue with a venerable history of serving acclaimed acts, Cafe du Nord has never been at the top of my list of places to see live shows. The interior looks lovely — a good-sized space with a surprisingly small stage and extremely intimate feel. The bar is well stocked and the bartenders are always chummy. But the sound. I’ve always had a problem with the sound. Before this concert, I’d never heard a show there that wasn’t completely muddy. I always figured it was the acoustics, but I was proved wrong. \u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cultofsuetodd\" target=\"offsite\" rel=\"noopener\">Cult of Sue Todd\u003c/a> opened with a blistering set of unpredictable tempo changes and the pseudo-pathetic punk stylings of singer and guitarist Steven Perry. I’ve been lucky enough to know the folks in Cult of Sue Todd for a while, and have seen the band go from a shambling four-piece with banjo player and a no-show bassist to an incredibly tight three-piece of guitar, bass and drums. Having seen them play a number of times over the past couple of years, I marvel at how they manage to put on a different kind of show each time in terms of mood, but are incredibly consistent in their playing. Thursday was no exception as they ran through their set of fast-paced punk folk songs and smattering of excellent witty banter with a polish not often found in this genre. Look for Cult of Sue Todd’s new EP \u003cb>Not…\u003c/b> out soon, and \u003ca href=\"http://www.myspace.com/notcultofsuetodd\" target=\"offsite\" rel=\"noopener\">hear some of the new tracks\u003c/a>.\u003c/p>\n\u003cp>They were followed by \u003ca href=\"http://www.theredthread.com\" target=\"offsite\" rel=\"noopener\">The Red Thread\u003c/a>, a more mellow rock outfit with a rich sound and well-coordinated set including some new material. The Red Thread combines an alt-country sensibility with indie rock melodies and while they do take it down a notch, still bring a good amount of energy to their live performance. While I saw the keyboardist playing onstage, I didn’t hear him at all — but couldn’t tell if this was because the keyboard is there to enhance the richness of the music, or because it was just too low in the mix. While I enjoyed the set, I have to admit, I found the bass player’s ball cap extremely distracting — it’s just not what I expect to see on stage. Questionable fashion choices aside, The Red Thread put on a solid show, and will be playing out again soon — May 12th at \u003ca href=\"http://www.elriosf.com\" target=\"offsite\" rel=\"noopener\">El Rio\u003c/a>. \u003c/p>\n\u003cp>\u003ca href=\"http://www.%20pidgeonsf.com\" target=\"offsite\" rel=\"noopener\">Pidgeon\u003c/a> closed out the night, which was not the order I would have chosen. With their screamy vocals and determination to rock harder than anyone ever has, I felt like they might have done better earlier in the evening. By the time they came on, I in my old age was ready for a glass of milk and bedtime, not earnest philosophical views expressed through screaming and thrashing. Young, raucous, and messy — I wouldn’t be surprised if Pidgeon emerged from the 924 Gilman school, which can be a refreshing change to hear in San Francisco, but didn’t pair well with the other bands, who have a more subtle sound. Pidgeon played Bottom of the Hill last month, which I’m guessing is the perfect place to see them.\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>San Francisco has often been deplored for ignoring its local offerings until they go to LA or NY and gain some success there. But there’s loads of local shows going on all the time, and with a low low price tag and excellent venues, there’s no reason to stay away. So go already! Check out Cult of Sue Todd June 23rd at the Hotel Utah, and The Red Thread May 12th at El Rio.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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