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"content": "\u003cp>By now I’m sure Tori Amos is sick of being compared to, or lumped in with, Kate Bush. “We sound nothing alike!” she would protest, and it’s true. But they do have this in common: guys despise their music. Perhaps “despise” is the wrong word: guys can’t abide by their music, it’s a nails-on-the-chalkboard thing.\u003c/p>\n\u003cp>This seems to be true even among sensitive, feminist guys who concede that hating Tori Amos and Kate Bush is a black mark on their progressive reps, but nevertheless… they just can’t bear the sound of those gal’s high-pitched voices and tinkling pianos.\u003c/p>\n\u003cp>Part of me totally understands. Even though I am a fan of both Amos and Bush, I sort of can’t stand them, either. What? Well, it’s like this: the intensity and sincerity of these artists is off-putting to me. I think it’s mostly their vocal phrasing. Amos is the biggest offender here, as her singing voice is so obviously crafted and those affectations are as annoying as Madonna’s fake English accent. Amos and Bush have something in common here with Janis Joplin, I think. Her singing style was so incredibly raw and emotional, many men found it a turnoff. But no one can deny Joplin’s power, and the same goes for Amos and Bush.\u003c/p>\n\u003cp>I deeply love and admire these women and their work. No, I can’t identify with the most hardcore Tori fans, you know, the women who make “Tori Dolls” (not to be confused with the eponymous “Doll Posse” of her new album), lovingly hand-crafting these weird dolls and ascribing mystical power to them… nor those who celebrate the “female divine” or whatever in Amos and Bush’s work — not that I’m against the “female divine,” (whatever that is, exactly) but what can I say? That’s just not what I’m looking for in a pop music superstar.\u003c/p>\n\u003cp>What I do love about Tori Amos (and I’ll just stick to Amos for the rest of this review) is her creativity and her willingness to be annoying, confessional, intense, affected, and all the rest of it — the male rock critic world be damned. It’s really clear that Amos listens to only one critic: herself, and that’s truly something to be admired.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Amos is sort of like Prince: she’s too prolific for her own good. What amazes me is that she still signs up with major labels at all. Why would she? She’s got everything a musician needs to succeed massively on a global scale: hardcore fans; a great live show; and a well-developed internet distribution setup. Maybe Epic is paying her a LOT of money, but I doubt it. I’m pretty sure record labels don’t do that anymore, unless you’re Linkin Park.\u003c/p>\n\u003cp>Still, good for Epic for having the taste to bring Amos into the fold. Her new album, \u003cb>American Doll Posse\u003c/b> is getting great reviews — even from men. It’s a concept album of sorts: Amos has divided the album into five personalities, with various songs “sung” by different Amos avatars. They even have their own blogs. All of this might seem totally bizarre if attempted by another performer, but to me, it seems like just another variation on her ongoing theme of women being complex, multifaceted beings. “I contain multitudes,” as Whitman put it. That’s a good summary of her career right there.\u003c/p>\n\u003cp>Personally, I find \u003cb>American Doll Posse\u003c/b> to be a terrific album in the classic Amos vein — not really a departure, but notable in its consistency. In this way it’s similar to her last great album, 2002’s \u003cb>Scarlet’s Walk\u003c/b>. The songs are varied in their mood and style — as befits a multiple personality — but her vocals and piano-grounded foundation keep it all within the Tori Universe. “Big Wheel” is a classic upbeat Amos tune, with its jaunty rhythm and soulful vocals, and so is “Teenage Hustling.” She may have made her biggest mark with the slow-paced weepies like “Me and a Gun,” but those who’ve listened to her albums know that Amos loves to rock. In “Big Wheel” she refers to herself as an MILF (look it up). Did I mention she can do a mean Led Zeppelin (and Nirvana) cover, too? (See her EP, \u003cb>Crucify\u003c/b> for proof.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, does \u003cb>American Doll Posse\u003c/b> rock? A qualified yes. I mean, if Rufus Wainwright can be said to rock (and he does, occasionally), then surely Amos rocks way harder. But rocking is not why her fans — even somewhat conflicted ones, like myself — love her. No, we love her for her almost garish talent and her obvious flaws. We love her for being human — on a grand, annoying, beautiful, and — yes — divine scale.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now I’m sure Tori Amos is sick of being compared to, or lumped in with, Kate Bush. “We sound nothing alike!” she would protest, and it’s true. But they do have this in common: guys despise their music. Perhaps “despise” is the wrong word: guys can’t abide by their music, it’s a nails-on-the-chalkboard thing.\u003c/p>\n\u003cp>This seems to be true even among sensitive, feminist guys who concede that hating Tori Amos and Kate Bush is a black mark on their progressive reps, but nevertheless… they just can’t bear the sound of those gal’s high-pitched voices and tinkling pianos.\u003c/p>\n\u003cp>Part of me totally understands. Even though I am a fan of both Amos and Bush, I sort of can’t stand them, either. What? Well, it’s like this: the intensity and sincerity of these artists is off-putting to me. I think it’s mostly their vocal phrasing. Amos is the biggest offender here, as her singing voice is so obviously crafted and those affectations are as annoying as Madonna’s fake English accent. Amos and Bush have something in common here with Janis Joplin, I think. Her singing style was so incredibly raw and emotional, many men found it a turnoff. But no one can deny Joplin’s power, and the same goes for Amos and Bush.\u003c/p>\n\u003cp>I deeply love and admire these women and their work. No, I can’t identify with the most hardcore Tori fans, you know, the women who make “Tori Dolls” (not to be confused with the eponymous “Doll Posse” of her new album), lovingly hand-crafting these weird dolls and ascribing mystical power to them… nor those who celebrate the “female divine” or whatever in Amos and Bush’s work — not that I’m against the “female divine,” (whatever that is, exactly) but what can I say? That’s just not what I’m looking for in a pop music superstar.\u003c/p>\n\u003cp>What I do love about Tori Amos (and I’ll just stick to Amos for the rest of this review) is her creativity and her willingness to be annoying, confessional, intense, affected, and all the rest of it — the male rock critic world be damned. It’s really clear that Amos listens to only one critic: herself, and that’s truly something to be admired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Amos is sort of like Prince: she’s too prolific for her own good. What amazes me is that she still signs up with major labels at all. Why would she? She’s got everything a musician needs to succeed massively on a global scale: hardcore fans; a great live show; and a well-developed internet distribution setup. Maybe Epic is paying her a LOT of money, but I doubt it. I’m pretty sure record labels don’t do that anymore, unless you’re Linkin Park.\u003c/p>\n\u003cp>Still, good for Epic for having the taste to bring Amos into the fold. Her new album, \u003cb>American Doll Posse\u003c/b> is getting great reviews — even from men. It’s a concept album of sorts: Amos has divided the album into five personalities, with various songs “sung” by different Amos avatars. They even have their own blogs. All of this might seem totally bizarre if attempted by another performer, but to me, it seems like just another variation on her ongoing theme of women being complex, multifaceted beings. “I contain multitudes,” as Whitman put it. That’s a good summary of her career right there.\u003c/p>\n\u003cp>Personally, I find \u003cb>American Doll Posse\u003c/b> to be a terrific album in the classic Amos vein — not really a departure, but notable in its consistency. In this way it’s similar to her last great album, 2002’s \u003cb>Scarlet’s Walk\u003c/b>. The songs are varied in their mood and style — as befits a multiple personality — but her vocals and piano-grounded foundation keep it all within the Tori Universe. “Big Wheel” is a classic upbeat Amos tune, with its jaunty rhythm and soulful vocals, and so is “Teenage Hustling.” She may have made her biggest mark with the slow-paced weepies like “Me and a Gun,” but those who’ve listened to her albums know that Amos loves to rock. In “Big Wheel” she refers to herself as an MILF (look it up). Did I mention she can do a mean Led Zeppelin (and Nirvana) cover, too? (See her EP, \u003cb>Crucify\u003c/b> for proof.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, does \u003cb>American Doll Posse\u003c/b> rock? A qualified yes. I mean, if Rufus Wainwright can be said to rock (and he does, occasionally), then surely Amos rocks way harder. But rocking is not why her fans — even somewhat conflicted ones, like myself — love her. No, we love her for her almost garish talent and her obvious flaws. We love her for being human — on a grand, annoying, beautiful, and — yes — divine scale.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Elvis Costello devotees were packed in almost as tight as the vintage vinyl in the old oak shelves at Village Music. On this sunny May afternoon in downtown Mill Valley, Elvis’ favorite record store was getting ready to close its doors for good after more than 50 years, and the 52-year-old punk and pop icon felt compelled to give the shop and its iconic owner, John Goddard, a proper sending off.\u003c/p>\n\u003cp>Elvis played for 45 minutes, running through eight songs spanning his 30-odd year career from albums like \u003cb>Armed Forces\u003c/b> (1979), \u003cb>King of America\u003c/b> (1986) and \u003cb>When I Was Cruel\u003c/b> (2002), finishing with an original composition dedicated to Goddard and the end of an era at Village Music.\u003c/p>\n\u003cp>(chorus)So long, it’s been good to know ya/\u003cbr>So long, it’s been good to know ya/\u003cbr>Dusty old dust has got in the groove/\u003cbr>We’ve got to get ready to move.\u003c/p>\n\u003cp>Wearing his trademark sunglasses on the small stage set up in a remote corner of the store, among the piles of vinyl, Doug Sahm t-shirts, vintage posters and signed photos, Elvis told tales of discovering — and coming to appreciate — Village Music while on his first American tour.\u003c/p>\n\u003cp>The story goes that Elvis and the Attractions were playing in San Francisco, but couldn’t afford the lofty Union Square hotel rates, so they booked rooms in the old Howard Johnson’s in Mill Valley. While walking in town, Elvis came across Village Music and was entranced by the incredible collection of vintage vinyl that John Goddard had made available to the public.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He would later discover Chet Baker’s version of “The Thrill is Gone” at Village, and it would take years for him to realize that the song actually had words. “By then I’d already written “Almost Blue”, which stole all the changes from it,” Costello said.\u003c/p>\n\u003cp>He also remembered fondly Goddard’s vast knowledge of music, his strong opinions on what one should buy and his legendary Christmas cards that went out to his many friends and customers, more than a few of whom were very prominent musicians.\u003c/p>\n\u003cp>Elvis concluded his set by saying, “I’d like to say thanks to John…he’s been running a business with a lot of soul.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s high praise coming from someone who knows an awful lot about soul…and every other type of popular music for that matter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He would later discover Chet Baker’s version of “The Thrill is Gone” at Village, and it would take years for him to realize that the song actually had words. “By then I’d already written “Almost Blue”, which stole all the changes from it,” Costello said.\u003c/p>\n\u003cp>He also remembered fondly Goddard’s vast knowledge of music, his strong opinions on what one should buy and his legendary Christmas cards that went out to his many friends and customers, more than a few of whom were very prominent musicians.\u003c/p>\n\u003cp>Elvis concluded his set by saying, “I’d like to say thanks to John…he’s been running a business with a lot of soul.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s high praise coming from someone who knows an awful lot about soul…and every other type of popular music for that matter.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you have ever been a young clubber (and by “young,” I mean under 23), then you have had an Old Guy moment. It happens when you are reveling in your youthful splendor and suddenly realize there is some Old Guy dancing alongside you. He may not even notice you, but his presence is nonetheless alarming. You’re suddenly confronted with the thought that one day you’re going to be the Old Guy or Gal and that isn’t going to be fun. And isn’t clubbing all about fun? And denying reality? And nothing is more real than age. Time may be an illusion, but the Old Guy makes it look pretty freakin’ solid. Acknowledging the Old Guy means acknowledging your privileged, limited-time existence in clubworld. And beyond clubworld, as we know, is the realworld. Yuck.\u003c/p>\n\u003cp>My young clubbing days were in the early 90s, during the Stone Roses/Happy Mondays/Deee-Lite era when Ecstasy had just recently arrived in quantity on these shores and all things English seemed super cool. Everything about those days is gone for me now, except the Stone Roses and the ongoing Anglophilia. In those raving days, there were quite a few Old Guys around; English guys who had been doing Ecstasy for many years, apparently, and were surfing the rave wave around the world. They were probably only in their late 30s, but the drug use and my own youthful prejudice conspired to make them seem ancient.\u003c/p>\n\u003cp>True to form, now that I am equally ancient I no longer go to clubs. I still like dancing, but I do not want to be the Old Gal on any dance floor. As an Anglophile, however, I’ve come to learn that the Old Guy phenomenon does not exist in England. There, people of all ages and coolness factors go to clubs. They all listen to pop music shamelessly, too. Okay, maybe not the Royal Family, but almost everyone else. This is a good thing, I think. The people who invented Highbrow culture have also found a way to love the Lowbrow. It helps explain the career of Tracey Thorn. \u003c/p>\n\u003cp>If you know La Thorn then you already love her. If not, welcome to the smooth, velvety, beautiful sound of one of the world’s great pop singers. Tracey Thorn is one half of the band Everything But the Girl, the other half being her husband, Ben Watt. He’s a talented producer and musician and DJ and all that, but EBTG would be nowhere without Thorn. She is the “everything” in EBTG.\u003c/p>\n\u003cp>EBTG released its first record in 1984 but most Americans didn’t know they existed until a decade later, when the song “Missing” finally cracked the U.S. airwaves (does the lyric, “Like the deserts miss the rain” ring a bell?). Despite Watt’s studio brilliance and Thorn’s unparalleled voice, the reason EBTG never made it big here is simple: they make dance music. And to this day, dance music remains an “underground” genre in the U.S.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American success notwithstanding (what did Watt and Thorn care; they were already heroes in their own country), EBTG took an existing formula and made it their own. The formula, adapted straight from Disco, was the following: \u003c/p>\n\u003cp>4 to the Floor Beat + Hi-Tech Production + A Soulful, Deeply Human Female Voice = Fantastic Dance Music\u003c/p>\n\u003cp>The brilliance of Thorn’s singing is in her effortlessnes. She almost sounds as if she’s just talking to you, rather than belting anything out. Of course, her impeccable phrasing and range are wonderful, as is her ability to convey intense emotion in a single syllable. Many other bands sought her out as a guest vocalist: Massive Attack (“Protection”) and The Style Council (“Paris Match”) are two that you must hear.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Thorn proves on her new album, \u003cb>Out of the Woods\u003c/b>, is that the Old Gal phenomenon is a non-issue on the other side of the Atlantic. I am happy to say that she is older than I, and she is still making kickass dance music that the kids love. She and Watt, who are married and have three children, take dance music seriously – as many of their English compatriots do. If their MySpace pages are to be believed, Watt and Thorn consider a weekend in Ibiza a fun family vacation. Her new album is very EBTG in its pulsing beats, state-of-the-art production, and Thorn’s classic singing. I predict that it will not chart in the U.S., but nevertheless be a big hit in American clubs and on iTunes. Thorn has an American fan base, but not enough of us are admitting that we still wish we were out on the dance floor. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have ever been a young clubber (and by “young,” I mean under 23), then you have had an Old Guy moment. It happens when you are reveling in your youthful splendor and suddenly realize there is some Old Guy dancing alongside you. He may not even notice you, but his presence is nonetheless alarming. You’re suddenly confronted with the thought that one day you’re going to be the Old Guy or Gal and that isn’t going to be fun. And isn’t clubbing all about fun? And denying reality? And nothing is more real than age. Time may be an illusion, but the Old Guy makes it look pretty freakin’ solid. Acknowledging the Old Guy means acknowledging your privileged, limited-time existence in clubworld. And beyond clubworld, as we know, is the realworld. Yuck.\u003c/p>\n\u003cp>My young clubbing days were in the early 90s, during the Stone Roses/Happy Mondays/Deee-Lite era when Ecstasy had just recently arrived in quantity on these shores and all things English seemed super cool. Everything about those days is gone for me now, except the Stone Roses and the ongoing Anglophilia. In those raving days, there were quite a few Old Guys around; English guys who had been doing Ecstasy for many years, apparently, and were surfing the rave wave around the world. They were probably only in their late 30s, but the drug use and my own youthful prejudice conspired to make them seem ancient.\u003c/p>\n\u003cp>True to form, now that I am equally ancient I no longer go to clubs. I still like dancing, but I do not want to be the Old Gal on any dance floor. As an Anglophile, however, I’ve come to learn that the Old Guy phenomenon does not exist in England. There, people of all ages and coolness factors go to clubs. They all listen to pop music shamelessly, too. Okay, maybe not the Royal Family, but almost everyone else. This is a good thing, I think. The people who invented Highbrow culture have also found a way to love the Lowbrow. It helps explain the career of Tracey Thorn. \u003c/p>\n\u003cp>If you know La Thorn then you already love her. If not, welcome to the smooth, velvety, beautiful sound of one of the world’s great pop singers. Tracey Thorn is one half of the band Everything But the Girl, the other half being her husband, Ben Watt. He’s a talented producer and musician and DJ and all that, but EBTG would be nowhere without Thorn. She is the “everything” in EBTG.\u003c/p>\n\u003cp>EBTG released its first record in 1984 but most Americans didn’t know they existed until a decade later, when the song “Missing” finally cracked the U.S. airwaves (does the lyric, “Like the deserts miss the rain” ring a bell?). Despite Watt’s studio brilliance and Thorn’s unparalleled voice, the reason EBTG never made it big here is simple: they make dance music. And to this day, dance music remains an “underground” genre in the U.S.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>By now you have probably heard about Amy Winehouse, the British soul singer whose CD \u003cb>Back to Black\u003c/b> had its Stateside debut last month.\u003c/p>\n\u003cp>Understandably, the track on \u003cb>Back to Black\u003c/b> that gets the most attention is “Rehab,” which is ear-catching right out of the gate: “They tried to make me go to rehab, but I said no, no no…” Winehouse, who has had her share of publicly drunken episodes, wrote this song before they tried to make Britney Spears go to rehab. The song would have gotten noticed anyway, but how’s that for timing?\u003c/p>\n\u003cp>My real introduction to Amy Winehouse was via this \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc\" target=\"new\" rel=\"noopener\">tour video\u003c/a> by Roots drummer Questlove, which features an all-Winehouse soundtrack and a teensy cameo by the singer. The video closes with a full-blast, fade-to-black airing of the track “Tears Dry on Their Own.” While “Rehab” is fun to listen to, it’s “Tears Dry on Their Own” that made me say, “Wait… who is this, again?”\u003c/p>\n\u003cp>“Tears Dry on Their Own” is a treasure for those of us who have, on occasion, done some wallowing in heartache with musical accompaniment. Many R&B singers have carried on the “I Will Survive” tradition, from Mariah Carey (“Someday,” a favorite of my mom’s) to Mary J. Blige (“Not Gon’ Cry”) to Beyonce (“Me, Myself and I”).\u003c/p>\n\u003cp>Winehouse’s contribution to the musical-healing subgenre is striking because it captures emotional devastation, defiance and regret without pitching into melodrama or silliness. The chorus is lovely: “He walks away/The sun goes down/He takes the day, but I’m grown/And it’s OK/In this blue shade/My tears dry on their own.” Wash that face and get your stoicism on, ladies!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For many listeners, the appeal of \u003cb>Back to Black\u003c/b> will be the production — which sounds like it comes straight out of a ’60s girl group — and Winehouse’s brassy-broad vocals. But Winehouse’s songwriting is complex enough to keep her from being just a derivative of something better. She adopts the posture of a modern-day Rizzo, a cool bad girl who walks the line between liberation and self-destruction: sex, pot, alcohol, profanity, wrong turns.\u003c/p>\n\u003cp>Winehouse’s first album, 2003’s \u003cb>Frank\u003c/b>, sounded both less anachronistic and less distinctive. Somehow the ’60s sound on \u003cb>Back to Black\u003c/b> lends her songs, and her persona, more of an impact — but here’s hoping it doesn’t become a crutch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Annoyingly and inexplicably, the American release of \u003cb>Back to Black\u003c/b> does not feature the amusing and sticky “Addicted.” The song, about the sanctity of one’s weed stash, is another example of Winehouse’s playfulness and the album’s tight production. Legalize it!\u003c/p>\n\n",
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"content": "\u003cp>Cover songs: they’re not just for bar bands anymore. (Question: Do bar bands still exist?) The new wave of covers probably started with Cat Power’s \u003cb>The Covers Record\u003c/b>, in which the slack-jawed yet grippingly talented Chan Marshall turned The Rolling Stones’ classic and overplayed “(I Can’t Get No) Satisfaction” into something creepy and mysterious, simply by slowing it down to 2 RPM and, oh by the way, cutting the chorus. I mean, if you’re gonna make it your own, you might as well go for it, right? Who knew there were any lyrics other than “I can’t get no! Satisfaction!” etc. Well, Chan Marshall did — and it works.\u003c/p>\n\u003cp>I suppose if one accepts that we live in a postmodern world in which we cannot avoid referencing the art, style, and lives of others even if we wanted to, then we might as well just throw in the towel and stop pretending to be original. The best way to sound original is to play other people’s songs in your own special way. It sounds silly, but it’s true. If Exhibit A was Cat Power, then B is Alanis Morrisette and C is The Last Town Chorus, aka Megan Hickey.\u003c/p>\n\u003cp>\u003cb>Alanis Morrisette: “My Humps”\u003c/b>\u003cbr>Here’s one approach: remake a totally crap song. It not only makes you look funny and ironic, but you might even improve it! Such is the case with Alanis Morrisette’s cover of the Black Eyed Peas’ execrable “My Humps.” If you are — luckily — unfamiliar with the original, it’s probably enough to know that the title refers to singer Fergie’s buttcheeks. Yay! Not only that, but she rhymes it with “lady lumps,” which is BEP-speak for “Fergie’s boobs.” Double yay! If there’s any question about how bad this song is (it’s “horrifically bad… transcendentally bad… objectively bad,” according to \u003ci>Slate\u003c/i>‘s Hua Hsu), “My Humps” won the 2007 Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The Grammys: predictably terrible. Previous winners in this category include Maroon 5, Hootie and the Blowfish, and Peabo Bryson for “Aladdin’s Theme.” It’s that bad.\u003c/p>\n\u003cp>So what does Morrisette do? She remakes the video more or less faithfully, dressed in revealing, silly clothes and fake diamonds — just like Fergie. She surrounds herself with male accomplices who are alternately fawning and threatening — just like the ridiculously-monikered male members of the Black Eyed Peas (I will not stoop to name them here). And, in a real Cat Power moment, she slows the tempo of “My Humps” down to a crawl, replacing the original and lame synthesized orchestra that sounds like it was ripped straight off Falco’s “Rock Me Amadeus” with an acoustic piano and Morrisette’s signature snarling vocals. It’s riveting. One effect of the unplugging of “My Humps” is the stark focus on the song’s appalling lyrics. To wit:\u003c/p>\n\u003cp>What you gon’ do with all that junk?\u003cbr>All that junk inside that trunk?\u003cbr>I’ma get, get, get, get, you drunk,\u003cbr>Get you love drunk off my hump.\u003cbr>What you gon’ do with all that ass?\u003cbr>All that ass inside them jeans?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a question for the ages. I mean, what ARE you going to do with all that ass inside them jeans? I’m still trying to find a good answer myself. The funny thing about Morrisette’s cover is that, if you closed your eyes, you might mistake it for a Tori Amos song. Seriously, only Amos could combine somber piano playing with lyrics about disturbing sexual issues (see: “Leather,” from \u003cb>Little Earthquakes\u003c/b>, among others). I say this as a Tori Amos fan. And, with “My Humps,” I think I can finally call myself an Alanis Morrisette fan, too.\u003c/p>\n\u003cp>\u003cb>The Last Town Chorus, aka Megan Hickey: “Modern Love” \u003c/b>\u003cbr>It’s not fair to call David Bowie’s 1983 tune “Modern Love” a crap song — it’s only crap by Bowie’s incredibly high standards. Maybe it’s not crap at all. At any rate, it’s no “Life on Mars.” But what is? The point here is that the lap-steel playing, Brooklyn-based Megan Hickey, who performs under the name The Last Town Chorus, chose this, shall we say, lesser Bowie song to cover, and what a good choice it was. Seu Jorge proved it’s possible to do justice to the great Bowie songbook, but probably only if you sing the lyrics in Portuguese.\u003c/p>\n\u003cp>Hickey’s version, from the new album, \u003cb>Wire Waltz\u003c/b> (Hacktone) transforms Bowie’s totally ’80s pop into a wistful ode. Bowie’s only song to include the fratty lyric, “makes me party,” becomes a sad song that could have been written by, say, Suzanne Vega. No one’s ever mistaken her for Ziggy Stardust. The main factor here, though, is the lap-steel guitar. I will go out on a limb and declare that the lap-steel, proficiently played, will improve ANY song. Hickey’s playing is beautiful here, and so is “Modern Love.” Walks beside me… walks on by… gets me to the church on time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources:\u003c/b>\u003cbr>Alanis Morrisette’s “\u003ca href=\"http://www.youtube.com/watch?v=W91sqAs-_-g\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com — note the posting date: April 1, 2007 – this must be an April Fool’s prank, right?).\u003cbr>Black Eyed Peas’s “\u003ca href=\"http://www.youtube.com/watch?v=Vj9swNR5-lY\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com) — this video is so awful, so low-budget and silly, it should have been a prank. But somehow they punk’d America.\u003cbr> The Last Town Chorus’s “\u003ca href=\"http://www.myspace.com/thelasttownchorus\" target=\"offsite\" rel=\"noopener\">Modern Love\u003c/a>” (on myspace.com).\u003c/p>\n\n",
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"excerpt": "Cover songs: they're not just for bar bands anymore. (Question: Do bar bands still exist?) The new wave of covers probably started with Cat Power's \u003cb>The Covers Record\u003c/b>, in which the slack-jawed yet grippingly talented Chan Marshall turned The Rolling Stones' classic and overplayed \"(I Can't Get No) Satisfaction\" into something creepy and mysterious, simply by slowing it down to 2 RPM and, oh by the way, cutting the chorus. I mean, if you're gonna make it your own, you might as well go for it, right? Who knew there were any lyrics other than \"I can't get no! Satisfaction!\" etc. Well, Chan Marshall did -- and it works.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cover songs: they’re not just for bar bands anymore. (Question: Do bar bands still exist?) The new wave of covers probably started with Cat Power’s \u003cb>The Covers Record\u003c/b>, in which the slack-jawed yet grippingly talented Chan Marshall turned The Rolling Stones’ classic and overplayed “(I Can’t Get No) Satisfaction” into something creepy and mysterious, simply by slowing it down to 2 RPM and, oh by the way, cutting the chorus. I mean, if you’re gonna make it your own, you might as well go for it, right? Who knew there were any lyrics other than “I can’t get no! Satisfaction!” etc. Well, Chan Marshall did — and it works.\u003c/p>\n\u003cp>I suppose if one accepts that we live in a postmodern world in which we cannot avoid referencing the art, style, and lives of others even if we wanted to, then we might as well just throw in the towel and stop pretending to be original. The best way to sound original is to play other people’s songs in your own special way. It sounds silly, but it’s true. If Exhibit A was Cat Power, then B is Alanis Morrisette and C is The Last Town Chorus, aka Megan Hickey.\u003c/p>\n\u003cp>\u003cb>Alanis Morrisette: “My Humps”\u003c/b>\u003cbr>Here’s one approach: remake a totally crap song. It not only makes you look funny and ironic, but you might even improve it! Such is the case with Alanis Morrisette’s cover of the Black Eyed Peas’ execrable “My Humps.” If you are — luckily — unfamiliar with the original, it’s probably enough to know that the title refers to singer Fergie’s buttcheeks. Yay! Not only that, but she rhymes it with “lady lumps,” which is BEP-speak for “Fergie’s boobs.” Double yay! If there’s any question about how bad this song is (it’s “horrifically bad… transcendentally bad… objectively bad,” according to \u003ci>Slate\u003c/i>‘s Hua Hsu), “My Humps” won the 2007 Grammy Award for Best Pop Performance by a Duo or Group with Vocal. The Grammys: predictably terrible. Previous winners in this category include Maroon 5, Hootie and the Blowfish, and Peabo Bryson for “Aladdin’s Theme.” It’s that bad.\u003c/p>\n\u003cp>So what does Morrisette do? She remakes the video more or less faithfully, dressed in revealing, silly clothes and fake diamonds — just like Fergie. She surrounds herself with male accomplices who are alternately fawning and threatening — just like the ridiculously-monikered male members of the Black Eyed Peas (I will not stoop to name them here). And, in a real Cat Power moment, she slows the tempo of “My Humps” down to a crawl, replacing the original and lame synthesized orchestra that sounds like it was ripped straight off Falco’s “Rock Me Amadeus” with an acoustic piano and Morrisette’s signature snarling vocals. It’s riveting. One effect of the unplugging of “My Humps” is the stark focus on the song’s appalling lyrics. To wit:\u003c/p>\n\u003cp>What you gon’ do with all that junk?\u003cbr>All that junk inside that trunk?\u003cbr>I’ma get, get, get, get, you drunk,\u003cbr>Get you love drunk off my hump.\u003cbr>What you gon’ do with all that ass?\u003cbr>All that ass inside them jeans?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a question for the ages. I mean, what ARE you going to do with all that ass inside them jeans? I’m still trying to find a good answer myself. The funny thing about Morrisette’s cover is that, if you closed your eyes, you might mistake it for a Tori Amos song. Seriously, only Amos could combine somber piano playing with lyrics about disturbing sexual issues (see: “Leather,” from \u003cb>Little Earthquakes\u003c/b>, among others). I say this as a Tori Amos fan. And, with “My Humps,” I think I can finally call myself an Alanis Morrisette fan, too.\u003c/p>\n\u003cp>\u003cb>The Last Town Chorus, aka Megan Hickey: “Modern Love” \u003c/b>\u003cbr>It’s not fair to call David Bowie’s 1983 tune “Modern Love” a crap song — it’s only crap by Bowie’s incredibly high standards. Maybe it’s not crap at all. At any rate, it’s no “Life on Mars.” But what is? The point here is that the lap-steel playing, Brooklyn-based Megan Hickey, who performs under the name The Last Town Chorus, chose this, shall we say, lesser Bowie song to cover, and what a good choice it was. Seu Jorge proved it’s possible to do justice to the great Bowie songbook, but probably only if you sing the lyrics in Portuguese.\u003c/p>\n\u003cp>Hickey’s version, from the new album, \u003cb>Wire Waltz\u003c/b> (Hacktone) transforms Bowie’s totally ’80s pop into a wistful ode. Bowie’s only song to include the fratty lyric, “makes me party,” becomes a sad song that could have been written by, say, Suzanne Vega. No one’s ever mistaken her for Ziggy Stardust. The main factor here, though, is the lap-steel guitar. I will go out on a limb and declare that the lap-steel, proficiently played, will improve ANY song. Hickey’s playing is beautiful here, and so is “Modern Love.” Walks beside me… walks on by… gets me to the church on time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Resources:\u003c/b>\u003cbr>Alanis Morrisette’s “\u003ca href=\"http://www.youtube.com/watch?v=W91sqAs-_-g\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com — note the posting date: April 1, 2007 – this must be an April Fool’s prank, right?).\u003cbr>Black Eyed Peas’s “\u003ca href=\"http://www.youtube.com/watch?v=Vj9swNR5-lY\" target=\"offsite\" rel=\"noopener\">My Humps\u003c/a>” (on YouTube.com) — this video is so awful, so low-budget and silly, it should have been a prank. But somehow they punk’d America.\u003cbr> The Last Town Chorus’s “\u003ca href=\"http://www.myspace.com/thelasttownchorus\" target=\"offsite\" rel=\"noopener\">Modern Love\u003c/a>” (on myspace.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robin Thicke: The Evolution of Robin Thicke",
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"content": "\u003cp>Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.\u003c/p>\n\u003cp>\u003ca href=\"http://www.robinthicke.com/\" target=\"offsite\" rel=\"noopener\">Robin Thicke\u003c/a> is the son of Alan Thicke, best known as the dad on TV’s \u003cb>Growing Pains\u003c/b>. But Robin looks less like his father and more like a pretty Edward Norton, or an actor on one of the \u003ca href=\"http://www.mynetworktv.com/desire.html\" target=\"offsite\" rel=\"noopener\">Desire\u003c/a> shows from MyNetworkTV. In other words, he looks about as soulful as polka. (Why is there always \u003ca href=\"http://www.nbc.com/Saturday_Night_Live/digital_shorts.shtml\" target=\"offsite\" rel=\"noopener\">carefully sculpted facial hair\u003c/a> involved when white guys go R&B? Has someone decided that clean-shaven says “wannabe cracker?”)\u003c/p>\n\u003cp>Thicke’s \u003cb>The Evolution of Robin Thicke\u003c/b> has quietly ascended the charts: at last check, it was no. 6 on \u003ci>Billboard\u003c/i>‘s Top R&B/Hip-Hop list, and it’s been hovering in the top 10 for weeks, surely riding on the airplay of “Lost Without U,” his Spanish-guitar-tinged single. Note the substitution of the letter for the word. A la Prince, the songs on Thicke’s album are all 2 and U instead of “to” and “you.”\u003c/p>\n\u003cp>You might also catch tinges of Prince in Thicke’s delicately wrought vocals, but to me his falsetto owes more to Michael Jackson than to the Purple One. However, unlike these two artists — or Justin Timberlake, for that matter — Thicke doesn’t spend too much time trying to balance his sweet falsetto with any bad-ass posturing. Even songs that sound like they might be dark, such as “Cocaine,” somehow fail utterly to carry a trace of doom.\u003c/p>\n\u003cp>Despite the fact that \u003cb>The Evolution of Robin Thicke\u003c/b> is, in many ways, filled with puppy-dog-eyed “I love you girl” cliches, I am rooting for Thicke. I’m rooting for him because he’s not cool. He’s wearing his influences on his sleeve, and he’s wearing them well. He gets bluesy, he gets blue, and he’s serving up straight R&B ballads, no chaser. His effort is clear, and so is his talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The sincerity and soul in Thicke’s style make it all the more lamentable that some of his songs verge on lyrical ridiculousness. “Complicated,” for example, starts out with a strong piano and catchy verse, only to deliver this chorus: “There’s no way, there’s no way, there’s no way/I can get back that girl/Cause I’m too complicated/And she’s not complicated/But I’m too complicated.” Not complicated enough, babes. But it’s OK. I’m looking forward to hearing the next stage of Thicke’s evolution.\u003c/p>\n\n",
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"excerpt": "Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britain is stealing a lot of the white-soul thunder these days, with acts such as Amy Winehouse, Joss Stone and James Hunter offering albums produced with gravelly, powerful vocals and heavy tinges of Motown. But Stateside, one pale, unlikely guy is racking up in record sales what he may have lacked in soul cred or buzz.\u003c/p>\n\u003cp>\u003ca href=\"http://www.robinthicke.com/\" target=\"offsite\" rel=\"noopener\">Robin Thicke\u003c/a> is the son of Alan Thicke, best known as the dad on TV’s \u003cb>Growing Pains\u003c/b>. But Robin looks less like his father and more like a pretty Edward Norton, or an actor on one of the \u003ca href=\"http://www.mynetworktv.com/desire.html\" target=\"offsite\" rel=\"noopener\">Desire\u003c/a> shows from MyNetworkTV. In other words, he looks about as soulful as polka. (Why is there always \u003ca href=\"http://www.nbc.com/Saturday_Night_Live/digital_shorts.shtml\" target=\"offsite\" rel=\"noopener\">carefully sculpted facial hair\u003c/a> involved when white guys go R&B? Has someone decided that clean-shaven says “wannabe cracker?”)\u003c/p>\n\u003cp>Thicke’s \u003cb>The Evolution of Robin Thicke\u003c/b> has quietly ascended the charts: at last check, it was no. 6 on \u003ci>Billboard\u003c/i>‘s Top R&B/Hip-Hop list, and it’s been hovering in the top 10 for weeks, surely riding on the airplay of “Lost Without U,” his Spanish-guitar-tinged single. Note the substitution of the letter for the word. A la Prince, the songs on Thicke’s album are all 2 and U instead of “to” and “you.”\u003c/p>\n\u003cp>You might also catch tinges of Prince in Thicke’s delicately wrought vocals, but to me his falsetto owes more to Michael Jackson than to the Purple One. However, unlike these two artists — or Justin Timberlake, for that matter — Thicke doesn’t spend too much time trying to balance his sweet falsetto with any bad-ass posturing. Even songs that sound like they might be dark, such as “Cocaine,” somehow fail utterly to carry a trace of doom.\u003c/p>\n\u003cp>Despite the fact that \u003cb>The Evolution of Robin Thicke\u003c/b> is, in many ways, filled with puppy-dog-eyed “I love you girl” cliches, I am rooting for Thicke. I’m rooting for him because he’s not cool. He’s wearing his influences on his sleeve, and he’s wearing them well. He gets bluesy, he gets blue, and he’s serving up straight R&B ballads, no chaser. His effort is clear, and so is his talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "South by Southwest: Wrap Up",
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"content": "\u003cp>Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation’. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we’re both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you’re in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd’s attention, then let me be the first moodge to take one in the yarbles.\u003c/p>\n\u003cp>And speaking of rough treatment, the 25-foot RV my companion and I rented and drove in and parked just east of downtown each day was egged by some disgruntled locals, a gang of East Austin street toughs or quite possibly a certain Sixth City punk frontman. But other than that, the RV experience was a good one. It was easy to find parking each day, we had some measure of maneuverability for getting to some of the shows a little south of town and we had what amounted to a roving, sun-splashed studio for writing, editing photos and drinking wine. I would highly recommend it for would-be festivalgoers next year. Sadly the festival was not without its bumps for our contingent, as my companion lost her driver’s license midway through the festivities and had to have her passport overnighted. I’m looking at you for this one too, T.M.I.B.H!\u003c/p>\n\u003cp>Transportation issues aside, though South-by-Southwest was a frantic music-gulping success and an unforgettable spectacle, I share some of Kimberly’s frustration — expressed in her Guardian piece — that some of the bigger-name indie bands (Arcade Fire, New Pornographers, LCD Soundsystem) were nowhere to be found, and that I’m left considering a trip to \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a> to catch them just one month after the biggest music extravaganza on the continent. But I look at South-by-Southwest, along with \u003ca href=\"http://cmj.com/index.html\" target=\"offsite\" rel=\"noopener\">CMJ\u003c/a> and \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a>, as a place to catch some of the up-and-comers before (or at least at the same time as) the music press and bloggers get a hold of them and make it near impossible to get tickets.\u003c/p>\n\u003cp>When the dust settled on the last two days of this year’s festival, there were a few more standouts to add to the list in my first post, \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=14580\" target=\"offsite\" rel=\"noopener\">Crazy RV Music Adventure\u003c/a>, on the 2007 festival.\u003c/p>\n\u003cp>\u003cb>Already blogged to death, so just go see them:\u003c/b>\u003cbr>\u003ca href=\"http://myspace.com/datarock\">Datarock\u003c/a> — Playing \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> March 29, 2006 — TONIGHT!\u003cbr>\u003ca href=\"http://profile.myspace.com/theponys\" target=\"offsite\" rel=\"noopener\">The Ponys\u003c/a> — On a bill with Deerhunter at \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=14921\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> April 13, 2006.\u003cbr>\u003ca href=\"http://profile.myspace.com/annuals\" target=\"offsite\" rel=\"noopener\">Annuals\u003c/a> — Opening for Blonde Redhead at \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s\u003c/a> April 23 and 24, 2006.\u003cbr>\u003ca href=\"http://www.myspace.com/menomena\" target=\"offsite\" rel=\"noopener\">Menomena\u003c/a> — Coming to the \u003ca href=\"http://www.theindependentsf.com/june2007.htm\" target=\"offsite\" rel=\"noopener\">Independent\u003c/a> June 9, 2007.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Ripe for the plucking, but not coming to town any time soon:\u003c/b>\u003cbr>\u003ca href=\"http://www.myspace.com/apesandandroids\" target=\"offsite\" rel=\"noopener\">Apes & Androids\u003c/a> — Eminently danceable, Apes & Androids’ spaced-out funk-and-soul sound dovetails nicely with their off-the-wall stage presence — headbands, velour and face paint.\u003c/p>\n\u003cp>\u003ca href=\"http://www.arielpink.com/\" target=\"offsite\" rel=\"noopener\">Ariel Pink\u003c/a> — Definitely the most random and oddest act I witnessed at South-by-Southwest, which is saying a lot. A quick look at his influences on myspace is not possible, it requires quite a bit of scrolling. I heard Jackson Five at one point in Austin and Bauhaus soon after. What does petulant singer Ariel Rosenberg want to sound like next? I’m happy to stick around and find out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.themintchicks.com/\" target=\"offsite\" rel=\"noopener\">The Mint Chicks\u003c/a> — Remember that lame-ass Cars reunion a few years ago with Todd Rundgren? Hopefully you skipped that. Now go see The Mint Chicks instead. It’s cheaper and they’ve got loads of that good ol’ youthful energy.\u003c/p>\n\u003cp>Alela Diane – With soulful vocal chops akin to Gillian Welch or Emmylou Harris, and forthright and confident lyricism, Nevada City-born Alela Diane’s ongoing ascent simply cannot be doubted or stopped.\u003c/p>\n\u003cp>\u003ca href=\"http://profile.myspace.com/micahphinson\" target=\"offsite\" rel=\"noopener\">Micah P. Hinson\u003c/a> — For a spur-of-the-moment, stripped-down set, Abilene singer-songwriter Micah P. Hinson, with his full-bodied vocal, delivered a moving and sonically eloquent stunner of a performance, far more than just warming up the crowd for Daniel Johnston.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/odeath\" target=\"offsite\" rel=\"noopener\">O’Death\u003c/a> — Imagine if you will that Captain Beefheart broke into a pawn shop in Appalachia and made off with all the musical instruments. I doubt there are many music fans that couldn’t get behind this boisterous blend of punk, country, bluegrass and eccentricity.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/healthmusic\" target=\"offsite\" rel=\"noopener\">HEALTH\u003c/a> — A soul-shaking sonic clamor with the random deviations of free jazz and the succinctness of the Minutemen.\u003c/p>\n\u003cp>\u003ca href=\"http://www.twotonboa.com/\" target=\"offsite\" rel=\"noopener\">Two-Ton Boa\u003c/a> — If metal was more literate, more twistedly bipolar, and built around dynamic, haunting and evocative vocals instead of hiding behind guitar-hero posturing, it’s name would be Sherry Fraser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/marieesioux\" target=\"offsite\" rel=\"noopener\">Mariee Sioux\u003c/a> — Part of the Grass Roots Records family, along with Alela Diane, Mariee Sioux picks out beautiful, smart folk ditties and delivers them like fellow Nevada City resident Joanna Newsom taken down a notch. What is in the water in that town?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, after four long days in Austin, there are about 35-40 bands that I won’t have to clamor to see whenever they decide to embark on a West Coast tour. Alas, I’ll still be looking to the desert in late April and considering getting in line with the sweat-ringed throng out in Indio yet another year.\u003c/p>\n\n",
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"excerpt": "Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation'. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we're both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you're in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd's attention, then let me be the first moodge to take one in the yarbles.",
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"description": "Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation'. It turns out that Bay Guardian Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we're both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you're in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd's attention, then let me be the first moodge to take one in the yarbles.",
"title": "South by Southwest: Wrap Up | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Positioning yourself in the forward half of the audience at a This Moment in Black History performance is like sitting in the front row of a Gallagher show without an umbrella, but with a much better payoff for your ‘participation’. It turns out that \u003ci>Bay Guardian\u003c/i> Music Editor Kimberly Chun was inadvertently kicked in the head by the very same lead singer that chose to hop into my chair with me. He holds a vendetta against Bay area music journalists, perhaps? No matter. Maybe we’re both sadists, because from what I can tell, we both rather enjoyed the rough treatment. This could be because the bands start to blend together after a while when you’re in the midst of four 13-hour days of music. If it takes a little of the old ultra-violence to command the crowd’s attention, then let me be the first moodge to take one in the yarbles.\u003c/p>\n\u003cp>And speaking of rough treatment, the 25-foot RV my companion and I rented and drove in and parked just east of downtown each day was egged by some disgruntled locals, a gang of East Austin street toughs or quite possibly a certain Sixth City punk frontman. But other than that, the RV experience was a good one. It was easy to find parking each day, we had some measure of maneuverability for getting to some of the shows a little south of town and we had what amounted to a roving, sun-splashed studio for writing, editing photos and drinking wine. I would highly recommend it for would-be festivalgoers next year. Sadly the festival was not without its bumps for our contingent, as my companion lost her driver’s license midway through the festivities and had to have her passport overnighted. I’m looking at you for this one too, T.M.I.B.H!\u003c/p>\n\u003cp>Transportation issues aside, though South-by-Southwest was a frantic music-gulping success and an unforgettable spectacle, I share some of Kimberly’s frustration — expressed in her Guardian piece — that some of the bigger-name indie bands (Arcade Fire, New Pornographers, LCD Soundsystem) were nowhere to be found, and that I’m left considering a trip to \u003ca href=\"http://www.coachella.com/\" target=\"offsite\" rel=\"noopener\">Coachella\u003c/a> to catch them just one month after the biggest music extravaganza on the continent. But I look at South-by-Southwest, along with \u003ca href=\"http://cmj.com/index.html\" target=\"offsite\" rel=\"noopener\">CMJ\u003c/a> and \u003ca href=\"http://www.noisepop.com/\" target=\"offsite\" rel=\"noopener\">Noise Pop\u003c/a>, as a place to catch some of the up-and-comers before (or at least at the same time as) the music press and bloggers get a hold of them and make it near impossible to get tickets.\u003c/p>\n\u003cp>When the dust settled on the last two days of this year’s festival, there were a few more standouts to add to the list in my first post, \u003ca href=\"http://www.kqed.org/arts/music/index.jsp?id=14580\" target=\"offsite\" rel=\"noopener\">Crazy RV Music Adventure\u003c/a>, on the 2007 festival.\u003c/p>\n\u003cp>\u003cb>Already blogged to death, so just go see them:\u003c/b>\u003cbr>\u003ca href=\"http://myspace.com/datarock\">Datarock\u003c/a> — Playing \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> March 29, 2006 — TONIGHT!\u003cbr>\u003ca href=\"http://profile.myspace.com/theponys\" target=\"offsite\" rel=\"noopener\">The Ponys\u003c/a> — On a bill with Deerhunter at \u003ca href=\"http://12galaxies.inticketing.com/evinfo.php?eventid=14921\" target=\"offsite\" rel=\"noopener\">12 Galaxies\u003c/a> April 13, 2006.\u003cbr>\u003ca href=\"http://profile.myspace.com/annuals\" target=\"offsite\" rel=\"noopener\">Annuals\u003c/a> — Opening for Blonde Redhead at \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s\u003c/a> April 23 and 24, 2006.\u003cbr>\u003ca href=\"http://www.myspace.com/menomena\" target=\"offsite\" rel=\"noopener\">Menomena\u003c/a> — Coming to the \u003ca href=\"http://www.theindependentsf.com/june2007.htm\" target=\"offsite\" rel=\"noopener\">Independent\u003c/a> June 9, 2007.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Ripe for the plucking, but not coming to town any time soon:\u003c/b>\u003cbr>\u003ca href=\"http://www.myspace.com/apesandandroids\" target=\"offsite\" rel=\"noopener\">Apes & Androids\u003c/a> — Eminently danceable, Apes & Androids’ spaced-out funk-and-soul sound dovetails nicely with their off-the-wall stage presence — headbands, velour and face paint.\u003c/p>\n\u003cp>\u003ca href=\"http://www.arielpink.com/\" target=\"offsite\" rel=\"noopener\">Ariel Pink\u003c/a> — Definitely the most random and oddest act I witnessed at South-by-Southwest, which is saying a lot. A quick look at his influences on myspace is not possible, it requires quite a bit of scrolling. I heard Jackson Five at one point in Austin and Bauhaus soon after. What does petulant singer Ariel Rosenberg want to sound like next? I’m happy to stick around and find out.\u003c/p>\n\u003cp>\u003ca href=\"http://www.themintchicks.com/\" target=\"offsite\" rel=\"noopener\">The Mint Chicks\u003c/a> — Remember that lame-ass Cars reunion a few years ago with Todd Rundgren? Hopefully you skipped that. Now go see The Mint Chicks instead. It’s cheaper and they’ve got loads of that good ol’ youthful energy.\u003c/p>\n\u003cp>Alela Diane – With soulful vocal chops akin to Gillian Welch or Emmylou Harris, and forthright and confident lyricism, Nevada City-born Alela Diane’s ongoing ascent simply cannot be doubted or stopped.\u003c/p>\n\u003cp>\u003ca href=\"http://profile.myspace.com/micahphinson\" target=\"offsite\" rel=\"noopener\">Micah P. Hinson\u003c/a> — For a spur-of-the-moment, stripped-down set, Abilene singer-songwriter Micah P. Hinson, with his full-bodied vocal, delivered a moving and sonically eloquent stunner of a performance, far more than just warming up the crowd for Daniel Johnston.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/odeath\" target=\"offsite\" rel=\"noopener\">O’Death\u003c/a> — Imagine if you will that Captain Beefheart broke into a pawn shop in Appalachia and made off with all the musical instruments. I doubt there are many music fans that couldn’t get behind this boisterous blend of punk, country, bluegrass and eccentricity.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/healthmusic\" target=\"offsite\" rel=\"noopener\">HEALTH\u003c/a> — A soul-shaking sonic clamor with the random deviations of free jazz and the succinctness of the Minutemen.\u003c/p>\n\u003cp>\u003ca href=\"http://www.twotonboa.com/\" target=\"offsite\" rel=\"noopener\">Two-Ton Boa\u003c/a> — If metal was more literate, more twistedly bipolar, and built around dynamic, haunting and evocative vocals instead of hiding behind guitar-hero posturing, it’s name would be Sherry Fraser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/marieesioux\" target=\"offsite\" rel=\"noopener\">Mariee Sioux\u003c/a> — Part of the Grass Roots Records family, along with Alela Diane, Mariee Sioux picks out beautiful, smart folk ditties and delivers them like fellow Nevada City resident Joanna Newsom taken down a notch. What is in the water in that town?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the very least, after four long days in Austin, there are about 35-40 bands that I won’t have to clamor to see whenever they decide to embark on a West Coast tour. Alas, I’ll still be looking to the desert in late April and considering getting in line with the sweat-ringed throng out in Indio yet another year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "South by Southwest: Crazy RV Music Adventure",
"headTitle": "South by Southwest: Crazy RV Music Adventure | KQED",
"content": "\u003cp>SXSW Music Festival: Austin, TX\u003cbr>The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can’t walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks.\u003c/p>\n\u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples’ ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne’s “Running on Empty.”\u003c/p>\n\u003cp>There are shows in tiny indie record stores, barbershops, art galleries, restaurants, back porches, yards, museums, radio stations, coffeehouses, even at the Urban Outfitters. Walking down Sixth Street, Austin’s tourist mecca and the home to most of its bars and clubs, the sounds of the bands blend together so as to be indistinguishable. San Francisco seems to be fairly well represented judging from some of the familiar faces I’ve seen, fixtures in the Bay Area music scene.\u003c/p>\n\u003cp>You learn some quick lessons at festivals like this. The venues are almost always behind schedule, guest lists usually go unheeded, supporting bands seem to have a curious and irksome habit of not introducing themselves to audiences who rarely know the name of every act. Emo’s always has a line. Many of the day shows offer free drinks — usually keg beer — but one might also spot music fans drinking Rob Roys in Birds Barbershop while watching their friends get free mohawks.\u003c/p>\n\u003cp>The food options are myriad. So far, the standouts were a greasy and flavorful taco-truck crawl on South First St., incredible battered french fries and chicken and waffles at Tony’s Southern Comfort Restaurant and extremely well-cooked brisket and a euphoric banana pudding at Ben’s Longbranch BBQ (which also hosts bands down the hill from its porch on a cement patio).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But not everything is wine and roses, I endured weeks of planning and scheduling to make sure I could see the bands I want, and for the most part it helps, but not everything goes off as planned. The first afternoon, I manage to park our rented RV in what turns out to be a dingy, if centrally-located RV park and then get a ride back into town with the guy who is selling me a wristband. An early jaunt to the southern part of town results in Fort Worth’s Nouns Group having cancelled at the last minute. My RV-mate loses her ID and we can’t get into buzz-band Menomena’s show at Buffalo Billiards at 1am on Thursday.\u003c/p>\n\u003cp>That brings us to the music. So far, I’ve made it to Big A Little A, Architecture in Helsinki, No Age, The Gray Kid, Malajube, Daniel Johnston, Charlie Louvin, Micah P. Hinson, The Black Angels, Benjy Ferree, Diplo, Datarock, Foreign Islands, Macromantics, Bone Box, Paris Motel, La Castle Vania, Yo Majesty, Apostle of Hustle, Lo-Fi Fnk, This Moment in Black History and Okkervil River, as well as a few others.\u003c/p>\n\u003cp>This is the rundown of the highlights up ’til now:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://www.myspace.com/alittlea\" target=\"offsite\" rel=\"noopener\">Aa (Big A Little A)\u003c/a> — How can you not expect the best from a band that carries three drummers. But these guys meld the extremely old (ancient) and the new remarkably well, creating a spacey tribal sound that hits you on a visceral and primordial level.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/danieldalejohnston\" target=\"offsite\" rel=\"noopener\">Daniel Johnston\u003c/a> — The former Austinite and soul-on-his-sleeve warbler delivers a loving cover of the Beatles’ “Come Together” immediately following his own ode to the Fab Four “The Beatles.” But just as moving are incredible a cappella versions of “Devil Town” and “Speeding Motorcycle.”\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Louvin_Brothers\" target=\"offsite\" rel=\"noopener\">Charlie Louvin\u003c/a> — I couldn’t stay for all of the country legend’s set, but I did manage to catch a rollicking version of the Louvin Brothers’ hit “Cash on the Barrelhead.” Some of his newer stuff feels more like a Vegas show covering country music, but when he performs the standards, you can still feel the genius that made The Louvin Brothers one of Nashville’s greatest hit-making acts.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/aihmusic\" target=\"offsite\" rel=\"noopener\">Architecture in Helsinki\u003c/a> — Flamingo Cantina on Sixth Street is one of my favorite venues in Austin. They book good music, they have a great patio behind and above the stage where you have a good (and less crowded) vantage point. Australia’s Architecture in Helsinki got the kids jumping with their instrument-swapping, conga-tinged, hook-laden indie rock. \u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/benjyferree\" target=\"offsite\" rel=\"noopener\">Benjy Ferree\u003c/a> — A singular songwriter with a dynamic voice and unique phrasing, Ferree trades in smart ballads accompanied by a cello and guitar, and bears the trademark songwriter’s harmonica around his neck.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/nonoage\" target=\"offsite\" rel=\"noopener\">No Age\u003c/a> — The Los Angeles duo sound even better live than they do on their recorded material. They are comfortable and funny on the back patio of Miss Bea’s, a small Eastside neighborhood watering hole during one of Brooklyn promoting icon Todd P.’s shows.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/thismomentinblackhistory\" target=\"offsite\" rel=\"noopener\">This Moment in Black History\u003c/a> — Their brand of all-out hardcore punk gets the crowd involved whether they like it or not. The singer ended up in my lap at one point…serves me right for sitting down at a punk show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/yomajesty4life\" target=\"offsite\" rel=\"noopener\">Yo Majesty\u003c/a> — This hip-hop trio from the Tampa Bay area really brings the noise. You could hear their blistering, hard-nosed old-school and Dirty South-influenced rap down the street. It’s impossible not to get behind their energy and the dollar-store bejeweled crown.\u003c/p>\n\n",
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"excerpt": "SXSW Music Festival: Austin, TX\u003cbr />The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can't walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks. \u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples' ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne's \"Running on Empty.\"\u003c/p> ",
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"description": "SXSW Music Festival: Austin, TXThe city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can't walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks. The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples' ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne's "Running on Empty." ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SXSW Music Festival: Austin, TX\u003cbr>The city is bursting at the seams with hipsters seemingly posing as conventioneers. Conspicuously absent are the embroidered-logo short-sleeve knit shirts tucked into frumpy, old guy jeans held up (just a little too high) by a belt which also holds a cell phone holster. Instead, you can’t walk a block in any part of town without seeing a gaggle of young, hip-looking people with asymmetrical haircuts, Chuck Taylors, tight jeans, vintage park-and-rec t-shirts and hoodies, sporting badges around their necks.\u003c/p>\n\u003cp>The streets are also alive with exhibitionists of often-undetermined stripes, evangelists screaming through microphones and handing out t-shirts, a girl in an orange bodysuit dancing for a video camera as if her arms and legs were propellers, random indie-band photo ops in parking lots, gypsy bands set up on the sidewalks or wherever else they can catch peoples’ ears, a muscle-bound guy in an Army Ranger t-shirt barbecuing on his porch to the strains of Jackson Browne’s “Running on Empty.”\u003c/p>\n\u003cp>There are shows in tiny indie record stores, barbershops, art galleries, restaurants, back porches, yards, museums, radio stations, coffeehouses, even at the Urban Outfitters. Walking down Sixth Street, Austin’s tourist mecca and the home to most of its bars and clubs, the sounds of the bands blend together so as to be indistinguishable. San Francisco seems to be fairly well represented judging from some of the familiar faces I’ve seen, fixtures in the Bay Area music scene.\u003c/p>\n\u003cp>You learn some quick lessons at festivals like this. The venues are almost always behind schedule, guest lists usually go unheeded, supporting bands seem to have a curious and irksome habit of not introducing themselves to audiences who rarely know the name of every act. Emo’s always has a line. Many of the day shows offer free drinks — usually keg beer — but one might also spot music fans drinking Rob Roys in Birds Barbershop while watching their friends get free mohawks.\u003c/p>\n\u003cp>The food options are myriad. So far, the standouts were a greasy and flavorful taco-truck crawl on South First St., incredible battered french fries and chicken and waffles at Tony’s Southern Comfort Restaurant and extremely well-cooked brisket and a euphoric banana pudding at Ben’s Longbranch BBQ (which also hosts bands down the hill from its porch on a cement patio).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not everything is wine and roses, I endured weeks of planning and scheduling to make sure I could see the bands I want, and for the most part it helps, but not everything goes off as planned. The first afternoon, I manage to park our rented RV in what turns out to be a dingy, if centrally-located RV park and then get a ride back into town with the guy who is selling me a wristband. An early jaunt to the southern part of town results in Fort Worth’s Nouns Group having cancelled at the last minute. My RV-mate loses her ID and we can’t get into buzz-band Menomena’s show at Buffalo Billiards at 1am on Thursday.\u003c/p>\n\u003cp>That brings us to the music. So far, I’ve made it to Big A Little A, Architecture in Helsinki, No Age, The Gray Kid, Malajube, Daniel Johnston, Charlie Louvin, Micah P. Hinson, The Black Angels, Benjy Ferree, Diplo, Datarock, Foreign Islands, Macromantics, Bone Box, Paris Motel, La Castle Vania, Yo Majesty, Apostle of Hustle, Lo-Fi Fnk, This Moment in Black History and Okkervil River, as well as a few others.\u003c/p>\n\u003cp>This is the rundown of the highlights up ’til now:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003ca href=\"http://www.myspace.com/alittlea\" target=\"offsite\" rel=\"noopener\">Aa (Big A Little A)\u003c/a> — How can you not expect the best from a band that carries three drummers. But these guys meld the extremely old (ancient) and the new remarkably well, creating a spacey tribal sound that hits you on a visceral and primordial level.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/danieldalejohnston\" target=\"offsite\" rel=\"noopener\">Daniel Johnston\u003c/a> — The former Austinite and soul-on-his-sleeve warbler delivers a loving cover of the Beatles’ “Come Together” immediately following his own ode to the Fab Four “The Beatles.” But just as moving are incredible a cappella versions of “Devil Town” and “Speeding Motorcycle.”\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Louvin_Brothers\" target=\"offsite\" rel=\"noopener\">Charlie Louvin\u003c/a> — I couldn’t stay for all of the country legend’s set, but I did manage to catch a rollicking version of the Louvin Brothers’ hit “Cash on the Barrelhead.” Some of his newer stuff feels more like a Vegas show covering country music, but when he performs the standards, you can still feel the genius that made The Louvin Brothers one of Nashville’s greatest hit-making acts.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/aihmusic\" target=\"offsite\" rel=\"noopener\">Architecture in Helsinki\u003c/a> — Flamingo Cantina on Sixth Street is one of my favorite venues in Austin. They book good music, they have a great patio behind and above the stage where you have a good (and less crowded) vantage point. Australia’s Architecture in Helsinki got the kids jumping with their instrument-swapping, conga-tinged, hook-laden indie rock. \u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/benjyferree\" target=\"offsite\" rel=\"noopener\">Benjy Ferree\u003c/a> — A singular songwriter with a dynamic voice and unique phrasing, Ferree trades in smart ballads accompanied by a cello and guitar, and bears the trademark songwriter’s harmonica around his neck.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/nonoage\" target=\"offsite\" rel=\"noopener\">No Age\u003c/a> — The Los Angeles duo sound even better live than they do on their recorded material. They are comfortable and funny on the back patio of Miss Bea’s, a small Eastside neighborhood watering hole during one of Brooklyn promoting icon Todd P.’s shows.\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/thismomentinblackhistory\" target=\"offsite\" rel=\"noopener\">This Moment in Black History\u003c/a> — Their brand of all-out hardcore punk gets the crowd involved whether they like it or not. The singer ended up in my lap at one point…serves me right for sitting down at a punk show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://myspace.com/yomajesty4life\" target=\"offsite\" rel=\"noopener\">Yo Majesty\u003c/a> — This hip-hop trio from the Tampa Bay area really brings the noise. You could hear their blistering, hard-nosed old-school and Dirty South-influenced rap down the street. It’s impossible not to get behind their energy and the dollar-store bejeweled crown.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every year, avid local show goers eagerly look forward to seeing what Noise Pop, the annual SF music festival celebrating the best in indie music, will offer. They know to expect a wide-ranging well-picked and inclusive lineup of many local favorites, and with each year that passes, much much more. This year’s 15th anniversary festival not only provided a comprehensive lineup of music acts, but also featured art exhibits, film and comedy as well. \u003c/p>\n\u003cp>And as Noise Pop’s festival grows, so does its calendar. Chris Appelgren joined the staff last year when the event went from a two-person operation putting on a six-day event to organizing and sponsoring events throughout the year with a full, year-round staff. He met with me at the Noise Pop offices in the Mission on Tuesday shortly before \u003ca href=\"http://www.noisepop.com/freedm\" target=\"offsite\" rel=\"noopener\">Freedm Night\u003c/a> kicked off the festival. I was a little let down to discover that the office was not the frenzied mess of nerves and shouting I was expecting, but a constant stream of phone calls and inter-office questions did provide an appropriately industrious aural backdrop for our conversation. Chris described how \u003cb>Noise Pop\u003c/b> has shifted its focus in recent years to accommodate changes in the music scene.\u003c/p>\n\u003cp>“As we’ve gotten bigger, our mission shifted to not only celebrating what’s great about the city, but also teaming it up with great national artists in a way that’s more intimate. We want the shows to feel carefully created and considered.”\u003c/p>\n\u003cp>This year, I scanned the roster of over 110 bands playing over 30 shows, and felt pretty overwhelmed, but was excited to find \u003ca href=\"http://www.hellaband.com\" target=\"offsite\" rel=\"noopener\">Hella\u003c/a> headlining a\u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> show. I’d been introduced to \u003cb>Hella\u003c/b>, a math rock outfit from Sacramento with a steadily growing fan base around the country, a couple of years ago, but had never had the chance see them live before. The show was entirely packed, with the body heat inside beating the frigid chill creeping in from the outside and confirming the show’s sold out success.\u003c/p>\n\u003cp>Like many other fans who came out expressly to see Hella, I knew next to nothing about the other bands that would be playing that night, which made it all the more of a special noisy treat to discover three killer acts — each absolutely nothing like the previous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area-based \u003ca href=\"http://www.tartufirock.net\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> started off the show with a thirty minute set of fascinating live loop-based songs, which combined layers upon layers of vocals and reverb with alternating slow intense passages and hard/fast rock drumming. With a four-year history as a three-piece group rather than the two-piece that played, some fans didn’t know what to expect, but they were pleased with the results. I got a chance to corner Lynn Angel, who provides guitar, vocals and live looping for the band, just as she had gotten her parents (who are evidently very good sports) into a cab after the set. She confirmed that Tartufi would be remaining a two-piece for now. Many Noise Pop openers move up through the ranks to become headliners, so expect to see more of Tartufi in the future, as part of Noise Pop or just around town.\u003c/p>\n\u003cp>\u003ca href=\"http://www.macromantics.com\" target=\"offsite\" rel=\"noopener\">Macromantics\u003c/a> from Australia kept things going with a dark yet goofy hip hop set that conformed to many of the conventions of hip hop without sounding like any particular act I’d heard before. There was the command to get your hands in the air as well as the song written only to spell out M-A-C-R-O-M-A-N-T-I-C-S. But there was also gritty beats mixed with references to Ella Fitzgerald and James Brown and a refrain from the nursery rhyme “Baa Baa Black Sheep.” While fans were enthusiastic about the set, Macromantics convinced me about her potential by working the merchandise table after performing. For a rising artist on her way to South by Southwest, she was willing to put in the time and the effort to win over every fan she could.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=125\" target=\"offsite\" rel=\"noopener\">Pop Levi\u003c/a> turned it out for a genre-bending set of classic rock with elements of glam, funk and pretty much everything else thrown in. Hailing from Los Angeles, Liverpool and lately, his van, Pop is clearly destined for hipster stardom, with appropriately obscure listening tastes (wax cylinder recordings from the Bahamas) and a pedigree to match. He boasts a long-standing gig with electroclashers \u003ca href=\"http://www.ladytron.com\" target=\"offsite\" rel=\"noopener\">Ladytron\u003c/a>, and before that, time on \u003ca href=\"http://www.ninjatune.net\" target=\"offsite\" rel=\"noopener\">NinjaTune Records\u003c/a> with his band \u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=94\" target=\"offsite\" rel=\"noopener\">Super Numeri\u003c/a>. Despite a distinctly retro edge to his sound, the music is far from derivative. And Pop isn’t interested in being a throwback. While his music draws on an extremely wide variety of influences, he mentioned just two artists he particularly admires — Bob Dylan and Sun Ra — neither immediately evident in his sound. Another artist fitting in a Noise Pop gig before landing at South by Southwest, Pop is currently in the middle of a punishingly lengthy tour. Be on the lookout for him to come through SF again soon.\u003c/p>\n\u003cp>Hella is probably best known for the genius drumming of Zach Hill, who has also been part of other excellent Northern California acts including \u003ca href=\"http://www.crimeinchoir.net\" target=\"offsite\" rel=\"noopener\">Crime in Choir\u003c/a>, who played an epic, sweaty show at the \u003ca href=\"http://www.hemlocktavern.net\" target=\"offsite\" rel=\"noopener\">Hemlock\u003c/a> just last week. His drumming, while it confounds the average show goer by making it nearly impossible to dance — much less bob your head to — for longer than a three-second spurt, inspires the truly dedicated fan to new heights in rhythm. This is where I would normally place my choicely worded description of Hella’s sound — but I really can’t top the Wikipedia entry, which describes it as a “technical, Nintendo-influenced blend of math rock, noise rock and avant-garde.”\u003c/p>\n\u003cp>The show last Wednesday (Feb 28, 2007) featured this sound front and center, but added a new element — a full complement of vocals on every song. I’d heard snippets from the recently-released full-length album, \u003cb>There’s No 666 in Outer Space\u003c/b>, before heading out to the show, and was struck by how the addition of vocals made for a dramatic, wailing rock sound approaching the \u003ca href=\"http://www.themarsvolta.com\" target=\"offsite\" rel=\"noopener\">Mars Volta\u003c/a>. But in person, the vocals were even more raw and echoey.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Without a doubt, as \u003cb>Noise Pop\u003c/b> continues to grow, you can expect some very exciting treats throughout the year. For more on this year’s \u003ca href=\"http://www.noisepop.com\" target=\"offsite\" rel=\"noopener\">festival and future events\u003c/a>, visit noisepop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, avid local show goers eagerly look forward to seeing what Noise Pop, the annual SF music festival celebrating the best in indie music, will offer. They know to expect a wide-ranging well-picked and inclusive lineup of many local favorites, and with each year that passes, much much more. This year’s 15th anniversary festival not only provided a comprehensive lineup of music acts, but also featured art exhibits, film and comedy as well. \u003c/p>\n\u003cp>And as Noise Pop’s festival grows, so does its calendar. Chris Appelgren joined the staff last year when the event went from a two-person operation putting on a six-day event to organizing and sponsoring events throughout the year with a full, year-round staff. He met with me at the Noise Pop offices in the Mission on Tuesday shortly before \u003ca href=\"http://www.noisepop.com/freedm\" target=\"offsite\" rel=\"noopener\">Freedm Night\u003c/a> kicked off the festival. I was a little let down to discover that the office was not the frenzied mess of nerves and shouting I was expecting, but a constant stream of phone calls and inter-office questions did provide an appropriately industrious aural backdrop for our conversation. Chris described how \u003cb>Noise Pop\u003c/b> has shifted its focus in recent years to accommodate changes in the music scene.\u003c/p>\n\u003cp>“As we’ve gotten bigger, our mission shifted to not only celebrating what’s great about the city, but also teaming it up with great national artists in a way that’s more intimate. We want the shows to feel carefully created and considered.”\u003c/p>\n\u003cp>This year, I scanned the roster of over 110 bands playing over 30 shows, and felt pretty overwhelmed, but was excited to find \u003ca href=\"http://www.hellaband.com\" target=\"offsite\" rel=\"noopener\">Hella\u003c/a> headlining a\u003ca href=\"http://www.bottomofthehill.com\" target=\"offsite\" rel=\"noopener\">Bottom of the Hill\u003c/a> show. I’d been introduced to \u003cb>Hella\u003c/b>, a math rock outfit from Sacramento with a steadily growing fan base around the country, a couple of years ago, but had never had the chance see them live before. The show was entirely packed, with the body heat inside beating the frigid chill creeping in from the outside and confirming the show’s sold out success.\u003c/p>\n\u003cp>Like many other fans who came out expressly to see Hella, I knew next to nothing about the other bands that would be playing that night, which made it all the more of a special noisy treat to discover three killer acts — each absolutely nothing like the previous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area-based \u003ca href=\"http://www.tartufirock.net\" target=\"offsite\" rel=\"noopener\">Tartufi\u003c/a> started off the show with a thirty minute set of fascinating live loop-based songs, which combined layers upon layers of vocals and reverb with alternating slow intense passages and hard/fast rock drumming. With a four-year history as a three-piece group rather than the two-piece that played, some fans didn’t know what to expect, but they were pleased with the results. I got a chance to corner Lynn Angel, who provides guitar, vocals and live looping for the band, just as she had gotten her parents (who are evidently very good sports) into a cab after the set. She confirmed that Tartufi would be remaining a two-piece for now. Many Noise Pop openers move up through the ranks to become headliners, so expect to see more of Tartufi in the future, as part of Noise Pop or just around town.\u003c/p>\n\u003cp>\u003ca href=\"http://www.macromantics.com\" target=\"offsite\" rel=\"noopener\">Macromantics\u003c/a> from Australia kept things going with a dark yet goofy hip hop set that conformed to many of the conventions of hip hop without sounding like any particular act I’d heard before. There was the command to get your hands in the air as well as the song written only to spell out M-A-C-R-O-M-A-N-T-I-C-S. But there was also gritty beats mixed with references to Ella Fitzgerald and James Brown and a refrain from the nursery rhyme “Baa Baa Black Sheep.” While fans were enthusiastic about the set, Macromantics convinced me about her potential by working the merchandise table after performing. For a rising artist on her way to South by Southwest, she was willing to put in the time and the effort to win over every fan she could.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=125\" target=\"offsite\" rel=\"noopener\">Pop Levi\u003c/a> turned it out for a genre-bending set of classic rock with elements of glam, funk and pretty much everything else thrown in. Hailing from Los Angeles, Liverpool and lately, his van, Pop is clearly destined for hipster stardom, with appropriately obscure listening tastes (wax cylinder recordings from the Bahamas) and a pedigree to match. He boasts a long-standing gig with electroclashers \u003ca href=\"http://www.ladytron.com\" target=\"offsite\" rel=\"noopener\">Ladytron\u003c/a>, and before that, time on \u003ca href=\"http://www.ninjatune.net\" target=\"offsite\" rel=\"noopener\">NinjaTune Records\u003c/a> with his band \u003ca href=\"http://www.ninjatune.net/ninja/artist.php?id=94\" target=\"offsite\" rel=\"noopener\">Super Numeri\u003c/a>. Despite a distinctly retro edge to his sound, the music is far from derivative. And Pop isn’t interested in being a throwback. While his music draws on an extremely wide variety of influences, he mentioned just two artists he particularly admires — Bob Dylan and Sun Ra — neither immediately evident in his sound. Another artist fitting in a Noise Pop gig before landing at South by Southwest, Pop is currently in the middle of a punishingly lengthy tour. Be on the lookout for him to come through SF again soon.\u003c/p>\n\u003cp>Hella is probably best known for the genius drumming of Zach Hill, who has also been part of other excellent Northern California acts including \u003ca href=\"http://www.crimeinchoir.net\" target=\"offsite\" rel=\"noopener\">Crime in Choir\u003c/a>, who played an epic, sweaty show at the \u003ca href=\"http://www.hemlocktavern.net\" target=\"offsite\" rel=\"noopener\">Hemlock\u003c/a> just last week. His drumming, while it confounds the average show goer by making it nearly impossible to dance — much less bob your head to — for longer than a three-second spurt, inspires the truly dedicated fan to new heights in rhythm. This is where I would normally place my choicely worded description of Hella’s sound — but I really can’t top the Wikipedia entry, which describes it as a “technical, Nintendo-influenced blend of math rock, noise rock and avant-garde.”\u003c/p>\n\u003cp>The show last Wednesday (Feb 28, 2007) featured this sound front and center, but added a new element — a full complement of vocals on every song. I’d heard snippets from the recently-released full-length album, \u003cb>There’s No 666 in Outer Space\u003c/b>, before heading out to the show, and was struck by how the addition of vocals made for a dramatic, wailing rock sound approaching the \u003ca href=\"http://www.themarsvolta.com\" target=\"offsite\" rel=\"noopener\">Mars Volta\u003c/a>. But in person, the vocals were even more raw and echoey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Noise Pop: The Gray Kid",
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"content": "\u003cp>Noise Pop has come and gone again, and this year, the fifteenth installment of the Bay Area’s preeminent music festival, had some real solid lineups if no eye-popping, big-ticket event like last year’s visit from the Flaming Lips. The triumphant Bay Area return of 13th Floor Elevators frontman Roky Erickson, the Sebadoh reunion, The Dandy Warhols and Cake notwithstanding, this year’s fest was all about bands and artists just beginning to stretch out and explore their newfound acclaim. Bands like Tapes ‘n Tapes, who played the opening night party, as well as Ted Leo & The Pharmacists, Midlake, The Ponys, Ghostland Observatory and Clinic.\u003c/p>\n\u003cp>But like every year, there are some lesser-known names a little further down the marquee that when you discover them, make the festival all the more rewarding. I wanted to catch some of these acts, diligently identified before the festival began, like Montreal’s latest indie-pop darling Malajube and local psychedelic rockers Wooden Shjips, but ended up getting blindsided instead by the fantastic sets of Afro-Cuban groove merchants Ray Barbee & The Mattson Two and a Los Angeles hip-hop artist dubbed \u003ca href=\"http://www.myspace.com/thegraykid\" target=\"offsite\" rel=\"noopener\">The Gray Kid\u003c/a>.\u003c/p>\n\u003cp>O.K., maybe you already knew about The Gray Kid. You knew about him back in ’06 when his crack-up Justin Timberlake parody “PaxilBack” was a \u003ca href=\"http://www.youtube.com/watch?v=sGKJcayVXU8\" target=\"offsite\" rel=\"noopener\">YouTube\u003c/a> hit. Or maybe you’re an avid watcher of \u003cb>30 Rock\u003c/b> and you were groovin’ to his soul-flecked, quick-witted hip-hop as early as last Thursday at 10 p.m. Or just possibly, you’re like most of the crowd waiting for Ghostland Observatory to take the stage on Saturday night who were hearing the Los Angeles-based MC for the first time. I won’t reveal where I fall on that timeline, but suffice it to say that I wasn’t completely sure what to expect from his live show.\u003c/p>\n\u003cp>Just minutes after taking the stage, The Gray Kid, aka Steve Cooper, had already won the crowd over through sheer will, careening around the stage, coiling up tightly with potential energy and delivering his lyrics with a manic fervor, practically hurling the rhymes from his head out at the audience via his hand gestures. He obsessively preens, smoothing out his hair across his forehead, and demands the audience’s attention like a seasoned showman with a righteous belief in his talents.\u003c/p>\n\u003cp>All the while, he spits out rapid-fire, adroitly-phrased lyrics sometimes reminiscent of Eminem, interspersed with soul grooves and an R&B falsetto, delivered over hip-hop and dance beats. The influence of Dirty South rap is heard, especially on the rollicking “Oh My,” as are the genre-bending explorations of Outkast. His lyrics have the smart-alecky feel of the Beastie Boys and his falsetto might remind one of Prince. If you’re noticing that a lot of big-name, popular acts are being mentioned, that’s because The Gray Kid is, at his core, a pop artist. His onstage demeanor is primarily a means of connecting with his audience. He ingratiates himself with the crowd through witty and irreverent lyrics about L.A.’s silicon-and-botox-addicted Barbie dolls, and draws them still closer by asking that they repeat the final line to his hook-laden driving song “Eh Man” along with him, “I eat with my hands. I drive with my knees.” By the end of his set, it’s obvious that he’s gained hundreds of new fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you didn’t know The Gray Kid before now, you certainly will before too long. He’ll make sure of that.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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