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"content": "\u003cp>The days when an MTV video could make or break a song seem to be long gone. It’s not often that I bother to “watch” a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley’s single “Behave” was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.\u003c/p>\n\u003cp>The song is engaging enough, with its playful, jangly guitar hook and rumbling punctuations of bass. But when you also take note of its twisted lyrics and stalker-themed, spacey, cartoonish video, yessir, we’ve got a winner! \u003c/p>\n\u003cp>Hatherley’s performance in this video is of the “Vogue” school: posing, dreamy-eyed, coy. Visually a cross between Toni Collette and Chrissie Hynde, Hatherley’s dark looks belie her girlish voice and irresistably pathetic lyrics. “I’ll be willing, I’ll be a fool/I’ll be something that you do,” she sings to her object of affection. “Tell me, what do I have to do/To behave?” It all eerily presages the Lisa Nowak astronaut love-triangle story. Hatherley even calls her guy “commander” at one point. \u003c/p>\n\u003cp>\u003ca href=\"http://charlottehatherley.com/\" target=\"offsite\" rel=\"noopener\">Hatherley’s\u003c/a> first language is guitar. She left the Irish rock band Ash last year to focus on her own solo career. Her first album, \u003cb>Grey Will Fade\u003c/b>, came out in 2004. “Behave” is a single from \u003cb>The Deep Blue\u003c/b>, which came out March 6.\u003c/p>\n\u003cp>There’s another thing to consider about Hatherley: A second song from the album, also with its own \u003ca href=\"http://www.youtube.com/watch?v=2muG1ePX-aM\" target=\"offsite\" rel=\"noopener\">video on YouTube\u003c/a>, has a completely different tone. It’s more pugilistic, both aurally and visually, and it’s a sassy addition to the angry breakup song genre. It also shows that Charlotte Hatherley is a skilled guitar player who can rock. The music world can always use more women like that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The days when an MTV video could make or break a song seem to be long gone. It's not often that I bother to \"watch\" a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley's single \"Behave\" was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days when an MTV video could make or break a song seem to be long gone. It’s not often that I bother to “watch” a new song instead of just listening to it, but as it happened, my first encounter with British artist Charlotte Hatherley’s single “Behave” was via a \u003ca href=\"http://www.youtube.com/watch?v=MVin_npzHgU\" target=\"offsite\" rel=\"noopener\">YouTube link\u003c/a>.\u003c/p>\n\u003cp>The song is engaging enough, with its playful, jangly guitar hook and rumbling punctuations of bass. But when you also take note of its twisted lyrics and stalker-themed, spacey, cartoonish video, yessir, we’ve got a winner! \u003c/p>\n\u003cp>Hatherley’s performance in this video is of the “Vogue” school: posing, dreamy-eyed, coy. Visually a cross between Toni Collette and Chrissie Hynde, Hatherley’s dark looks belie her girlish voice and irresistably pathetic lyrics. “I’ll be willing, I’ll be a fool/I’ll be something that you do,” she sings to her object of affection. “Tell me, what do I have to do/To behave?” It all eerily presages the Lisa Nowak astronaut love-triangle story. Hatherley even calls her guy “commander” at one point. \u003c/p>\n\u003cp>\u003ca href=\"http://charlottehatherley.com/\" target=\"offsite\" rel=\"noopener\">Hatherley’s\u003c/a> first language is guitar. She left the Irish rock band Ash last year to focus on her own solo career. Her first album, \u003cb>Grey Will Fade\u003c/b>, came out in 2004. “Behave” is a single from \u003cb>The Deep Blue\u003c/b>, which came out March 6.\u003c/p>\n\u003cp>There’s another thing to consider about Hatherley: A second song from the album, also with its own \u003ca href=\"http://www.youtube.com/watch?v=2muG1ePX-aM\" target=\"offsite\" rel=\"noopener\">video on YouTube\u003c/a>, has a completely different tone. It’s more pugilistic, both aurally and visually, and it’s a sassy addition to the angry breakup song genre. It also shows that Charlotte Hatherley is a skilled guitar player who can rock. The music world can always use more women like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Music and the Oscars",
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"content": "\u003cp>Music and the Oscars. They go together like… like… peanut butter and orange juice. Er… like Reese and Ryan? Hmm. It’s a shame; apparently they used to have such a nice relationship. I heard an old-school Hollywood techie reminiscing about the good old days last week on NPR. The scene he described made the old Oscars show sound like a Vegas showgirl revue, and it probably was. Girls! Costumes! Lights! Song! Dance! Tap dancing, even — and not Savion Glover, either! When was the last time you saw that — and don’t say \u003cb>Happy Feet\u003c/b>, because that was Savion grafted onto a penguin body. Seriously, he is the only person allowed to tap dance in North America, as far as I can tell.\u003c/p>\n\u003cp>Well, there was a little of the old razzle-dazzle in this year’s Oscar ceremony, courtesy of three talented guys who can’t really dance but can actually sing: Will Ferrell, Jack Black, and John C. Reilly. OK, Ferrell can’t sing very well, but he was not — to quote Randy Jackson, “too pitchy.” Black, on the other hand, can belt it, as any fan of Tenacious D knows. And Reilly displayed his old Chicago theater roots by singing out in a classic Broadway show tune style, jazz hands and all. They were responsible for the best musical performance of the night, by far, in “\u003ca href=\"http://www.youtube.com/watch?v=qB6mh3ISsmM&eurl=http%3A%2F%2Fwww%2Elaist%2Ecom%2Farchives%2F2007%2F02%2F26%2Fmissed%5Fthe%5Foscars%5Frelax%5Fthis%5Fwas%5Fthe%5Fbest%5Fpart%2Ephp\" target=\"offsite\" rel=\"noopener\">A Comedian at the Oscars\u003c/a>,” their hilarious ode to the impossibility of comedic material ever receiving an Academy Award. Reilly offered hope in the example of his own career: “I chose to do both \u003cb>Boogie\u003c/b> and \u003cb>Talladega Nights\u003c/b>,” he reminded them, but Black nevertheless threatened to beat Peter O’Toole (“you’re all legendary and stuff,” he snarled) with his Nickelodeon Award anyway.\u003c/p>\n\u003cp>Of course, none of those three guys were up for an award, so the threat of the Oscar Song Performance lingered on. It was fully realized in all its boring, corny cheesiness, by Randy Newman and James Taylor, singing a quiet little song about “Our Town,” from the heinous animated film, \u003cb>Cars\u003c/b>. I didn’t actually see the movie, but my four year-old friend Elsa did, and she walked out, so I’ll trust her judgment. It’s incredible to me that James Taylor, a former mental patient and drug addict, and Randy Newman, a songwriter whose subversion is without peer in his field (if you don’t believe me, check out his classic “God’s Song,” in which God sings to mankind: “I recoil in horror at the foulness of thee… How We laugh up here in heaven at the prayers you offer Me.”), can come up with something so lame. I guess they figure the Older Crowd will be happy to see Sweet Baby James, but he’s a long way from “Fire and Rain.”\u003c/p>\n\u003cp>One thing giving me hope this year was the fact that three songs were nominated from one film, \u003cb>Dreamgirls\u003c/b>, which meant that they would be compressed into one performance, and they were. Unless you counted the performance of Jennifer Hudson’s cleavage, which deserved its own stage. Or at least a sturdier bra. Still, it was nice to see Beyonce in her element. She sounded great and looked amazing, too. And that other, forgotten Dreamgirl, Anika Noni Rose? She doesn’t get much press, but she is the only member of the cast, as far as I can tell, who has won a Tony Award. And San Franciscans, take pride: she’s an ACT grad, too.\u003c/p>\n\u003cp>Unfortunately, Ennio Morricone received a Lifetime Achievement Oscar, which meant that Celine Dion would be performing. Somehow they always manage to squeeze her in. (No offense to Ennio, who should have gotten a Nobel Prize at least for his theme to \u003cb> The Good, the Bad, and the Ugly\u003c/b> 41 years ago.) At least this time Celine was not wearing \u003ca href=\"http://72.14.253.104/search?q=cache:KbIVFI5IVFcJ:oscars.movies.yahoo.com/photos/photo.html%3Fgid%3D29%26pos%3D20+celine+dion+tuxedo&hl=en&ct=clnk&cd=4&gl=us\" target=\"offsite\" rel=\"noopener\">a backwards tuxedo\u003c/a> or a fedora. And in fact, after watching so many \u003cb>American Idol\u003c/b> contestants try to “do” Celine, it was a relief to see her doing herself. She was pretty convincing. The weird thing was that Ennio looked more Botoxed than Celine. It’s probably just another sign of the Apocalypse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally, there was Melissa Etheridge. I was dreading this one: “I Need to Wake Up,” the theme to \u003cb>An Inconvenient Truth\u003c/b>. Nothing about that pairing suggests a good time. And yet… I came away from her performance thinking, “that was better than I thought a song about climate change could be.” The fact that she was backed by a giant PowerPoint presentation was a nice touch; as my friend Matthew said, \u003cb>An Inconvenient Truth\u003c/b> is “basically the best PowerPoint presentation you’ll ever see.” And what do you know, \u003cb>An Inconvenient PowerPoint Presentation\u003c/b> carried the night, winning not only Best Documentary Feature but Best Original Song, too! Turns out global warming is a feel-good concept after all! Ahh, Hollywood, you little minx. You can spin anything.\u003c/p>\n\u003cp>Winners at the Oscars come in two flavors: Official and Un-. Alan Arkin was the Official Winner of the Best Supporting Actor award, but clearly Jackie Earle Haley was the Unofficial Winner in this category due to his incredible comeback story as the former child/teenaged actor best known for his roles in \u003cb>The Bad News Bears\u003c/b> (1976) and \u003cb>Breaking Away\u003c/b> (1979) whose career had basically dried up until a few years ago. Dude had actually moved to San Antonio, Texas, if that gives you any idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And thus in the Best Musical Performance at the Oscars category, officially Melissa Etheridge won, but anyone who watched knew that Ferrell, Black, and Reilly’s “A Comedian at the Oscars” was hands-down the best crafted and most entertainingly performed tune of the night. With a lyric like, “I’m gonna lose forty pounds to play Ralph Nader/ I’m gonna do that gay coal-mining movie with James Spader,” who could touch it? No song moved you more.\u003c/p>\n\n",
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"excerpt": "Music and the Oscars. They go together like... like... peanut butter and orange juice. Er... like Reese and Ryan? Hmm. It's a shame; apparently they used to have such a nice relationship. I heard an old-school Hollywood techie reminiscing about the good old days last week on NPR. The scene he described made the old Oscars show sound like a Vegas showgirl revue, and it probably was. Girls! Costumes! Lights! Song! Dance! Tap dancing, even -- and not Savion Glover, either! When was the last time you saw that -- and don't say \u003cb>Happy Feet\u003c/b>, because that was Savion grafted onto a penguin body. Seriously, he is the only person allowed to tap dance in North America, as far as I can tell.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music and the Oscars. They go together like… like… peanut butter and orange juice. Er… like Reese and Ryan? Hmm. It’s a shame; apparently they used to have such a nice relationship. I heard an old-school Hollywood techie reminiscing about the good old days last week on NPR. The scene he described made the old Oscars show sound like a Vegas showgirl revue, and it probably was. Girls! Costumes! Lights! Song! Dance! Tap dancing, even — and not Savion Glover, either! When was the last time you saw that — and don’t say \u003cb>Happy Feet\u003c/b>, because that was Savion grafted onto a penguin body. Seriously, he is the only person allowed to tap dance in North America, as far as I can tell.\u003c/p>\n\u003cp>Well, there was a little of the old razzle-dazzle in this year’s Oscar ceremony, courtesy of three talented guys who can’t really dance but can actually sing: Will Ferrell, Jack Black, and John C. Reilly. OK, Ferrell can’t sing very well, but he was not — to quote Randy Jackson, “too pitchy.” Black, on the other hand, can belt it, as any fan of Tenacious D knows. And Reilly displayed his old Chicago theater roots by singing out in a classic Broadway show tune style, jazz hands and all. They were responsible for the best musical performance of the night, by far, in “\u003ca href=\"http://www.youtube.com/watch?v=qB6mh3ISsmM&eurl=http%3A%2F%2Fwww%2Elaist%2Ecom%2Farchives%2F2007%2F02%2F26%2Fmissed%5Fthe%5Foscars%5Frelax%5Fthis%5Fwas%5Fthe%5Fbest%5Fpart%2Ephp\" target=\"offsite\" rel=\"noopener\">A Comedian at the Oscars\u003c/a>,” their hilarious ode to the impossibility of comedic material ever receiving an Academy Award. Reilly offered hope in the example of his own career: “I chose to do both \u003cb>Boogie\u003c/b> and \u003cb>Talladega Nights\u003c/b>,” he reminded them, but Black nevertheless threatened to beat Peter O’Toole (“you’re all legendary and stuff,” he snarled) with his Nickelodeon Award anyway.\u003c/p>\n\u003cp>Of course, none of those three guys were up for an award, so the threat of the Oscar Song Performance lingered on. It was fully realized in all its boring, corny cheesiness, by Randy Newman and James Taylor, singing a quiet little song about “Our Town,” from the heinous animated film, \u003cb>Cars\u003c/b>. I didn’t actually see the movie, but my four year-old friend Elsa did, and she walked out, so I’ll trust her judgment. It’s incredible to me that James Taylor, a former mental patient and drug addict, and Randy Newman, a songwriter whose subversion is without peer in his field (if you don’t believe me, check out his classic “God’s Song,” in which God sings to mankind: “I recoil in horror at the foulness of thee… How We laugh up here in heaven at the prayers you offer Me.”), can come up with something so lame. I guess they figure the Older Crowd will be happy to see Sweet Baby James, but he’s a long way from “Fire and Rain.”\u003c/p>\n\u003cp>One thing giving me hope this year was the fact that three songs were nominated from one film, \u003cb>Dreamgirls\u003c/b>, which meant that they would be compressed into one performance, and they were. Unless you counted the performance of Jennifer Hudson’s cleavage, which deserved its own stage. Or at least a sturdier bra. Still, it was nice to see Beyonce in her element. She sounded great and looked amazing, too. And that other, forgotten Dreamgirl, Anika Noni Rose? She doesn’t get much press, but she is the only member of the cast, as far as I can tell, who has won a Tony Award. And San Franciscans, take pride: she’s an ACT grad, too.\u003c/p>\n\u003cp>Unfortunately, Ennio Morricone received a Lifetime Achievement Oscar, which meant that Celine Dion would be performing. Somehow they always manage to squeeze her in. (No offense to Ennio, who should have gotten a Nobel Prize at least for his theme to \u003cb> The Good, the Bad, and the Ugly\u003c/b> 41 years ago.) At least this time Celine was not wearing \u003ca href=\"http://72.14.253.104/search?q=cache:KbIVFI5IVFcJ:oscars.movies.yahoo.com/photos/photo.html%3Fgid%3D29%26pos%3D20+celine+dion+tuxedo&hl=en&ct=clnk&cd=4&gl=us\" target=\"offsite\" rel=\"noopener\">a backwards tuxedo\u003c/a> or a fedora. And in fact, after watching so many \u003cb>American Idol\u003c/b> contestants try to “do” Celine, it was a relief to see her doing herself. She was pretty convincing. The weird thing was that Ennio looked more Botoxed than Celine. It’s probably just another sign of the Apocalypse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, there was Melissa Etheridge. I was dreading this one: “I Need to Wake Up,” the theme to \u003cb>An Inconvenient Truth\u003c/b>. Nothing about that pairing suggests a good time. And yet… I came away from her performance thinking, “that was better than I thought a song about climate change could be.” The fact that she was backed by a giant PowerPoint presentation was a nice touch; as my friend Matthew said, \u003cb>An Inconvenient Truth\u003c/b> is “basically the best PowerPoint presentation you’ll ever see.” And what do you know, \u003cb>An Inconvenient PowerPoint Presentation\u003c/b> carried the night, winning not only Best Documentary Feature but Best Original Song, too! Turns out global warming is a feel-good concept after all! Ahh, Hollywood, you little minx. You can spin anything.\u003c/p>\n\u003cp>Winners at the Oscars come in two flavors: Official and Un-. Alan Arkin was the Official Winner of the Best Supporting Actor award, but clearly Jackie Earle Haley was the Unofficial Winner in this category due to his incredible comeback story as the former child/teenaged actor best known for his roles in \u003cb>The Bad News Bears\u003c/b> (1976) and \u003cb>Breaking Away\u003c/b> (1979) whose career had basically dried up until a few years ago. Dude had actually moved to San Antonio, Texas, if that gives you any idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And thus in the Best Musical Performance at the Oscars category, officially Melissa Etheridge won, but anyone who watched knew that Ferrell, Black, and Reilly’s “A Comedian at the Oscars” was hands-down the best crafted and most entertainingly performed tune of the night. With a lyric like, “I’m gonna lose forty pounds to play Ralph Nader/ I’m gonna do that gay coal-mining movie with James Spader,” who could touch it? No song moved you more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp> Do you like Stereolab? Do you like their girl + guy harmonies and lovely melodies, but are you sometimes annoyed by the wacky computerey sounds that seem like they’re in the mix just for the “techno” aspect of it all? No offense to Stereolab, but there have been more than a few moments when I’ve wondered whether they focus too much on the “lab” and not enough on the “stereo.” \u003c/p>\n\u003cp> If you share this concern, let me present the solution: Stars of Stage and Screen. They are a Brooklyn-based duo who sound like a much bigger band but I guess that’s what Ye Olde Miracle of Modern Technology is about. Their new album, \u003cb>American Oddity\u003c/b> is a gem. Full of good singalongs for the new century that are fun without being cloying, atmospheric but not pretentious, and technically impressive without showing it off. Lead singer Daughtry Carstarphen has a voice that soars gracefully over the band’s (amazingly, it’s pretty much just Carstarphen and partner Timothy Roven) grooving, multilayered instrumentation. It’s a voice that is pleasing but not overly sweet, much like the sound of the album as a whole.\u003c/p>\n\u003cp> That’s a very good aesthetic, especially when attempting to cover one of the Eighties’ biggest, fluffiest ballads: George Michael’s “Careless Whisper.” Hard to believe that 22 years have gone by since we first heard perhaps the most absurd couplet in pop history: “I’m never gonna dance again / Guilty feet have got no rhythm…” It took George Michael to teach us that a clean conscience was the first step toward funkiness on the dance floor. Thanks, George. Anyway, the Stars of Stage and Screen’s version of “Careless Whisper” owes more to another success story of 1985 — The Jesus and Mary Chain — than to George Michael, much less Andrew Ridgeley. There’s just enough of that Jesus and Mary fuzztone to create a nice contrast with the exquisite sappiness of the original lyrics and oh-so-tender melody. Don’t get me wrong: I’m no Wham-hater and I’m certainly not down on George Michael. As far as I can tell, the guy just gets better looking and smarter with age. And he gave a free concert for 2,000 National Health Service nurses in London last year to thank them for the good care they gave his dying mother. What’s not to love?\u003c/p>\n\u003cp> But this is a Stars of Stage and Screen review, so let’s get back to that (although they kind of asked for it by covering “Careless Whisper,” didn’t they?). I’m sure they would give a free concert for nurses if the opportunity presented itself.\u003c/p>\n\u003cp>So here’s the bottom line: the album is beautiful. If I had to speculate, I’d say that the perfect activity to accompany listening to \u003cb>American Oddity\u003c/b> would be taking a long walk through a city at any time of day or night. The music is dreamy and atmospheric enough to make any town seem mysterious and full of possibility. Fans of the aforementioned Stereolab, Radiohead, Sigur Ros, and Mates of State will love Stars of Stage and Screen. Run along now: pop it in the iPod and into the city you go.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": " Do you like Stereolab? Do you like their girl + guy harmonies and lovely melodies, but are you sometimes annoyed by the wacky computerey sounds that seem like they're in the mix just for the \"techno\" aspect of it all? No offense to Stereolab, but there have been more than a few moments when I've wondered whether they focus too much on the \"lab\" and not enough on the \"stereo.\" ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> Do you like Stereolab? Do you like their girl + guy harmonies and lovely melodies, but are you sometimes annoyed by the wacky computerey sounds that seem like they’re in the mix just for the “techno” aspect of it all? No offense to Stereolab, but there have been more than a few moments when I’ve wondered whether they focus too much on the “lab” and not enough on the “stereo.” \u003c/p>\n\u003cp> If you share this concern, let me present the solution: Stars of Stage and Screen. They are a Brooklyn-based duo who sound like a much bigger band but I guess that’s what Ye Olde Miracle of Modern Technology is about. Their new album, \u003cb>American Oddity\u003c/b> is a gem. Full of good singalongs for the new century that are fun without being cloying, atmospheric but not pretentious, and technically impressive without showing it off. Lead singer Daughtry Carstarphen has a voice that soars gracefully over the band’s (amazingly, it’s pretty much just Carstarphen and partner Timothy Roven) grooving, multilayered instrumentation. It’s a voice that is pleasing but not overly sweet, much like the sound of the album as a whole.\u003c/p>\n\u003cp> That’s a very good aesthetic, especially when attempting to cover one of the Eighties’ biggest, fluffiest ballads: George Michael’s “Careless Whisper.” Hard to believe that 22 years have gone by since we first heard perhaps the most absurd couplet in pop history: “I’m never gonna dance again / Guilty feet have got no rhythm…” It took George Michael to teach us that a clean conscience was the first step toward funkiness on the dance floor. Thanks, George. Anyway, the Stars of Stage and Screen’s version of “Careless Whisper” owes more to another success story of 1985 — The Jesus and Mary Chain — than to George Michael, much less Andrew Ridgeley. There’s just enough of that Jesus and Mary fuzztone to create a nice contrast with the exquisite sappiness of the original lyrics and oh-so-tender melody. Don’t get me wrong: I’m no Wham-hater and I’m certainly not down on George Michael. As far as I can tell, the guy just gets better looking and smarter with age. And he gave a free concert for 2,000 National Health Service nurses in London last year to thank them for the good care they gave his dying mother. What’s not to love?\u003c/p>\n\u003cp> But this is a Stars of Stage and Screen review, so let’s get back to that (although they kind of asked for it by covering “Careless Whisper,” didn’t they?). I’m sure they would give a free concert for nurses if the opportunity presented itself.\u003c/p>\n\u003cp>So here’s the bottom line: the album is beautiful. If I had to speculate, I’d say that the perfect activity to accompany listening to \u003cb>American Oddity\u003c/b> would be taking a long walk through a city at any time of day or night. The music is dreamy and atmospheric enough to make any town seem mysterious and full of possibility. Fans of the aforementioned Stereolab, Radiohead, Sigur Ros, and Mates of State will love Stars of Stage and Screen. Run along now: pop it in the iPod and into the city you go.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bay Area “international future music” company \u003ca href=\"http://om-records.com/\" target=\"offsite\" rel=\"noopener\">Om:records\u003c/a> recently put out new CDs by Strange Fruit Project and Zion I and the Grouch. Both parties stray from the commercial, carving out unique niches for themselves in a recently moribund hip hop space.\u003c/p>\n\u003cp>\u003cb>The Healing\u003c/b> — Strange Fruit Project\u003cbr>Similar in tone to Common, and reminiscent of A Tribe Called Quest, the Waco, Texas Strange Fruit Project serves up deep, thought provoking lyrics, laced with swanky bass lines and nostalgic, soul samples. Their distinct Texas vernacular is complemented by a variety of musical producers, making music where you can both listen to the lyrics and bob your head to the beat.\u003c/p>\n\u003cp>The trio is at their best when they weave in and out of sample-driven soul-drenched tunes such as “You (the only one),” a song to kick back and relax to. “Liberation” is another gem. Over a slinky, slow beat, the trio reflects on their lives, hardships, and mental freedom. “After Poppa caught the boat and set sail/ and momma followed shortly after that/ without a trail/ leaving a frail, innocent mind to defend himself behind enemy lines…” they rap, and I begin to reflect on my own personal growth; a testament to the power of a good song.\u003c/p>\n\u003cp>Next to the often profound lyrical offerings, there are a few danceable entries including “Get Live,” a feel good song with Erikah Badu that elevates and energizes. However, another “party” track, “Good times,” unfortunately sounds so retro it’s like something recorded in 1998, and not in a good way.\u003c/p>\n\u003cp>\u003cb>Heroes in the City of Dope\u003c/b> – Zion I and the Grouch\u003cbr>Zion I and the Grouch are giving the bay area music scene a heavy dose of socially relevant commentary. Like the Strange Fruit Project, this Bay Area rap trio has opted to follow a path less frequented by their hip hop brethren, and the result was music to my ears (for the most part).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the live, thumping production of Bay Area bred Amp-live, these MCs deliver unique lyricism that includes plenty of sarcasm, energy, and creativity. In “Trains and Planes” Zion raps, “I grew up on fresh air with hippies/ now I suck smog around wanna-be 50s (50 Cent).” Further, “Hit em’ Up,” a bass driven track with an infectious clap beat, was an opener that made me turn up the volume; much to the dismay of my neighbors.\u003c/p>\n\u003cp>The trio tries out smoother, laid back rhythms as well. “Lift Me up” a woosy, time-warped tune, feels like a dream. Other highlights include “Faint Hearted” and “Digital Dirt,” which critiques this generation’s fixation with digital media and materialism. “On the internet children sift through the sex/ FBI monitor message intercept/ …gotta get my botox/ weed/ and Viagra/ just to get my rocks off/ what happened to my stamina?… So when you see us on our typewriters/ sendin letters snail mail/ rubbin sticks for fire/ covered wagons that’s the tell tale sign of contentment/ peace and enlightenment.” While I don’t agree with the latter half of this lyric, being that digital media has made it possible for this trio to have a career, the song does make you think.\u003c/p>\n\u003cp>On other tracks, the Zion I and the Grouch attempt familiar territory and the results are mixed. “Too Much” sounds much too outdated to be included on the album, while “Smack” uses nostalgic early ’90s beat patterns. This one works, but you just might start break dancing!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Strange Fruit Project and Zion I and the Grouch. They give sincere, authentic musical offerings that, while not perfect, deliver a good amount of depth, in an age where Paris Hilton can get a record deal. So if you see me at BART with their music seeping from my headphones, you know the deal. Blaring headphones don’t lie.\u003c/p>\n\n",
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"excerpt": "Bay Area \"international future music\" company \u003ca href=\"http://om-records.com/\" target=\"offsite\" rel=\"noopener\">Om:records\u003c/a> recently put out new CDs by Strange Fruit Project and Zion I and the Grouch. Both parties stray from the commercial, carving out unique niches for themselves in a recently moribund hip hop space.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area “international future music” company \u003ca href=\"http://om-records.com/\" target=\"offsite\" rel=\"noopener\">Om:records\u003c/a> recently put out new CDs by Strange Fruit Project and Zion I and the Grouch. Both parties stray from the commercial, carving out unique niches for themselves in a recently moribund hip hop space.\u003c/p>\n\u003cp>\u003cb>The Healing\u003c/b> — Strange Fruit Project\u003cbr>Similar in tone to Common, and reminiscent of A Tribe Called Quest, the Waco, Texas Strange Fruit Project serves up deep, thought provoking lyrics, laced with swanky bass lines and nostalgic, soul samples. Their distinct Texas vernacular is complemented by a variety of musical producers, making music where you can both listen to the lyrics and bob your head to the beat.\u003c/p>\n\u003cp>The trio is at their best when they weave in and out of sample-driven soul-drenched tunes such as “You (the only one),” a song to kick back and relax to. “Liberation” is another gem. Over a slinky, slow beat, the trio reflects on their lives, hardships, and mental freedom. “After Poppa caught the boat and set sail/ and momma followed shortly after that/ without a trail/ leaving a frail, innocent mind to defend himself behind enemy lines…” they rap, and I begin to reflect on my own personal growth; a testament to the power of a good song.\u003c/p>\n\u003cp>Next to the often profound lyrical offerings, there are a few danceable entries including “Get Live,” a feel good song with Erikah Badu that elevates and energizes. However, another “party” track, “Good times,” unfortunately sounds so retro it’s like something recorded in 1998, and not in a good way.\u003c/p>\n\u003cp>\u003cb>Heroes in the City of Dope\u003c/b> – Zion I and the Grouch\u003cbr>Zion I and the Grouch are giving the bay area music scene a heavy dose of socially relevant commentary. Like the Strange Fruit Project, this Bay Area rap trio has opted to follow a path less frequented by their hip hop brethren, and the result was music to my ears (for the most part).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the live, thumping production of Bay Area bred Amp-live, these MCs deliver unique lyricism that includes plenty of sarcasm, energy, and creativity. In “Trains and Planes” Zion raps, “I grew up on fresh air with hippies/ now I suck smog around wanna-be 50s (50 Cent).” Further, “Hit em’ Up,” a bass driven track with an infectious clap beat, was an opener that made me turn up the volume; much to the dismay of my neighbors.\u003c/p>\n\u003cp>The trio tries out smoother, laid back rhythms as well. “Lift Me up” a woosy, time-warped tune, feels like a dream. Other highlights include “Faint Hearted” and “Digital Dirt,” which critiques this generation’s fixation with digital media and materialism. “On the internet children sift through the sex/ FBI monitor message intercept/ …gotta get my botox/ weed/ and Viagra/ just to get my rocks off/ what happened to my stamina?… So when you see us on our typewriters/ sendin letters snail mail/ rubbin sticks for fire/ covered wagons that’s the tell tale sign of contentment/ peace and enlightenment.” While I don’t agree with the latter half of this lyric, being that digital media has made it possible for this trio to have a career, the song does make you think.\u003c/p>\n\u003cp>On other tracks, the Zion I and the Grouch attempt familiar territory and the results are mixed. “Too Much” sounds much too outdated to be included on the album, while “Smack” uses nostalgic early ’90s beat patterns. This one works, but you just might start break dancing!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Check out Strange Fruit Project and Zion I and the Grouch. They give sincere, authentic musical offerings that, while not perfect, deliver a good amount of depth, in an age where Paris Hilton can get a record deal. So if you see me at BART with their music seeping from my headphones, you know the deal. Blaring headphones don’t lie.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“She had hair like Jeannie Shrimpton back in 1965.\u003cbr>She had legs that never ended, I was halfway paralyzed.\u003cbr>She was tall and cool and pretty and she dressed as black as coal.\u003cbr>If she’d ask me to I’d murder I would gladly lose my soul.”\u003c/p>\n\u003cp>It was some twenty years after 1965 and I was in Soho sitting in my cousin Larry’s car listening to summer radio circa 1986. The music was coming from iconic New York City radio station WNEW-FM. As D.J. Dennis Elsas segued into a new song, the lyrics above were accompanied by what, at that three minute and twenty four second moment in time, was one of the most powerful opening guitar riffs I had heard since “I Want To Hold Your Hand.”\u003c/p>\n\u003cp>Later I learned the riff was courtesy of “Behind The Wall of Sleep” by The Smithereens and guitarist Jim Babjak, who plugged his Rickenbacker into a Marshall stack rather than a Vox AC-30 to create guitar crunch heaven.\u003c/p>\n\u003cp>Another 20 years later, my passion for The Smithereens is refueled with major twists and shouts on \u003cb>Meet The Smithereens\u003c/b>, a track for track re-creation of \u003cb>Meet The Beatles\u003c/b> (on \u003ca href=\"http://www.kochentertainment.com/thesmithereens.htm\" target=\"offsite\" rel=\"noopener\">Koch Records\u003c/a>). Before you say, “Oh my god, who needs more Beatles covers?” here’s what Pat Dinizio (a founding member of the band) told me about the project in a recent interview, “\u003cb>Meet The Smithereens\u003c/b> is our affectionate tribute to one of the greatest records of all time, one that was only heard in America, and truly launched Beatlemania in the U.S. It was also the first Beatles album to feature almost all original songs (except one).”\u003c/p>\n\u003cp>So, what exactly did the Smithereens add to this iconic recording? According to Dinizio “I thought about that a long time, and decided it would be neat to sing the first verse as close to the phrasing of the original songs as I could, then the rest of each lyric in the signature Smithereens sound, which is highly appropriate because many of our songs truly were a tribute to the bands we loved when we were growing up in New Jersey.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Give \u003cb>Meet The Smithereens\u003c/b> a spin and see through the eyes of a very passionate band why The Beatles really were that incredible. What could be more appropriate for the end of the feud between Apple Computer and Apple Corps? Perhaps now they’ll finally remaster The Beatles’ albums so we can really hear all that is there.\u003c/p>\n\u003cp>The Smithereens will be appearing on Saturday, February 17th and Sunday February 18th, 2007 at the \u003ca href=\"http://www.reddevillounge.com\" target=\"offsite\" rel=\"noopener\">Red Devil Lounge\u003c/a>, 1695 Polk Street, San Francisco. The Saturday show is sold out. According to Pat Dinizio, they will perform songs from \u003cb>Meet The Smithereens\u003c/b> as well as our greatest hits album tracks and covers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An interview and live session by The Smithereens will air on Dennis “The Menace” Scheyer’s radio show \u003cb>Just Another Menace Sunday\u003c/b> Sunday, February 25, 2007 at 4pm on 90.3 KUSF. To listen online visit \u003ca href=\"http://www.live365.com/stations/kusf\" target=\"offsite\" rel=\"noopener\">KUSF\u003c/a> (at live365.com).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“She had hair like Jeannie Shrimpton back in 1965.\u003cbr>She had legs that never ended, I was halfway paralyzed.\u003cbr>She was tall and cool and pretty and she dressed as black as coal.\u003cbr>If she’d ask me to I’d murder I would gladly lose my soul.”\u003c/p>\n\u003cp>It was some twenty years after 1965 and I was in Soho sitting in my cousin Larry’s car listening to summer radio circa 1986. The music was coming from iconic New York City radio station WNEW-FM. As D.J. Dennis Elsas segued into a new song, the lyrics above were accompanied by what, at that three minute and twenty four second moment in time, was one of the most powerful opening guitar riffs I had heard since “I Want To Hold Your Hand.”\u003c/p>\n\u003cp>Later I learned the riff was courtesy of “Behind The Wall of Sleep” by The Smithereens and guitarist Jim Babjak, who plugged his Rickenbacker into a Marshall stack rather than a Vox AC-30 to create guitar crunch heaven.\u003c/p>\n\u003cp>Another 20 years later, my passion for The Smithereens is refueled with major twists and shouts on \u003cb>Meet The Smithereens\u003c/b>, a track for track re-creation of \u003cb>Meet The Beatles\u003c/b> (on \u003ca href=\"http://www.kochentertainment.com/thesmithereens.htm\" target=\"offsite\" rel=\"noopener\">Koch Records\u003c/a>). Before you say, “Oh my god, who needs more Beatles covers?” here’s what Pat Dinizio (a founding member of the band) told me about the project in a recent interview, “\u003cb>Meet The Smithereens\u003c/b> is our affectionate tribute to one of the greatest records of all time, one that was only heard in America, and truly launched Beatlemania in the U.S. It was also the first Beatles album to feature almost all original songs (except one).”\u003c/p>\n\u003cp>So, what exactly did the Smithereens add to this iconic recording? According to Dinizio “I thought about that a long time, and decided it would be neat to sing the first verse as close to the phrasing of the original songs as I could, then the rest of each lyric in the signature Smithereens sound, which is highly appropriate because many of our songs truly were a tribute to the bands we loved when we were growing up in New Jersey.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Give \u003cb>Meet The Smithereens\u003c/b> a spin and see through the eyes of a very passionate band why The Beatles really were that incredible. What could be more appropriate for the end of the feud between Apple Computer and Apple Corps? Perhaps now they’ll finally remaster The Beatles’ albums so we can really hear all that is there.\u003c/p>\n\u003cp>The Smithereens will be appearing on Saturday, February 17th and Sunday February 18th, 2007 at the \u003ca href=\"http://www.reddevillounge.com\" target=\"offsite\" rel=\"noopener\">Red Devil Lounge\u003c/a>, 1695 Polk Street, San Francisco. The Saturday show is sold out. According to Pat Dinizio, they will perform songs from \u003cb>Meet The Smithereens\u003c/b> as well as our greatest hits album tracks and covers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An interview and live session by The Smithereens will air on Dennis “The Menace” Scheyer’s radio show \u003cb>Just Another Menace Sunday\u003c/b> Sunday, February 25, 2007 at 4pm on 90.3 KUSF. To listen online visit \u003ca href=\"http://www.live365.com/stations/kusf\" target=\"offsite\" rel=\"noopener\">KUSF\u003c/a> (at live365.com).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you’re not a fan of \u003ca href=\"http://www.theroots.com/\" target=\"offsite\" rel=\"noopener\">The Roots\u003c/a>, you may be familiar with their drummer, Ahmir Thompson, aka Questlove, aka ?uestlove, aka Questo. He’s got a big, signature ‘fro and often supplements his concert dates with deejay gigs, where he spins fanciful sets featuring everything from ’90s hip-hop to ’80s TV themes to ’70s funk. He has also drummed on great albums by Erykah Badu and D’Angelo.\u003c/p>\n\u003cp>During a two-month period beginning last fall, Questo filed a \u003ca href=\"http://www.okayplayer.com/questlove/Europe06/\" target=\"offsite\" rel=\"noopener\">video diary\u003c/a> of his experiences while touring Europe to support The Roots’ \u003cb>Game Theory\u003c/b> album. The tour has now hit the States, and if you saw them at the Fillmore this past week, the diaries make for an excellent little companion guide.\u003c/p>\n\u003cp>Normally I don’t go around seeking out artist blogs or diaries because a) it’s often a bunch of “Hey everybody what’s going on, we just came from Amsterdam and we’re really tired, will write more later, peace out,” b) they lie buried someplace where I’m not going to see them unless I’m a big fan and c) oh right, I wouldn’t care about them unless I’m a big fan anyway.\u003c/p>\n\u003cp>Well, all of the above is more or less true in the case of Questlove’s diary. I’m NOT a diehard Roots fan. While searching a general music blog, I stumbled onto these videos. There is indeed plenty of “I’m really tired right now because… ” The postings were sporadic. I was still waiting for a new one this month, as a matter of fact, before realizing that the European leg of the tour is done and thus, without any goodbyes or announcements, so is the vlog.\u003c/p>\n\u003cp>But there was still something about his tour diary that got me, and I found myself watching every single entry. Maybe it’s because it’s in video rather than text; maybe it’s because Questlove is often filming it when he’s alone in his hotel room, with the camera super up-close-and-personal; maybe it’s the little smart-ass text asides superimposed over the action — check out the way the captions mock him in \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">this installment\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are a few things I learned from watching these videos:\u003cbr>1. The members of The Roots have an internal competition where they keep a running tally of each others’ performance mistakes, which they call “fumbles.”\u003cbr>2. Paul McCartney’s “Heart of the Country” is a \u003ca href=\"http://www.youtube.com/watch?v=x7X5mM1iIss&eurl=\" target=\"offsite\" rel=\"noopener\">nice little ditty\u003c/a>.\u003cbr>3. Minor celebrities \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">can stalk\u003c/a> other minor celebrities.\u003cbr>4. Video technology still hasn’t adapted too well to shooting in \u003ca href=\"http://www.youtube.com/watch?v=oJ2DMOjfNO4&eurl=\" target=\"offsite\" rel=\"noopener\">dark nightclubs\u003c/a>.\u003cbr>5. There’s a difference between the dancing in a Goodie Mob video, a Jay-Z video, and those of several other hip-hop acts, and Questlove can imitate each to great effect.\u003c/p>\n\u003cp>For better or worse, Questo doesn’t hold back. He opens up his pain at being left out of \u003ci>Mojo\u003c/i> magazine’s top 50 albums of the year, his attempts to scope out the Pussycat Dolls and his \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc&eurl=\" target=\"offsite\" rel=\"noopener\">laundry-sorting standards\u003c/a>. He takes you backstage, onstage, to the dressing room and to the after-show party. The effort illustrates both the upsides and the downsides of a music tour vlog expressing its fullest potential, at least as executed without a professional production crew. It’s often dark, grainy and a little sophomorish. But it’s also a good glimpse into both The Roots themselves, and what it’s like to be on tour in a solidly famous but not mega-successful band.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps the best thing about this tour capsule is that it’s completely unpolished and uncontrived — a rarity for any public effort involving a major-label band that happens to be up for two Grammys this year. Who else would let you see himself acting like a fool, higher than a kite in Amsterdam? It wasn’t pretty, but it was fun to watch. Thanks, Ahmir.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you’re not a fan of \u003ca href=\"http://www.theroots.com/\" target=\"offsite\" rel=\"noopener\">The Roots\u003c/a>, you may be familiar with their drummer, Ahmir Thompson, aka Questlove, aka ?uestlove, aka Questo. He’s got a big, signature ‘fro and often supplements his concert dates with deejay gigs, where he spins fanciful sets featuring everything from ’90s hip-hop to ’80s TV themes to ’70s funk. He has also drummed on great albums by Erykah Badu and D’Angelo.\u003c/p>\n\u003cp>During a two-month period beginning last fall, Questo filed a \u003ca href=\"http://www.okayplayer.com/questlove/Europe06/\" target=\"offsite\" rel=\"noopener\">video diary\u003c/a> of his experiences while touring Europe to support The Roots’ \u003cb>Game Theory\u003c/b> album. The tour has now hit the States, and if you saw them at the Fillmore this past week, the diaries make for an excellent little companion guide.\u003c/p>\n\u003cp>Normally I don’t go around seeking out artist blogs or diaries because a) it’s often a bunch of “Hey everybody what’s going on, we just came from Amsterdam and we’re really tired, will write more later, peace out,” b) they lie buried someplace where I’m not going to see them unless I’m a big fan and c) oh right, I wouldn’t care about them unless I’m a big fan anyway.\u003c/p>\n\u003cp>Well, all of the above is more or less true in the case of Questlove’s diary. I’m NOT a diehard Roots fan. While searching a general music blog, I stumbled onto these videos. There is indeed plenty of “I’m really tired right now because… ” The postings were sporadic. I was still waiting for a new one this month, as a matter of fact, before realizing that the European leg of the tour is done and thus, without any goodbyes or announcements, so is the vlog.\u003c/p>\n\u003cp>But there was still something about his tour diary that got me, and I found myself watching every single entry. Maybe it’s because it’s in video rather than text; maybe it’s because Questlove is often filming it when he’s alone in his hotel room, with the camera super up-close-and-personal; maybe it’s the little smart-ass text asides superimposed over the action — check out the way the captions mock him in \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">this installment\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are a few things I learned from watching these videos:\u003cbr>1. The members of The Roots have an internal competition where they keep a running tally of each others’ performance mistakes, which they call “fumbles.”\u003cbr>2. Paul McCartney’s “Heart of the Country” is a \u003ca href=\"http://www.youtube.com/watch?v=x7X5mM1iIss&eurl=\" target=\"offsite\" rel=\"noopener\">nice little ditty\u003c/a>.\u003cbr>3. Minor celebrities \u003ca href=\"http://www.youtube.com/watch?v=tD9ejjAKXkU&eurl=\" target=\"offsite\" rel=\"noopener\">can stalk\u003c/a> other minor celebrities.\u003cbr>4. Video technology still hasn’t adapted too well to shooting in \u003ca href=\"http://www.youtube.com/watch?v=oJ2DMOjfNO4&eurl=\" target=\"offsite\" rel=\"noopener\">dark nightclubs\u003c/a>.\u003cbr>5. There’s a difference between the dancing in a Goodie Mob video, a Jay-Z video, and those of several other hip-hop acts, and Questlove can imitate each to great effect.\u003c/p>\n\u003cp>For better or worse, Questo doesn’t hold back. He opens up his pain at being left out of \u003ci>Mojo\u003c/i> magazine’s top 50 albums of the year, his attempts to scope out the Pussycat Dolls and his \u003ca href=\"http://www.youtube.com/watch?v=nzuD3dCKCFc&eurl=\" target=\"offsite\" rel=\"noopener\">laundry-sorting standards\u003c/a>. He takes you backstage, onstage, to the dressing room and to the after-show party. The effort illustrates both the upsides and the downsides of a music tour vlog expressing its fullest potential, at least as executed without a professional production crew. It’s often dark, grainy and a little sophomorish. But it’s also a good glimpse into both The Roots themselves, and what it’s like to be on tour in a solidly famous but not mega-successful band.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps the best thing about this tour capsule is that it’s completely unpolished and uncontrived — a rarity for any public effort involving a major-label band that happens to be up for two Grammys this year. Who else would let you see himself acting like a fool, higher than a kite in Amsterdam? It wasn’t pretty, but it was fun to watch. Thanks, Ahmir.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The spirit of rugged individualism is the very lifeblood of San Francisco. It’s the kind of place where Starchild can run for County Supervisor, where we not only put a measure to impeach President Bush on the ballot, but dozens of people will go out to Ocean Beach in mid-winter and lie upon the sand to spell the words “IMPEACH” with their bodies. I like to think of it as a city of the grand flourish.\u003c/p>\n\u003cp>And ever has the City by the Bay been this way, it appears. The city’s slogan, “Find Yourself Here,” was never more applicable than to the epic figure of San Franciscan Joshua Norton, Emperor of the United States, who ruled the nation from his seat of power, a little place on Commercial Street between Kearny and Montgomery. And for those not familiar with the man who was once one of San Francisco’s most beloved figures, Kim Ohanneson and Marty Axelrod have devised a rough-hewn tribute to Emperor Norton I, \u003cb>Emperor Norton, The Musical\u003c/b>, which runs through April 1 at the tiny Shelton Theater off Union Square.\u003c/p>\n\u003cp>The production, which had its origins as a cabaret act is undeniably cheesy — and long — with a handmade look about it. Painted flats of scenes from the Hyde Street pier or Tadich Grill simply lean against the back wall and the 12-member cast barely fits on the postage stamp sized stage. With little room backstage at the Shelton, the divan that you see in the lobby at intermission makes its way onto stage in the second act. There’s a whiff of the sense that this show had roots in a group of pals goofing off and yet there’s also something good humored and heartwarming about what is obviously a labor-of-love project. The folksy numbers are cute and despite — no, perhaps because of — its amateur moments, it somehow fits the quirky DIY story of the Emp, as he was more familiarly known.\u003c/p>\n\u003cp>A true San Francisco character, the Emperor handed down his decrees, well-publicized in the newspapers, on topics that touched the lives of his subjects. He decreed that the streets of Sacramento should be cleaned of mud, that a bridge should be constructed between Oakland and San Francisco. He abolished the Democratic and Republican parties and dissolved Congress. And no one was EVER to refer to San Francisco as “Frisco.”\u003c/p>\n\u003cp>Accompanied by his faithful canine companions, Bummer and Lazarus, the Emp, played by Stephen Pawley, was an honored guest at local functions and theatrical openings. In fact his devoted ragamuffins, played with relish by Peter Doty and Steffanos X in the musical offer some of the show’s most vivid moments, appearances by famous local characters Lola Montez, Lotta Crabtree, and Mark Twain not withstanding. There’s some strong singing from John Harrison as a newsboy who befriends the Emp, and an appearance by director David Stein as the Tadich Grill founder John Tadich, as well as the forlorn police officer Barbier who once arrested Norton and tried to have him committed for mental instability. (Needless to say, after public outrage ensued, his Highness was released.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The musical ranges over a lot of historical ground — an Emperor’s life is a quite busy one — and it’s hard to pick up the details of any particular thread to the story. Still, enough of the “strange, but true” essentials are in there to make for a colorful portrait of a post-Barbary Coast city where anything and everything goes, and apparently went.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Emperor Norton, The Musical\u003c/b> runs through April 1, 2007 at The Shelton Theater in San Francisco. For \u003ca href=\"http://emperornortonthemusical.com/\" target=\"offsite\" rel=\"noopener\">Tickets and Information\u003c/a> visit emperornortonthemusical.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The spirit of rugged individualism is the very lifeblood of San Francisco. It’s the kind of place where Starchild can run for County Supervisor, where we not only put a measure to impeach President Bush on the ballot, but dozens of people will go out to Ocean Beach in mid-winter and lie upon the sand to spell the words “IMPEACH” with their bodies. I like to think of it as a city of the grand flourish.\u003c/p>\n\u003cp>And ever has the City by the Bay been this way, it appears. The city’s slogan, “Find Yourself Here,” was never more applicable than to the epic figure of San Franciscan Joshua Norton, Emperor of the United States, who ruled the nation from his seat of power, a little place on Commercial Street between Kearny and Montgomery. And for those not familiar with the man who was once one of San Francisco’s most beloved figures, Kim Ohanneson and Marty Axelrod have devised a rough-hewn tribute to Emperor Norton I, \u003cb>Emperor Norton, The Musical\u003c/b>, which runs through April 1 at the tiny Shelton Theater off Union Square.\u003c/p>\n\u003cp>The production, which had its origins as a cabaret act is undeniably cheesy — and long — with a handmade look about it. Painted flats of scenes from the Hyde Street pier or Tadich Grill simply lean against the back wall and the 12-member cast barely fits on the postage stamp sized stage. With little room backstage at the Shelton, the divan that you see in the lobby at intermission makes its way onto stage in the second act. There’s a whiff of the sense that this show had roots in a group of pals goofing off and yet there’s also something good humored and heartwarming about what is obviously a labor-of-love project. The folksy numbers are cute and despite — no, perhaps because of — its amateur moments, it somehow fits the quirky DIY story of the Emp, as he was more familiarly known.\u003c/p>\n\u003cp>A true San Francisco character, the Emperor handed down his decrees, well-publicized in the newspapers, on topics that touched the lives of his subjects. He decreed that the streets of Sacramento should be cleaned of mud, that a bridge should be constructed between Oakland and San Francisco. He abolished the Democratic and Republican parties and dissolved Congress. And no one was EVER to refer to San Francisco as “Frisco.”\u003c/p>\n\u003cp>Accompanied by his faithful canine companions, Bummer and Lazarus, the Emp, played by Stephen Pawley, was an honored guest at local functions and theatrical openings. In fact his devoted ragamuffins, played with relish by Peter Doty and Steffanos X in the musical offer some of the show’s most vivid moments, appearances by famous local characters Lola Montez, Lotta Crabtree, and Mark Twain not withstanding. There’s some strong singing from John Harrison as a newsboy who befriends the Emp, and an appearance by director David Stein as the Tadich Grill founder John Tadich, as well as the forlorn police officer Barbier who once arrested Norton and tried to have him committed for mental instability. (Needless to say, after public outrage ensued, his Highness was released.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From Air Kisses To “Kiss Off!”\u003c/p>\n\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I’d share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>\n\u003cp>Despite my best intentions, I never made it to the Sundance Music Café, the “official” venue where one could listen to Michael Penn (okay, good movie connection), The Bird & The Bee, or Julia Sweeney and Jill Sobule (Jill is great, and hey I was wondering what “Pat” was up to weren’t you?)\u003c/p>\n\u003cp>That said, here are some of the highlights of what I heard while sitting in dark rooms at Sundance.\u003c/p>\n\u003cp>\u003cb>The Great Rock and Roll Swindle\u003c/b>, \u003cb>Absolute Beginners\u003c/b> and \u003cb>The Secret Policemen’s Other Ball\u003c/b> are all the work of director Julien Temple whose new film, \u003cb>Joe Strummer: The Future Is Unwritten\u003c/b>, is a passionate, comprehensive documentary about the co-conspirator of what is arguably (and that IS the operative term) the most influential rock and roll band of it’s time, The Clash. Of course the music is incredible (especially the very rare early footage of The 101’ers) and the pace makes 2 hours go by all too quickly. Trivial tidbit: Strummer’s soundtrack of \u003cb>Walker\u003c/b> was recorded at San Francisco’s now defunct Russian Hill Studios! Rating: Two middle fingers up! (P.S. If I have my way I’ll be doing a San Francisco screening of this film soon, I’ll let you know when and if it happens via this blog and the radio!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The key music scene in Jeffrey Blitz’s intelligent and hilarious high school comedy, \u003cb>Rocket Science\u003c/b>: a teenager enters a neighbor’s house to spy on a girl he has a major crush on. Before heading upstairs to the room of a nerdy boy who has the perfect view of her room, he encounters the mom and dad who are comfortably numb as they play the piano and cello as part of their “marriage therapy.” The song they sing off key and off beat: the Violent Femmes “Blister In The Sun.” Later, when the young love affair (Yes, he does get the girl) is falling apart, the Femmes “Kiss Off” comes blasting on to the soundtrack. Rating: Big hands — this film is fun!\u003c/p>\n\u003cp>Since I am under no obligation to be politically correct here, it is my opinion — and my opinion only — that the controversial rape scene involving Dakota Fanning in Deborah Kempmeier’s \u003cb>Hound Dog\u003c/b> is relevant to the story — and will help get the word out to make sure there are less victims, because they understand that things can happen if you are not careful. (High sensitivity factor here since this writer has a five-year old daughter.) In addition to the superb acting, there is a musical revelation in this film: white singers like Elvis Presley played a pivotal role in introducing the masses to many great black artists and songs (including “Hound Dog”) they never would have heard otherwise. Rating: High class, and that’s no lie!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special Mention To: \u003cb>Clubland\u003c/b> by Cherie Nolan for her choice of Siouxsie and the Banshee’s “Peek A Boo” in a scarily accurate ’80s New Wave flashback scene.\u003c/p>\n\n",
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"excerpt": "From Air Kisses To \"Kiss Off!\"\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I'd share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From Air Kisses To “Kiss Off!”\u003c/p>\n\u003cp>While you can read all about the movies, the stars and of course, the endless parties at the \u003ca href=\"http://festival.sundance.org/2007/\" target=\"offsite\" rel=\"noopener\">Sundance Film Festival\u003c/a> most everywhere this week I thought I’d share a different set of notes from my trip to Park City, where a lot of terrific music also filled the chillier than usual air.\u003c/p>\n\u003cp>Despite my best intentions, I never made it to the Sundance Music Café, the “official” venue where one could listen to Michael Penn (okay, good movie connection), The Bird & The Bee, or Julia Sweeney and Jill Sobule (Jill is great, and hey I was wondering what “Pat” was up to weren’t you?)\u003c/p>\n\u003cp>That said, here are some of the highlights of what I heard while sitting in dark rooms at Sundance.\u003c/p>\n\u003cp>\u003cb>The Great Rock and Roll Swindle\u003c/b>, \u003cb>Absolute Beginners\u003c/b> and \u003cb>The Secret Policemen’s Other Ball\u003c/b> are all the work of director Julien Temple whose new film, \u003cb>Joe Strummer: The Future Is Unwritten\u003c/b>, is a passionate, comprehensive documentary about the co-conspirator of what is arguably (and that IS the operative term) the most influential rock and roll band of it’s time, The Clash. Of course the music is incredible (especially the very rare early footage of The 101’ers) and the pace makes 2 hours go by all too quickly. Trivial tidbit: Strummer’s soundtrack of \u003cb>Walker\u003c/b> was recorded at San Francisco’s now defunct Russian Hill Studios! Rating: Two middle fingers up! (P.S. If I have my way I’ll be doing a San Francisco screening of this film soon, I’ll let you know when and if it happens via this blog and the radio!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The key music scene in Jeffrey Blitz’s intelligent and hilarious high school comedy, \u003cb>Rocket Science\u003c/b>: a teenager enters a neighbor’s house to spy on a girl he has a major crush on. Before heading upstairs to the room of a nerdy boy who has the perfect view of her room, he encounters the mom and dad who are comfortably numb as they play the piano and cello as part of their “marriage therapy.” The song they sing off key and off beat: the Violent Femmes “Blister In The Sun.” Later, when the young love affair (Yes, he does get the girl) is falling apart, the Femmes “Kiss Off” comes blasting on to the soundtrack. Rating: Big hands — this film is fun!\u003c/p>\n\u003cp>Since I am under no obligation to be politically correct here, it is my opinion — and my opinion only — that the controversial rape scene involving Dakota Fanning in Deborah Kempmeier’s \u003cb>Hound Dog\u003c/b> is relevant to the story — and will help get the word out to make sure there are less victims, because they understand that things can happen if you are not careful. (High sensitivity factor here since this writer has a five-year old daughter.) In addition to the superb acting, there is a musical revelation in this film: white singers like Elvis Presley played a pivotal role in introducing the masses to many great black artists and songs (including “Hound Dog”) they never would have heard otherwise. Rating: High class, and that’s no lie!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Special Mention To: \u003cb>Clubland\u003c/b> by Cherie Nolan for her choice of Siouxsie and the Banshee’s “Peek A Boo” in a scarily accurate ’80s New Wave flashback scene.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I encountered The Finches by accident a couple of years ago. My friend Dan had begun booking bands semi-regularly at \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=12716\">Adobe Books\u003c/a> on 16th Street in connection with art openings in their tiny gallery space in the back of the bookstore. One of the shows he put together featured the San Francisco two-piece sharing the bill with another good friend and former band mate of mine, who was making his solo debut. In a small space, roughly in the center of the long narrow shop lined with bookshelves, a vintage PA was set up for the bands. My girlfriend and I joined the crowd of people cramped between the books to watch my friend perform. After his short set, Aaron Morgan and Carolyn Pennypacker Riggs picked up their acoustic guitars, introduced themselves as The Finches and began playing.\u003c/p>\n\u003cp>I might be revealing myself as somewhat of a cynic but the idea of a boy-girl acoustic duo is not normally my musical cup of tea. I am all for people picking up instruments and expressing themselves, believing that those that do usually create something interesting, which is most often manifested as — at worst — personally revealing and — at best — musically innovative. But acoustic performers and the “café folk” they often write and perform are a rather large exception to that rule, occupying the same kind of cultural territory for me as poets or biker gangse. I am more forgiving of punky rackets than juvenile laments warbled and plucked while sitting on a stool.\u003c/p>\n\u003cp>Watching and listening to The Finches’ six song performance, punctuated by comfortable humor and a few false starts, I was captivated — despite myself. The melodies were simple and plaintive, percolating under Carolyn Pennypacker’s sweet and slightly haunting voice. The songs were slight, urban stories undercut with a rustic naturalism implied by their style, instrumentation, and even the band’s name. The Finches reminded me of the delicate beauty of The Marine Girls, Lois Maffeo’s solo albums and The Softies while avoiding cutesy preciousness.\u003c/p>\n\u003cp>I’ve seen the band a few times since that first show and followed their story, which includes the release of an EP called simply \u003cb>Six Songs\u003c/b> and at the end of this month, the release of The Finches’ first full-length album, \u003cb>Human Like A House\u003c/b> on Dulc-I-Tone Records. The 12-song album was recorded by Aaron Morgan’s father, includes cover artwork by Pennypacker and actually features background vocals by both members’ mothers. My own favorite song so far is the title track, “Human Like A House” with its slow waltz time and Pennypacker singing “by the bridge I’d like to stay, by the ocean, by the bay” of San Francisco, to which she adds “and hope that you’ll come around.”\u003c/p>\n\u003cp>The Finches leave town this month on a tour to support the release of their album and I am charmed by the idea of the long drives, house parties, small clubs and record stores that will play host to them before, like migrating birds they return home for spring…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Finches perform \u003ca href=\"http://www.amoeba.com/live-shows/performances/san-francisco/2007-january-27/the-finches/artist.html\" target=\"offsite\" rel=\"noopener\">at Amoeba Records\u003c/a> in San Francisco on Saturday, January 27 at 2pm and at \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1163576683&B_id=1125532077&P_id=3\" target=\"offsite\" rel=\"noopener\">Cafe du Nord\u003c/a> on Wednesday, January 31.\u003c/p>\n\n",
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"excerpt": "I encountered The Finches by accident a couple of years ago. My friend Dan had begun booking bands semi-regularly at \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=12716\">Adobe Books\u003c/a> on 16th Street in connection with art openings in their tiny gallery space in the back of the bookstore. One of the shows he put together featured the San Francisco two-piece sharing the bill with another good friend and former band mate of mine, who was making his solo debut. In a small space, roughly in the center of the long narrow shop lined with bookshelves, a vintage PA was set up for the bands. My girlfriend and I joined the crowd of people cramped between the books to watch my friend perform. After his short set, Aaron Morgan and Carolyn Pennypacker Riggs picked up their acoustic guitars, introduced themselves as The Finches and began playing.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I encountered The Finches by accident a couple of years ago. My friend Dan had begun booking bands semi-regularly at \u003ca href=\"http://www.kqed.org/arts/places/profile.jsp?id=12716\">Adobe Books\u003c/a> on 16th Street in connection with art openings in their tiny gallery space in the back of the bookstore. One of the shows he put together featured the San Francisco two-piece sharing the bill with another good friend and former band mate of mine, who was making his solo debut. In a small space, roughly in the center of the long narrow shop lined with bookshelves, a vintage PA was set up for the bands. My girlfriend and I joined the crowd of people cramped between the books to watch my friend perform. After his short set, Aaron Morgan and Carolyn Pennypacker Riggs picked up their acoustic guitars, introduced themselves as The Finches and began playing.\u003c/p>\n\u003cp>I might be revealing myself as somewhat of a cynic but the idea of a boy-girl acoustic duo is not normally my musical cup of tea. I am all for people picking up instruments and expressing themselves, believing that those that do usually create something interesting, which is most often manifested as — at worst — personally revealing and — at best — musically innovative. But acoustic performers and the “café folk” they often write and perform are a rather large exception to that rule, occupying the same kind of cultural territory for me as poets or biker gangse. I am more forgiving of punky rackets than juvenile laments warbled and plucked while sitting on a stool.\u003c/p>\n\u003cp>Watching and listening to The Finches’ six song performance, punctuated by comfortable humor and a few false starts, I was captivated — despite myself. The melodies were simple and plaintive, percolating under Carolyn Pennypacker’s sweet and slightly haunting voice. The songs were slight, urban stories undercut with a rustic naturalism implied by their style, instrumentation, and even the band’s name. The Finches reminded me of the delicate beauty of The Marine Girls, Lois Maffeo’s solo albums and The Softies while avoiding cutesy preciousness.\u003c/p>\n\u003cp>I’ve seen the band a few times since that first show and followed their story, which includes the release of an EP called simply \u003cb>Six Songs\u003c/b> and at the end of this month, the release of The Finches’ first full-length album, \u003cb>Human Like A House\u003c/b> on Dulc-I-Tone Records. The 12-song album was recorded by Aaron Morgan’s father, includes cover artwork by Pennypacker and actually features background vocals by both members’ mothers. My own favorite song so far is the title track, “Human Like A House” with its slow waltz time and Pennypacker singing “by the bridge I’d like to stay, by the ocean, by the bay” of San Francisco, to which she adds “and hope that you’ll come around.”\u003c/p>\n\u003cp>The Finches leave town this month on a tour to support the release of their album and I am charmed by the idea of the long drives, house parties, small clubs and record stores that will play host to them before, like migrating birds they return home for spring…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Finches perform \u003ca href=\"http://www.amoeba.com/live-shows/performances/san-francisco/2007-january-27/the-finches/artist.html\" target=\"offsite\" rel=\"noopener\">at Amoeba Records\u003c/a> in San Francisco on Saturday, January 27 at 2pm and at \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1163576683&B_id=1125532077&P_id=3\" target=\"offsite\" rel=\"noopener\">Cafe du Nord\u003c/a> on Wednesday, January 31.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe it was unfortunate that I popped in a DVD of \u003cb>Absolute Wilson\u003c/b> the night after KQED aired the \u003cb>American Masters\u003c/b> documentary about Annie Leibovitz. Both documentaries were designed using roughly the same schematic, beginning at: sensitive young artist leaves home and lands in the right place at the right time. Leibovitz in San Francisco at the formation of \u003ci>Rolling Stone\u003c/i>; Wilson in New York among a circle of other future art world luminaries. Blah. Blah. Blah. The Baby Boomer Basher in me immediately went to his dark place. Oh great, I thought at this point in each narrative, after a whole life spent witnessing Boomers congratulating themselves, we have now entered the period where they will begin their own beatification, their canonization.\u003c/p>\n\u003cp>I thought about each artists’ financial realities, Wilson’s large loft space in Manhattan, Leibovitz’ crash pad in the Haight. Those were the days! In the sixties, folks could get space for cheap. No wonder they succeeded. Given today’s financial realities, I began to wonder how many young artists of equal potential would NOT succeed. I started popping the usual bitter pills.\u003c/p>\n\u003cp>Then each documentary entered the “development” phase, the part in each artists’ career where they had to prove themselves. In Robert Wilson’s case we learn that some of his more radical theories about theater came from his work with the developmentally disabled. There is a description of a piece he made with a group of people trapped in iron lungs that revealed something I had steeled myself against. Wilson is a genius — turning his own disabilities around and using them to represent a completely radical point of view about theater.\u003c/p>\n\u003cp>\u003cb>Absolute Wilson\u003c/b> includes much video documentation of Wilson’s early theatrical experiments with his hippy dippy collective The Byrd Hoffman School of Byrds, and I have to say they look extremely tedious. “Plays” that would go on for hours, for days — pieces that would probably have sent me screaming from the theater, but nonetheless, even in brief clips they look different, revolutionary. I should inject here that the style of \u003cb>Absolute Wilson\u003c/b> reflects the design sensibility of the artist, playing with grids and split screens. It’s refreshing (and rare) to see a documentary portrait go so deep, to use the format of the film itself to express the personality profiled.\u003c/p>\n\u003cp>Once someone has “made it” in the art world, it is easy to forget that they once struggled. The struggles have changed over time and it’s hard to step back, drop thirty years of history and really get a clear vision of what the struggle must have felt like, how long the odds must have seemed. For example, Wilson’s most famous piece, \u003cb>Einstein on the Beach\u003c/b>, an early collaboration with Philip Glass, involved a Herculean effort to get the performance mounted at Lincoln Center with great personal, professional and financial risk. That’s the missing part of the story when one looks back on the great successes, on the classic moments in the art world when someone affected a real eye-opening change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately both the Annie Leibovitz documentary and \u003cb>Absolute Wilson\u003c/b> brought me to tears. I am a sucker for genius and both portraits deliver a hefty dose of it. They leave one still wondering what genius is and where it comes from, but the thing that starts the water works is how lonely it can be, no matter the validation or the success. Wilson works like a madman, is a very famous perfectionist, but he is still overcoming his demons, still picking them apart with his art and still struggling — as an American — with a culture that is openly hostile toward the conceptual and is less than supportive of high art.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Absolute Wilson\u003c/b> opens January 12, 2007.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was unfortunate that I popped in a DVD of \u003cb>Absolute Wilson\u003c/b> the night after KQED aired the \u003cb>American Masters\u003c/b> documentary about Annie Leibovitz. Both documentaries were designed using roughly the same schematic, beginning at: sensitive young artist leaves home and lands in the right place at the right time. Leibovitz in San Francisco at the formation of \u003ci>Rolling Stone\u003c/i>; Wilson in New York among a circle of other future art world luminaries. Blah. Blah. Blah. The Baby Boomer Basher in me immediately went to his dark place. Oh great, I thought at this point in each narrative, after a whole life spent witnessing Boomers congratulating themselves, we have now entered the period where they will begin their own beatification, their canonization.\u003c/p>\n\u003cp>I thought about each artists’ financial realities, Wilson’s large loft space in Manhattan, Leibovitz’ crash pad in the Haight. Those were the days! In the sixties, folks could get space for cheap. No wonder they succeeded. Given today’s financial realities, I began to wonder how many young artists of equal potential would NOT succeed. I started popping the usual bitter pills.\u003c/p>\n\u003cp>Then each documentary entered the “development” phase, the part in each artists’ career where they had to prove themselves. In Robert Wilson’s case we learn that some of his more radical theories about theater came from his work with the developmentally disabled. There is a description of a piece he made with a group of people trapped in iron lungs that revealed something I had steeled myself against. Wilson is a genius — turning his own disabilities around and using them to represent a completely radical point of view about theater.\u003c/p>\n\u003cp>\u003cb>Absolute Wilson\u003c/b> includes much video documentation of Wilson’s early theatrical experiments with his hippy dippy collective The Byrd Hoffman School of Byrds, and I have to say they look extremely tedious. “Plays” that would go on for hours, for days — pieces that would probably have sent me screaming from the theater, but nonetheless, even in brief clips they look different, revolutionary. I should inject here that the style of \u003cb>Absolute Wilson\u003c/b> reflects the design sensibility of the artist, playing with grids and split screens. It’s refreshing (and rare) to see a documentary portrait go so deep, to use the format of the film itself to express the personality profiled.\u003c/p>\n\u003cp>Once someone has “made it” in the art world, it is easy to forget that they once struggled. The struggles have changed over time and it’s hard to step back, drop thirty years of history and really get a clear vision of what the struggle must have felt like, how long the odds must have seemed. For example, Wilson’s most famous piece, \u003cb>Einstein on the Beach\u003c/b>, an early collaboration with Philip Glass, involved a Herculean effort to get the performance mounted at Lincoln Center with great personal, professional and financial risk. That’s the missing part of the story when one looks back on the great successes, on the classic moments in the art world when someone affected a real eye-opening change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gee, music’s good these days. There was once a time, not so long ago, when the phrase, “Hey, you want to hear my demo?” was an entreaty on par with, “Hey, want to buy my extra ticket to the local dinner theater’s version of \u003cb>Krapp’s Last Tape\u003c/b>?” In a word, no.\u003c/p>\n\u003cp>But now, in these halcyon days of ’07, self-produced music often sounds better than the sludge pouring out of your local Top Forty station. Top Forty stations still exist, right? Anyway, you know what I’m talking about: those noisy little songs quoting from every marketable aspect of hip hop, disco, and R&B that end up sounding like something rejected from the \u003ca href=\"http://83.137.169.138/\" target=\"offsite\" rel=\"noopener\">Eurovision Song Contest\u003c/a> circa 1987.\u003c/p>\n\u003cp>Well, The Inner Banks would probably be rejected from the Eurovision Song Contest too, but don’t hold that against them. They’re just not bombastic and crude enough, that’s all. You would think that a band with thirteen credited members would have bombast to spare, but somehow they manage to keep pretty quiet — and I mean that literally: pretty; quiet. Don’t worry about some Polyphonic Spree event — The Inner Banks are too tasteful for that.\u003c/p>\n\u003cp> Thirteen members? Well, I won’t list them all here, but the instrumental lineup includes the usual guitar/bass/drum combo along with trumpet, vibraphone, cello, and — hello — a French horn. Honestly, as a recovered Junior High School band member, I never thought I’d say this, but the French Horn sounds pretty damn good here (as played by Amie Margoles). So, too, does the lap steel (Michael Gomez), but when does lap steel suck? Not hardly ever.\u003c/p>\n\u003cp>OK, fifth paragraph and I still haven’t told you about their music. It is lovely and full, with a harmonic (not polyphonic!) swell to it that manages to be uplifting without merging into Christian Rock territory. Lead singer Caroline Schutz has a dreamy, pretty voice that could lead to some opportunities to sub in for Elizabeth Frazer, should the two dudes in the Cocteau Twins ever try to recreate the old band. The main difference is that you can actually understand Schutz’s enunciations, which is nice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I think this album would be the perfect accompaniment to a serious New Year’s Resolution-making session. It’s inspiring and makes you feel like many things are possible. On the other hand, it’s so accomplished that you may feel inadequate, as in, “The Inner Banks put together this awesome album last year — and what the hell have I been doing?” Still, better to listen to it and wonder than to never hear it at all.\u003c/p>\n\n",
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"content": "\u003cp>\u003cb>Part I: Thanksgiving\u003c/b>\u003c/p>\n\u003cp>“Lost in the Supermarket” — The Clash: Let’s ignore the capitalist critique for a moment and think about the lyric, “I can no longer shop happily.” This is me in Safeway on the Wednesday before Thanksgiving with all the ten thousand other folks who left their shopping until the last minute and are now suffering each other’s company. On top of that, I’m wondering, “What goes in that Green Bean Casserole again — half and half, or cream? And why would I want to combine green beans with either? Ah, yes: tradition. And the wrath of Aunt Phyllis.” \u003c/p>\n\u003cp>“A Spoonful Weighs a Ton” — Flaming Lips: Aunt Phyllis’s Green Bean Casserole (see above). I think that says it all.\u003c/p>\n\u003cp>“Everything in its Right Place” — Radiohead: Let’s see, all the beige foods go on this side of the plate; all the green foods on that side. Except there are no green foods. OK, all the ecru foods go in the upper right quadrant; the tan foods in the lower left, and the ivory foods in the lower right and upper left. There. Now it’s perfect.\u003c/p>\n\u003cp>“I Do Not Want What I Haven’t Got” — the Bettye LaVette version because it’s more forceful: Is there a polite way to say “If I eat one more bite of… anything… I will flume barf like Shamu during a red tide?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody Knows the Way I Feel This Morning” — Dinah Washington: 8am the Friday after Thanksgiving. You know what I mean.\u003c/p>\n\u003cp>\u003cb>Part II: Christmas\u003c/b>\u003c/p>\n\u003cp>“She’s Leaving the Bank” — Ry Cooder: This tune, from the \u003cb>Paris, Texas\u003c/b> soundtrack, makes a nice accompaniment to the draining sound of one’s finances around mid-December. Imagine Nastassja Kinski walking out of a bank, holding all her life’s savings in a small bag. That’s you.\u003c/p>\n\u003cp>“You Never Give Me Your Money” — The Beatles: Sometimes, as the Christmas shopping craziness gets too crazy, I think, “Maybe we should just all pass around the same $50 bill… because isn’t that what we’re doing anyway?”\u003c/p>\n\u003cp>“Shadrach” — The Beastie Boys: I’d like to nominate this one, a shout-out to the O.T. (Old Testament, aka The Torah) homies Shadrach, Mesach, and Abednego, as a new Hanukah song. Hanukah is all about sharing miraculous stories and, as the song goes, “I got more stories than J.D. got Salinger.” That’s canon-worthy.\u003c/p>\n\u003cp>“Church” — Lyle Lovett: Another nice Jewish boy, another good song for Hanukah. This is a song about a Christian Church but it’s not religious, it’s actually about food. Which is what religious holidays should be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Part III: New Year’s Eve\u003c/b>: stay tuned.\u003c/p>\n\n",
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"excerpt": "\u003cb>Part I: Thanksgiving\u003c/b>\u003cp>\"Lost in the Supermarket\" -- The Clash: Let's ignore the capitalist critique for a moment and think about the lyric, \"I can no longer shop happily.\" This is me in Safeway on the Wednesday before Thanksgiving with all the ten thousand other folks who left their shopping until the last minute and are now suffering each other's company. On top of that, I'm wondering, \"What goes in that Green Bean Casserole again -- half and half, or cream? And why would I want to combine green beans with either? Ah, yes: tradition. And the wrath of Aunt Phyllis.\" \u003c/p>",
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"description": "Part I: Thanksgiving"Lost in the Supermarket" -- The Clash: Let's ignore the capitalist critique for a moment and think about the lyric, "I can no longer shop happily." This is me in Safeway on the Wednesday before Thanksgiving with all the ten thousand other folks who left their shopping until the last minute and are now suffering each other's company. On top of that, I'm wondering, "What goes in that Green Bean Casserole again -- half and half, or cream? And why would I want to combine green beans with either? Ah, yes: tradition. And the wrath of Aunt Phyllis." ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nobody Knows the Way I Feel This Morning” — Dinah Washington: 8am the Friday after Thanksgiving. You know what I mean.\u003c/p>\n\u003cp>\u003cb>Part II: Christmas\u003c/b>\u003c/p>\n\u003cp>“She’s Leaving the Bank” — Ry Cooder: This tune, from the \u003cb>Paris, Texas\u003c/b> soundtrack, makes a nice accompaniment to the draining sound of one’s finances around mid-December. Imagine Nastassja Kinski walking out of a bank, holding all her life’s savings in a small bag. That’s you.\u003c/p>\n\u003cp>“You Never Give Me Your Money” — The Beatles: Sometimes, as the Christmas shopping craziness gets too crazy, I think, “Maybe we should just all pass around the same $50 bill… because isn’t that what we’re doing anyway?”\u003c/p>\n\u003cp>“Shadrach” — The Beastie Boys: I’d like to nominate this one, a shout-out to the O.T. (Old Testament, aka The Torah) homies Shadrach, Mesach, and Abednego, as a new Hanukah song. Hanukah is all about sharing miraculous stories and, as the song goes, “I got more stories than J.D. got Salinger.” That’s canon-worthy.\u003c/p>\n\u003cp>“Church” — Lyle Lovett: Another nice Jewish boy, another good song for Hanukah. This is a song about a Christian Church but it’s not religious, it’s actually about food. Which is what religious holidays should be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Part III: New Year’s Eve\u003c/b>: stay tuned.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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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"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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"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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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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