Planning/Eating

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04.09.08

Nothing gives a person nutritional pause like being pregnant. I’m seven months along, and suddenly each ingested calorie is scrutinized and found wanting. Crunch (I’m hurting the baby). Swig (the baby’s going to have major issues from this caffeine). Chomp (maybe I should just lock myself up in a room and chew carrot sticks).

Eating properly can be daunting, especially when you have the mind-blowing responsibility of growing another human being. Of course, if you’re sans neonate, it is much easier to slip into the one-more-potato-chip-won’t-hurt routine, despite the exhortations of the latest Zone Diet book whizzing around your overcaloried brain.

We know we’re supposed to eat fruits and vegetables, and that fried foods are like a death sentence. Why is all this lovely knowledge not helping? A reasonable question, with diabetes an alarming national epidemic and fast-food sales the only thing saving the economy’s ass. It seems that sometimes we need a little nutritious nudge in the right direction, right around the time when Cheetos wend their way into the grocery cart in place of celery sticks.

Enter Paul Becker, Santa Rosa Community Market’s onsite certified nutritionist. The workers of the co-op market recognize the obstacles that impede a nutritious diet, and have put their hip vegetarian minds together to come up with a solution: half-hour sessions with Becker, where anyone who signs up can bare her soul, and maybe talk about nutrition, too. Cost to the customer? Zero.

I sat down with Becker to voice my own dietary dilemmas. Pregnant, full-time student, married to a junk-food-a-holic, a diet soda craver who happens to live for coffee—my rap sheet is a long one. After listening carefully to my story, he began without an ounce of judgment and with plenty of advice. “Eat a variety of foods,” Becker says reasonably enough.OK, but is it really possible to pull all of this off on such a busy schedule? “Being too busy is the concern of most people,” Becker says. His answer is to be practical, which means organization, planning and discipline. Prepare several meals on the weekend and freeze some to eat during the week. Each morning, prepare lunch for that day. Use a web-based program like AccuChef ($20) to organize recipes. Make a weekly meal plan and stick to it.

One person’s starting point could be another person’s far-off goal, Becker says, so it’s best to zero in on your individual needs and go from there.

An appointment with Becker is as easy as signing up on a clipboard at the market. Time slots are Monday-Wednesday and Friday from 4pm to 5pm; Thursday, noon to 1pm. With a little analysis and a lot of encouragement, anyone can be on the road to dietary success.

Santa Rosa Community Market, 1899 Mendocino Ave., Santa Rosa. 707.546.1806

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Wine Tasting Room of the Week

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Reviewing a venerable Rutherford institution is almost shy-making. When he arrived in 1958, Mike Grgich had little but the beret on his head; now he is recognized as a Napa Valley institution in his own right. Grgich worked under key Napa figure André Tchelistcheff, helped to midwife the California Fumé Blanc style with Robert Mondavi, and his Chardonnays famously beat the competition at the 1976 Judgment of Paris and the lesser-known 1980 Showdown in Chicago.

In this century, Grgich Hills has become an all-estate winery that is solar-powered and practices organic and biodynamic farming. Where are the hills? Original money-man Austin Hills, of Hills Bros. Coffee fame, helped to get the winery off to a brisk start. Grgich Hills is right on the Highway 29 strip, but the tasting room is no-frills by neighborhood standards, and it’s well enough staffed so that visitors get a reasonable amount of individual attention even on a semi-busy day.

It’s shy-making to admit that Grgich’s famous Chardonnay is not my cup of tea or my cup of even Chard—but that’s me, you know, speaking personally. The 2005 Napa Valley Chardonnay ($40) features a striking apricot-pineapple nose, but has a distinctly sweet attack on the tongue, and a crackling acidity that seems to burn in the butter, despite having skipped malolactic. The right food would likely make all the difference with this flavorful, but sharp Napa Chard.

The 2004 Napa Valley Merlot ($40) is a juicy, silky snack, bright raspberry-vanilla drizzled on a thin wafer of precision tannins. While the tightly focused 2004 Napa Valley Cabernet Sauvignon ($60) seems hardly a day older than the 2000, each sip is like a firm red currant, packed with dense, tart fruit.

Mike Grgich has a special connection with Zinfandel, having helped with the effort to locate its roots in his native Croatia. (No doubt, being able to pronounce Crljenak kastelanski proved invaluable.) The 2005 Napa Valley Zinfandel ($33) is grown from cuttings from an original 1899 vineyard. It’s big but confused, a Zin on the outlands of varietal expression. Is that black cherry or plum? Does it want to be a Cab Franc?

I soon discover it’s just a chip off the old block when I taste the wizened 2005 Miljenko’s Old Vines Zinfandel ($79), which is nose-deep in dark raisins and dried figs that dominate undertones of ginger cake and cow horns in dark, fresh earth. Although nearly opaque, it’s got classic claret balance, with a contemplation-inducing finish. Call it whatever you can pronounce, this unique Zin might be a Top 10 contender—or so says the 2008 Judgment of This Reporter.

Grgich Hills Estate, 1829 St. Helena Hwy., Rutherford. Open daily 9:30am–4:30pm; $10 tasting includes logo glass! 707.963.2784.

 



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What Is Hip?

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music & nightlife |

From the Top: Christopher O’Riley remains alive to surprise.

By Gabe Meline

Christopher O’Riley laughs out loud when he learns he’s being billed as a “hipster” pianist. The laugh transforms to a full-blown wince when I propose a series of questions to determine just how accurately he fits the title. “Oh no, no!” he cries into the phone. “I’m gonna fail miserably!”

But he’s game, and we dive right in. How many mesh trucker hats or tight jeans does O’Riley own? None. Does he drink Pabst Blue Ribbon or ride a fixed-gear bike? No. Does he have Pitchfork bookmarked, does he have any tattoos or has he complained about gentrification in his neighborhood in the past two weeks? No, no and no.

Christopher O’Riley, as predicted, has triumphantly failed the hipster test. Not one to adhere to a single genre, O’Riley blazes a unique trail by recording classical piano interpretations of the music of Radiohead, Nick Drake and Elliot Smith, which explains the ill-fitting “hipster” tag. It’s not unlikely to overhear twenty-somethings in duct-taped Converse and studded belts praise his intriguing arrangements, which staunchly avoid Muzak’s lull and extract instead the inherent complexity of the songs. Yet O’Riley’s heart is in his classical training; give the Ohio-born pianist a chance to expound on Béla Bartók, whose Piano Concerto no. 3 he performs April 12–14 with the Santa Rosa Symphony, and he lights up in excitement, pleased to discuss the Hungarian composer.

“I feel like I’m playing Brahms when I’m playing Bartók’s third,” O’Riley explains (coincidentally, Brahms’ Symphony no. 1 is also on the program this weekend). “It has elements of Mozartian clarity and purity, in a very spare and idiomatic language, and also an extraordinarily ingenious way of working with material. Brahms’ later solo pieces for piano are good examples of exactly that motivic development—not eschewing melody, but evolving a much more cellular basis.”

Bartók’s third, O’Riley says, isn’t the thundering horde of Bartók’s first, nor does it contain the accessible athleticism of Bartók’s second; rather, its economy of means demands a delicate treatment. “I would see as much challenge in stating the first theme, between two unison hands, and really getting as much information into that shape,” O’Riley says, “as any technical thing in the piece.”

O’Riley slightly resembles a young Bartók, and considering that Bartók was an avid ethnomusicologist and collector of then-contemporary folk music, the connections between the two grow deeper. Collecting Radiohead songs for his repertoire, says O’Riley, confused many in the classical world at first (“There were all these bemused and lost-looking people who had no idea what I was doing!”), and he remains distressed by just how traditionalist the classical establishment can be. “It’s sort of sad that some people can be threatened by musical choices,” O’Riley sighs.

“Beethoven once said,” he quotes as if to fault the closed-minded, “that ‘aside from love, the thing I love most, about anything, is surprise.'”

Adding to the contemporary rock and pop artists he’s recorded, O’Riley has recently arranged the songs of the Cocteau Twins, a lilting British group, and Guided by Voices, an exhaustively prolific indie-rock band from his home state. Iconoclastic jazz pioneers the Bad Plus, naturally, are among O’Riley’s good friends (“They’re amazing guys, all three of them,” he says, “they’re like the Beatles”), and he’s brings his fresh open-mindedness to the masses as host of NPR’s classical-music program From the Top.

Considering that Bartók’s third piano concerto was composed at death’s door, and Nick Drake and Elliot Smith both met untimely deaths whose rulings as suicide are still, to this day, questioned, is O’Riley, in being drawn to their work, obsessed with human tragedy? “No, not so much tragedy,” he clarifies, “as the widest possible emotional or expressive palette.”

“A lot of literature, and some music, resides either in the total and worst emo threshold, or in a bubblegum world,” he says, obviously ill at ease with such divergent paths. “And I think people like Elliott Smith, Nick Drake and Radiohead acknowledge what I think Butters [from South Park] said best: ‘If I hadn’t been so happy at some point, I wouldn’t be this depressed now.'”

Christopher O’Riley performs Saturday–Monday, April 12–14, with the Santa Rosa Symphony. Wells Fargo Center, 50 Mark West Springs Road, Santa Rosa. Saturday–Monday at 8pm; Sunday at 2pm. $27–$50; Saturday 2pm “Discovery Rehearsal” is only $10. 707.546.8742.




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Bondsless Baseball Back to Basics by the Bay

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The Giants, post-Bonds: it’s like Candlestick again, they way it should be. People yelling “sit down, asshole!” to the guy standing in the way. Fans screaming on their feet when there’s two strikes on the opposing team. Total strangers arguing about the new guys in the infield. Old-timers in the stands yelling, “Bring back Candy Maldonado!” That kinda stuff.

Basically, people in San Francisco are watching baseball again.

They’re not buried in their laptops on the stadium’s free wi-fi, eating their bunless Atkins burgers and closing business deals on their phone. They’re not standing up to cheer every ninth batter and leaving if he doesn’t hit it out of the park. They’re not waiting in line at the Build-a-Bear store or to slide down the Coca-Cola slide. All those people are gone; the ones remaining are watching, attentively, one of the greatest sports in the world being played.

Even tonight, in just the second home game for the Giants, you could tell things are going back to basics at the once–paparazzi-prone ballpark. Sure, the smoking area has been banished even further away, and there’s now a dumbass “Fan Loft” that costs anywhere from $3,500 to $6,000 per game to rent, but for the most part a lot of the froo-froo element seems like it’s on its way out and passionate fans are on their way back in.

Take, for example, the Lincecum Girls at the game tonight: four of ‘em in sports bras and “T-I-M-!” drawn on their bellies in Section 127, going nuts every time Lincecum walked out to the mound or up to the plate. In the 7th inning stretch, they got up to go to the bathroom and found the womens’ line too long, so they strolled past the mens’ line, into the mens’ bathroom and crammed into a stall, taking turns peeing and leading the bewildered guys in a “Let’s Go Giants” chant.

Now that the home run donkey show is over and the unfortunate smugness of Bonds is out of the picture, more stuff like that can happen in San Francisco—it’s what we used to do best before we accepted an ill-fitting role of propriety. The old man I saw in the stands tonight, pulling from a brown-bag flask and scoring the game, is a perfect harbinger of the upcoming season: it’ll be dirtier and grittier, and people who don’t like baseball won’t have any reason to go to the ballpark.

I can’t say the Giants look too good this year, but I’m sure going to enjoy watching them a hell of a lot more these days. Bring on the Lincecum Girls. Bring on the brown bags and the yelling in the stands. Bring on the Dodgers fans. And hell, bring on the twin homers from Bengie Molina, who slammed a game-winning walk-off shot to right tonight and brought the 11th-inning faithful to a standing frenzy.

Bring on the baseball!

Rocky Road ~ Chris Rock brings another kind of pain to Oakland.

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Live review: Chris Rock, Paramount Theater, Oakland – Saturday, April 5, 2008

Stand-up comedy genius (and film actor with poor judgment) Chris Rock brought his No Apologies tour to Oakland’s Paramount Theater over the weekend, with four sold-out nights that sadly showed the fallibility of the modern-day Mark Twain.

Momentum was high following a solid set from regular opener Mario Joyner and a powerful slide show of African-American art from the likes of Kehinde Wiley and Basquiat. Rock was introduced via a fast-paced montage of news clips and sound bites featuring many of his impending targets, an appropriate segue considering Rock is a topical artist in the best sense. But his opening riff on one Ms. Spears was immediately tiresome considering her recent overexposure; it seemed distasteful at this point, even though he was actually defending her. “So they take her kids,” he said in his trademark grit, “but Bobby and Whitney keep theirs?! Even O.J. kept his kids, and he killed their mother!

Still, Rock has a knack for finding gold in already exhausted territories, as evinced by a brilliant 30-minute bit on the current presidential candidates. “So if Hillary wins, she’s going to work every day in the same office where her husband got a blow job,” he said amid a sea of side-splitting shrieks. “There ain’t enough redecorating in the world to get rid of that!”

Rock also had fun with his choice Obama, using the candidate’s status as a reminder of how hard it still is to be a black man in America. “Until a black man ran for president,” he said, “I’d never heard of a ‘super delegate!’” His jokes still worked, although they were a little too respectful: “He’s got the blackest name next to Dkembe Motumbo!”

Not squandering much time on McCain beyond a couple of jokes (“Do we really want a president with a ‘bucket list’?” / “I don’t want to vote for someone who got captured; I want to vote for someone who got away!”), Rock knew that digs at Bush would go over much better. “He fucked up so bad, he made it hard for a white man to run for president!” he said early on. “No one gives less of a fuck than Bush,” he continued. “If you were hanging off a cliff and all you needed was someone to give a fuck, and Bush was at the top with a pocket full of fucks…”

And so went the nearly two-hour set of his trademark blend of socioeconomic concerns, the state of the union, and painfully honest & spot-on relationship wisdom. But although he still outshines virtually every other working stand-up comedian, Rock’s material failed to fully incite the Saturday night crowd, even though a good portion had already gotten their swerve at least halfway on.

One might think the large venue had a hand in the restrained reaction, but large venues are nothing new to Rock (his best TV special was filmed at the Apollo). More damaging was the derivative material, recycled from his past glories. When talking again about getting caught cheating, the previous “left turn” became the highway (“Did you take the highway with that bitch? Only side streets from now on!”). Marion Barry’s drug habit became Obama’s very “black-sounding” name (“President? It’s hard to become a manager at Burger King with that name!”). He used Obama’s reverend-speech controversy to reiterate how old black men are justifiably the most racist people, and some punch lines were repeated verbatim: “I haven’t seen white people that mad since they canceled M*A*S*H.”

What’s most upsetting about this use of “regular bits” to which many comedians adhere is that not since Eddie Murphy (Delirious, Raw) has a comedian had such universally celebrated, instantly classic, entirely quotable comedy specials. Bring the Pain (1996) and Bigger and Blacker (1999) have endured and entered the pop culture lexicon, becoming more like perfectly paced one-man plays than hour-plus stand-up sets. They continually persist as must-sees for comedy fans everywhere despite their rapidly aging subject matter. It seems naive of Rock to think that his fans wouldn’t remember, or would want to hear anything but new material.

Like on 2004’s substandard Never Scared, Rock’s current subject matter is as bold as ever, christening forefather-decorated dollar bills as “rapist trading cards”, for instance. But his delivery is not as hard-hitting, never warranting a microphone smack as it did in Bring the Pain. Pacing – always vital for such scripted shows – was also a problem, with Saturday’s show scattered and meandering in places. Even the relatively tame Never Scared was sufficiently kinetic when it came to the Bay Area early into his 2004 tour.

Maybe his success (see the live video clip below) or his age has spoiled him a bit. Surely it’s not easy to hit a grand slam each time out, but it’s hard not to think that Rock’s questionable film script-reading skills have extended to his live shows. Although he’s already been on the road for a couple of months, No Apologies is still obviously a work in progress, with the comedian even admitting half-successful delivery at a couple of points on Saturday. But this is a sign of hope that the HBO special that airs this fall will be worthy of his and his co-writers’ formidable CV. There’s still a killer show buried beneath the shit, so no apologies are necessary, Chris – just some careful editing.–David Sason

VIDEO: Mr. Rock’s Neighborhood…

Get it while it’s hot (yes, “hot” in that way too, I guess).

Quick Ones, While He’s Away

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The Black Keys – Attack & Release (Nonesuch): I’d always written off these guys as a retro act, because for years that’s essentially what they were. But for this completely excellent album, they’ve dropped all ties to Cream and sound off with fresh sonic fabric: there’s organ, flute, tambourine, piano, bass clarinet, and the whole thing has an incredibly warm, organic quality to it that their last album lacked. The songs are great, Marc Ribot and Ralph Carney are on it, Danger Mouse doesn’t cheese it up too hard and the whole thing’s a slam dunk. If this is the new white boy blues, sign me up.
Nick Cave – Dig, Lazarus, Dig! (Anti-): Homeboy is on a roll. I loved Abbatoir Blues, didn’t care for Grinderman, but this is back on track. “Moonland” has that great brooding quality, and there’s a few litanies with spoken-sung lyrics, as in “We Call Upon the Author.” Not too many people can pull off the sermon thing the way Nick Cave does, and he gets downright Dylanesque on the 8-minute closing cut, “More News From Nowhere.”
Boredoms – Super Roots 9 (Thrill Jockey): Other than Seadrum / House of Sun, there’s been no existing recording of the Boredoms that comes close to capturing the band’s mind-blowing live shows. Until now. This live set, from 2004, has the three-drummer setup with Yamatsuka Eye on electronics and—get this—a 24-piece choir. If you’ve been longing for more of the drum-based pounding that the Boredoms plunged headlong into at the turn of the millennium, pick this up.
Man Man – Rabbit Habits (Anti-): This will inevitably get compared to Tom Waits, but that’s not fair to either Waits nor Man Man. Sure, there’s circus elements, gravelly vocals, and stompy bluesy tracks (“Big Trouble”), but on the whole this is just a really quirky, creative record. Yes, the guitarist has obviously been studying his Ribot (“Easy Eats or Dirty Doctor Galapagos”) and the vocalist goes into those high squeaks that Waits nails so well (“Top Drawer”) but I don’t think Waits fans will find a lot here to embrace. It’s more of a Sleepytime Gorilla Museum thing.
Mountain Goats – Tallahassee (4AD): The victory of this day is beyond instant human comprehension, my friends. The Mountain Goats’ Tallahassee, after six years, has finally been released on vinyl. Praise almighty, 4AD! This was the second greatest album released in the year 2002 and remains the best Mountain Goats album by far. One of the most mesmerizing opening songs ever—such construction, such poetry—and “No Children” will fuck you up so badly you won’t know what hit you. Get this, get this, get this.

Too Short at the Phoenix Theater

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Just six years ago in 2002, a completely mixed crowd at the Phoenix Theater, much older, lost their heads and loudly sang along to every line of “Life is… Too Short.” Last night, in the middle of Too Short’s headlining set, the classic guitar hook came in and… nothing. Kids just stood there.
Everyone knew Too Short would have legs—he’s always had determination beyond his peers—but it’s a miracle how long those legs have reached. While most rappers his age (he’s 41) can’t get beyond their past glories, Too Short holds a rare set of reins on the here and now. The sold-out crowd went wild for new hits like “Blow the Whistle” and verses from his collaborations with Kelis (“Bossy”) and T-Pain (“I’m in Love with a Stripper,” amending his verse with shout-outs to Petaluma) but then stood in dumbfounded silence at Short’s career-making 1987 anthem, “Freaky Tales.”
Appealing to a new generation is one thing, but commanding enough concrete attention to build a Berlin Wall to the past is a hustle of another color.
The vibe at the Phoenix was hot and the whole night felt good. All eyes were on this show, and increased security and police couldn’t stop people from having a great time—it’d be like trying to keep a congregation from praying in church.
The Pack, Short’s protégées, commanded the stage with a solid set. Young groups with four distinct personalities always hit, and they’ve got the trick down: there’s the backpack guy in purple and pink; the Usher-type sex symbol in sagging jeans, white tank top and shades; the basic G in a sports cap and T-shirt; and the perpetually smiling laid-back guy in dreads. Now that they’re 18, they’ve graduated from rapping about bikes to rapping about cars. Bets currently being taken on which one has the most successful solo career (a 15-to-2 that they’ll stay together as long as Souls of Mischief).
Whoever does the Pack’s production has hip-hop minimalism mastered: “Vans” was deliciously razor-thin, but some of the newer songs last night used spare, fluttering basslines in a way that hasn’t been touched since Z-Trip & Del’s “Dynasty” 12”.
Erk tha Jerk, who I went out of my way to see, had pretty unique songs but the unforgiving crowd wasn’t feelin’ it at all, yelled “you suck” and threw their water at him. Shame. And J-Stalin was good, with one major problem that he shared with Erk; both of them rapped over their own vocal tracks. Why do fans let performers get away with that?
I will beat this horse to a bloody pulp: rapping over your own vocal tracks is the weakest shit ever. It’s not hard at all to make instrumentals, and it’ll allow the opportunity to showcase your skills instead of being lazy and relying on prerecorded vocals. Anyone with me on this one?
Despite that, everything else about the show was great, and hopefully hip hop will continue to thrive around here. Kudos to the people swimming through dire straits to make it happen: D-Sharpe, DJ Amen, Noizemakers, and, as ever, Tom Gaffey and the Phoenix Theater.

Why Go Anywhere Else to Be Cheated?

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“As far as history goes and all of these quotes about people trying to guess what the history of the Bush administration is going to be, you know, I take great comfort in knowing that they don’t know what they are talking about, because history takes a long time for us to reach.”— George W. Bush, Fox News Sunday, Feb 10, 2008

I was kicking around in the city the other day hoping to jaw with my old friend Pete Bingo. Pete bills himself the “world’s greatest salesman/tour guide/ private eye,” and no doubt is. In fact, I’ll wager Pete Bingo is the world’s one and only  salesman/tour guide/private eye. Anyway, the two of us go back a long way, but rarely agree on anything.

I’d just scoured the results of a new survey published by George Mason University’s History News Network. One hundred and nine historians were queried about GW’s presidency. I looked forward to how Pete, an ardent and undying Bush supporter, would respond to the results. He promised to meet me at 9:30, but as per normal, was 40 minutes late.

When he finally arrived it took Pete 20 minutes to wade through, shake hands with and attempt to sell a briefcase full of worthless crap to potential “victims” before ascending the corner barstool with his name embossed on it. “They call me Fanny,” Pete told me for the ten thousandth time, “because I’m always behind. But as you know, my services are well worth waiting for. Barkeep, make it a double and keep ’em comin’. My dear friend here is more than good for them.”

I grimaced, but nodded, wasting no time going for my pound of flesh. “You’re a history buff, Pete. Take a look at this. One hundred and seven out of 109 professional historians rate Dubya’s presidency an abject failure!””Who cares? I don’t care. Do you care? Have you noticed? Nobody cares nowadays.””Sixty one percent of them say he’s the worst president of all time.””Everybody’s gotta be somethin’.””We’re talking about the guy you called the workingman’s friend, who you voted for twice, the guy who claims to be ‘The Decider’—you know, the leader of the so-called Free World.””Like I always say, he who hesitates is lost.””Pete, what the hell kind of idiotic response is that? We’re talking about the future of humanity here.””You and me, both.””Alright then, I’ll read you one historian’s survey response: ‘No individual president can compare to the second Bush,’ he says. ‘Glib, contemptuous, ignorant, incurious, a dupe of anyone who humors his deluded belief in his heroic self, he has bankrupted the country with his disastrous war and his tax breaks for the rich, trampled on the Bill of Rights, appointed foxes in every hen house, compounded the terrorist threat, turned a blind eye to torture and corruption and a looming ecological disaster, and squandered the rest of the world’s goodwill. In short, no other president’s faults have had so deleterious an effect on not only the country but the world at large.’ And, I might add—he’s a world class liar. So how do you respond to that?””Well, he may not tell the truth, but he does twist the facts.”

Pete was beginning to annoy me. “What’s with you? Are you so disassociated from reality you can’t see what’s stands plainly before you?””What’s with me? Well, I’ll tell ya, son. Someday they’re gonna write a book about me. Picture this—2,700 pages long. Four feet high. But no covers. Ya wanna know why? Cuz I got nothin’ ta hide. I say it all on the ass-end of my business cards. GTM—Get the Money!”

With that I slapped down a pair of 20-spots and made for the door. I could hear Pete’s foghorn voice, even over the dive din. He’d already cornered a new victim.”Why go elsewhere to be cheated?” Pete asked him. “See me first!”P. Joseph Potocki 

Live Review: Freddie Hubbard at Yoshi’s

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Freddie Hubbard, four days shy of his 70th birthday, staggered out onto the Yoshi’s stage last night with a flugelhorn and a menacing scowl. Mean and disorderly, he waved his arms to stop “Now’s The Time,” barking at the band. How dare they?
The guys had been killing time, waiting for Hubbard to show up long after he’d been announced. First couple silent minutes on stage had been rough. What the hell else were they supposed to do? Hubbard—pissed off, cantankerous—counted off a tune, placed his legendary lips into his mouthpiece, and leaned into the microphone for yet another painful struggle to get any kind of sound out of his horn.
A few notes here. A contorted face of disgust. A few notes there. A disappointed survey of his valves. A few notes—no, wait, just a garbled line of noise, actually.
Fuck it.
Hubbard hobbled to the back of the stage, thrusting his hand to no one in particular to start the next solo, and sat down, shooting bitter glances around the depressing scenario.
I was one of the best fucking players, he thought. Look at me now. Can’t even string four notes together. This busted lip, what a goddamned farce. Make Bobby Hutcherson play a ballad—that’ll spare me a few minutes, at least.
“I haven’t done anything in the last five years,” he muttered to the crowd, “except get operations.” Limping around the stage as if to collapse at any second, he accused other members on the bandstand of having more money than him, asking about Hutcherson’s yacht. “I got 300 records,” he boasted. “Buy twenty of ‘em and I’ll stay alive.”
“Hub-tones!” someone yelled. Hubbard’s already-sinister frown turned vicious. “Too fast,” he grumbled.
Leave the trumpet for five years, man, and it leaves you, he thought. All these fucking people, only here to say they saw me before I kick off. They don’t wanna hear me play just like I don’t wanna try anymore. Let’s end this shit. “Red Clay.”
Probably better if they can’t even hear me, he thought. An idea hit.
The bassline kicked in, and Freddie Hubbard, without a doubt one of the greatest and most versatile jazz trumpeters of all time, puckered his withered lips against his horn, hunched over, and angrily mimicked the motions of a trumpet solo the only possible way he could: in absolute silence.

We’re R.E.M. – Remember?

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Most reviews of R.E.M.‘s new album Accelerate either celebrate a rocking, political “return to form” or criticize a safe, self-conscious attempt to recapture the adoration of the masses a la U2. Both viewpoints have their merit, but in a purely aesthetic sense, the 34-minute album is truly enjoyable, especially following two near-slogging records. Around the Sun from 2004, and Reveal three years earlier, squandered the promise of the adventurous Up, which boasted a wounded yet shimmering perseverance after Bill Berry’s departure. Accelerate thankfully presents not only Peter Buck’s much-missed guitar crunch & bass virtuoso Mike Mills’ invaluable backing vocals, but also Michael Stipe’s most lucid political lyrics to date, especially poignant in the opening lines of post-Katrina-migration tale “Houston”: “If the storm doesn’t kill me, the government will.”

What’s most exciting for me about Accelerate is the opportunity for new fans to discover the band’s rich discography, as I did myself following 1994’s Monster, the band’s first cathartic “back to rock” album. As Bryan Adams said, “Kids Wanna Rock”, and I admit that only an album like Monster could’ve been my gateway to the band’s more nuanced work, whether the Southern-gothic folk of Fables of the Reconstruction or the fragile majesty of Automatic for the People.

Let’s be honest. The average teenage rock-radio listener is conditioned to want/need aggression of some sort (so much so that even Limp Bizkit had a successful career). Michael Stipe’s sometimes painfully bare vocals catalyzed my appreciation in general for male vulnerability in pop music. It’s hard to imagine the 14-year-old me digging Rufus Wainwright as much as I do today. Or anyone over 30.

To the new R.E.M. converts, enjoy. There’s nothing like discovering a band with over 13 albums ready for excavation, allowing you to forego the usual frustrated longing for new material as a fan of younger artists. Soon, you too can hope and pray for live performances of your favorite decades-old rarities. To get you started, here are some of R.E.M.’s best album tracks (yes, even from their recent records):”Stumble” – Ahh, the power of the arpeggio…Chronic Town, 1982″9-9” – Surely written after they opened for Gang of Four.Murmur, 1983″Little America” – About the joys of being broke as hell and touring the country in a van.Reckoning, 1984″Life and How to Live It” – The best rock anthem that nobody knows.Fables of the Reconstruction, 1985″Just a Touch” -Referencing Patti Smith’s version of “My Generation” and possibly dissing the Beatles.Lifes Rich Pageant, 1986″King of the Road” – Charming yet inebriated Roger Miller cover that foreshadowed the Hindu Love Gods album.Dead Letter Office, 1987″Strange” – This Wire cover tests your tolerance for Stipe’s trademark whine.Document, 1987″You Are the Everything” – Bucks discovers something called a mandolin and Stipe finally relishes “the first-person”.Green, 1988″Low” – A bizarrely catchy, experimental love song from an album full of them.Out of Time, 1991″Monty Got a Raw Deal” – About Montgomery Clift or witnessing a lynching…or both…or neither.Automatic for the People, 1992″I Took Your Name” – Stipe name-checks Iggy Pop in exchange for the Stooges riffs.Monster, 1994″The Wake-Up Bomb” – This glam-rock ode to a hangover is “Little America” 12 years and millions of sales later.New Adventures in Hi-Fi, 1996″Parakeet” – Perfectly captures the feeling of hesitation that reportedly plagued the recording sessions.Up, 1998″The Lifting” – Unfortunately, this rollicking opening track did not set the tone for the rest of the album.Reveal, 2001″I Wanted to Be Wrong” – It’s a shame more people didn’t hear this tender exploration of post-9/11 domestic confusion, but at least Bill Maher put it on his iPod.Around the Sun, 2004—David Sason R.E.M. plays UC Berkeley’s Greek Theatre with Modest Mouse and The National on Saturday, May 31st. Tickets go on sale this Sunday at 10am.

Planning/Eating

04.09.08Nothing gives a person nutritional pause like being pregnant. I'm seven months along, and suddenly each ingested calorie is scrutinized and found wanting. Crunch (I'm hurting the baby). Swig (the baby's going to have major issues from this caffeine). Chomp (maybe I should just lock myself up in a room and chew carrot sticks). Eating properly can be daunting,...

What Is Hip?

music & nightlife | From the Top: Christopher O'Riley...

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