Prince in Oakland

Prince came to Oakland for three nights and though I didn't plan on it, I ended up going to every show. When he announced this tour Prince said every night was going to be different. That proved truer than I would have ever expected. While it's true no two concerts or performances are ever alike, the Purple One gave this maxim an unprecedented spin.

The first night Prince was in kind of a Teddy Pendergrass mode. It was essentially an updated version of TP's "For Ladies Only" concerts back in the 70's. He had his guitar over his shoulder for half the concert at best and seemed more interested in preening and teasing than playing it. The first show had some great parts- Santana coming out to burn it up on "Soul Sacrifice," gorgeous renditions of  "Purple Rain" and "Adore," and finally some scorching Hendrix-flavored guitar during "Dreamer," but it wasn't enough to make me forget how awesome he was back in 2004 when the Musicology tour hit town and blew everyone away. This show was what I expected back then, and since he raised the bar so high the last time, while the first night was good, very good at times, I wouldn't say it was great. I have more about the first night here.

As I approached the arena on the second night (Wednesday) a woman was looking for a ticket and I almost sold mine to her. I wasn't very hopeful the second show was going to be much better than the first, and I almost didn't go at all. But I decided I really didn't want to waste the money and I knew the setlist would be different so my curiosity won the day. I skipped the opening set by Graham Central Station this time around completely, arriving at the arena at about 8:45 and I settled into my seat just as they were ending their set.

At 9:15, just like on Monday, the lights went down and I soon sensed this was going to be a far different show. Opening with "Let's Go Crazy," Prince started off with four songs from 1999. There was a keyboard player way off to the side of the arena I hadn't even noticed on Monday and when Prince called him "Mr. Hayes" I thought "wow- Isaac Hayes is playing with him tonight!" I was really looking forward to hearing Prince do the "Theme from 'Shaft'" for the next hour or so until I remembered Hayes died a couple of years back. I have no idea who this Mr. Hayes was, but he did resemble the dead one (at least while he was alive) and musically he injected some serious funk that was missing from Monday's set, especially on "Kiss" which received a harder treatment, including the extended part from the 12" single version, and "Controversy"- done in a raunchy, crunchy "Batdance" way.

The 1999 songs had already put this show on a far different footing than the first night, but as Prince began chanting "People call me rude- I wish we all were nude..." (absent in the version from Monday's show) it hit overdrive and never turned back. Prince picked up a bass for the next song and soon was leading the New Power Generation through cover versions of Chic's "Le Freak," the Ohio Players "Love Roller Coaster," and Wild Cherry's "Play that Funky Music." And the funk just went on and on.

More than an hour later, he closed the show with The Time's "Jungle Love." I walked out of the arena feeling like I had just seen a show by a completely different performer than the one I'd seen Monday. I called Fetkuk to see if he wanted to play hookey from work so we could catch the next night's show. I was kind of bummed he'd seen Monday night's version instead of this one and now I was hyped to see what came next. He thought about it and then declined, but when I got home at around 1 in the morning I went online bought two tickets anyway, hoping the Femme Fatale would go with me.

The Femme was sick and irritable so I found myself looking for someone else to go with. It turned out to be harder than I thought it would be. After asking four people, the Minister's Rebellious Daughter texted me back after initially declining and wrote "What am I thinking? YES- if you still have the ticket."

I tried to dissuade her from seeing Graham Central Station but she was having none of it, so we met at the arena at 7:30. There were noticeably fewer people coming to this show and though I bought tickets for the same price for Monday's show, these were in the lower level and much better seats. In fact they were great seats. The first two shows were filled to the rafters all the way around the arena and completely sold-out. On Thursday night sides of the upper section were curtained-off and it was obvious two days notice wasn't enough to fill the hall, despite the online buzz about the previous night's set.

If you've read this blog for awhile, you may recall the Rebellious one and I go back a bit and we have some traditions, mostly centered around drinking copious amounts of liquor and going to the theater- usually in that order, though not always. As we stood in line for our second round of doubles (it was way past the starting time for Graham Central Station based on the previous nights) we ran into Anne Enigma- the only person I have a longer history with in the Bay Area than the Rebellious one. Introducing them to one another, I was suddenly acutely aware of how long I've lived here- the Rebellious one was a teenager when we met and Anne was a bit of a wild woman when she hit on me at the Holy Cow almost 20 years ago. Now Anne's married and has two kids and the Rebellious one runs her own successful business.

We were still in line for more booze when the lights went down at 8:30 and I thought this was going to be a long night if it was just getting started. But it wasn't Graham Central Station onstage, it was Prince, alone with his guitar, playing "The Love We Make." It was the first sign this show was going to be something altogether different than the other two.

For the next three hours Prince hardly left that guitar alone. The setlist had more than a dozen songs he didn't play during the previous shows, including "Nothing Compares 2 U" and "She's Always in My Hair."

"Guitar" however, was the key moment for this show, setting up everything that was to follow. Prince's skills on the guitar are often overlooked or under emphasized. That's to be expected I suppose for someone with so many other obvious talents and he himself downplayed them during the first show by barely playing the thing. But on Thursday he showed those skills off with a formidable display, turning "AnotherLoverHoleInYourHead" into a metallic jam, riffing on "Rock Lobster," rocking hard on "Alphabet Street" and issuing a blistering solo before Sheila E. took the stage to play the fiercest version of "The Glamorous Life" of the entire three night stand. He simply burned on guitar for almost every song.

When he eventually turned to the piano after a couple of hours, playing sampled bits "Darling Nikki" and "Single Ladies" among half a dozen others, the audience was going nuts. The Rebellious one proclaimed the Purple one to be "sexual chocolate and tiny porn" and said the entire audience wanted to have him (she put this slightly differently). For the duration of the show most of the audience remained on their feet. When it was actually all over- the encores featured at least eight songs- I was amazed.

Three nights, three completely different sets with very little overlap, and most impressively, three completely different performances that felt unlike the others. Who else can do that? I don't know, but the last night was one of the best performances I've ever seen. Considering all three together, I suspect it will be a long time before anyone impresses me as much as Prince did last week.

The setlists:
Monday, February 21
Wednesday, February 23
Thursday, February 24

On a collision course

We approached one another- he on the west side of Leavenworth, I on the east. In my hat and sunglasses I'm not sure he recognized me. My plan was to ask his name as we passed each other in the crosswalk. Suddenly he turned right, down Leavenworth. Toward O'Farrell. In the direction of where I live. I stopped, removed the crappy camera phone from my pocket and got off one shot.

As I came upon him at the corner, he suddenly skipped across the street, toward Union Square.

Foiled, I went on my way. Toward home, safe once more.

Mozart, Morty and Mindaugas

After a week of attending the spectacular Prince concerts,  I was looking forward to attending the San Francisco Symphony's performance on Friday to hear Mozart's Requiem in D Minor and Morton Feldman's Rothko Chapel. This is a brilliant program and I obviously wasn't the only one to think this- last night's performance was completely sold out.

Axel and I agreed to meet beforehand at The Grove's new location at Franklin and Hayes and even though I got there shortly after 6, there was already a long line at the counter and few seats available. Anchor Porter in hand, I wedged in at a communal table between a group of women going to the ballet and a pair of quiet, polite gentlemen who appeared to have been together a long time and read the performance program while waiting for Herr Feldheim and my chicken pot pie.

I loved the Janus approach for this program. It's certainly not unusual to pair a modern masterpiece (having its first SFS performances) with an established classic, but this pairing was such perfect match of yin and yang it was all but guaranteed to be a satisfying evening. And it was.

It began with Lithuanian composer Mindaugas Urbaitis' (b.1952) Lacrimosa. Urbaitis' compositional technique for this is similar to that of the sampling found in hip-hop and some pop music. Take a piece of something existing and familiar, then weave it into other borrowed bits and create something new out of the old that sounds immediately familiar to those who know the source materials. In this work he used the Lacrymosa from the end of Mozart's Requiem. It's a five minute piece performed by the chorus. Led by Chorus Director Ragnar Bohlin, the SFS chorus sang it with a clarity and beauty that made it much more than just an amuse bouche.

In the program notes for Rothko Chapel, James M. Keller rightfully notes this piece makes the listener actively work. There are almost silent passages and points of complete silence. It's demanding, it requires concentration, though if you mentally check out any point just jump right back in. It lasts about half an hour.

Michael Tilson Thomas has some remarks about the piece before they began, which included an amusing impersonation of the composer.

About ten minutes in, the week finally began to take its toll on me. Rather than actively working to hear the piece, I let its quiet hums and contemplative tones lull me into a state of contentment and checked out numerous times, only to be brought back in from time to time by the beauty of soprano Kiera Duffy's voice calling from the back of the hall or a particularly expressive passage by violist Jonathan Vinocour, who strode the stage as he played. The chorus again mesmerized.

After intermission came the Requiem, which I've never heard performed live before. Maybe the most operatic of all of Mozart's non-opera compositions, the Symphony did a great job of casting the soloists- Kiera Duffy's voice was gorgeous and bright; mezzo Sasha Cooke made lovely contributions- maybe it's because she's pregnant, but she had a richness in her voice this evening that was unlike any mezzo I've ever heard before. Every time she sang my attention was involuntarily drawn from wherever it had been back to her.voice, shutting everything else out. Tenor Bruce Sledge was also fine and Bass-baritone Nathan Berg was also compelling and distinct.

MTT took a brisk tempo with it, the orchestra and chorus followed gamely along, emphasizing the operatic qualities of the work at every possible point. Glorious, the full house gave it a tremendous ovation.

There is a final performance tonight. It's probably best to call the box office if you don't already have  a ticket (415) 864-6000.

If it's in the "paper" it must be true. Right?

And now for something completely different: According to SFGate, Britney Spears is to perform in the Castro on Sunday March 27th.

Question: will the Sisters of Perpetual Indulgence be on hand and are Heklina and Peaches Christ part of the show?

Question two: Why do I feel like I need to see this?

If you have the answers, the comments section awaits.

Prince setlist: Night 3 of Welcome 2 America, Oakland

If you were there you probably don't care. This night was the best of the entire stand. The first night was Prince as soulful, seducing lover. The second was the Purple One as grandmaster of ceremonies at the funkiest party you've ever been to. Tonight, a true guitar hero hit the stage and shredded it for more than two and a half hours. In two words, it was fucking incredible. Details and more thoughts to follow, but here's the initial (and likely incomplete- to be explanined and rationalized later) list:

First song- set starts at 8:35- no opening set by GCM. Set lasts almost three hours.

The Love We Make
Take Me With You
Guitar
AnotherLoverHoleInYourHead (total metal verion)
Rock Lobster
Shhh
Glamorous Life (toughest version of all three night)
Controversy
Straight Up???
A Love Bizarre
Controversy Reprise (not at all like the previous night)
Nothing Compares 2 U
She's Always in My Hair
Welcome 2 America
Let's Go Crazy
Delerious
1999
Little Red Corvette
Mountains
Everyday People
Alphabet Street
Lady Cab Driver
Thank You Fa Lettin' Me Be Mice Elf (again)
Purple Rain
Kiss
I Wanna Be Your Lover
Snippet: Single Ladies
Under the Cherry Moon
When Doves Cry
Darling Nikki snippet
The Most Beautiful Girl in World
Cool
I Would Die For You
Sign O' the Times
Pop Life
Rasberry Beret
Cream
Let's Work
U Got the Look

The last medley, starting with Single Ladies, isn't in exact order and Anne Enigma helped put some of this together. What can I say? It was a three hour show.
The Minister's Rebellious Daughter put it best: it was an evening of "sexual chocolate and tiny porn."

More details to follow. the setlists for the other nights (complete) are here- just look for them.

These shows got better as each night unfolded, and each night had an incredibly different vibe than the others. These weren't only great concerts- this was three nights of intense musical theater. Incredible.

Prince Setlist: Welcome 2 America, Oakland night 2

The second night of Prince's Welcome 2 America tour layover in Oakland was far superior to Monday night's show. Though Fet Kuk will think I'm saying this just because he wasn't there, a comparison of the setlists will tell you all you need to know. Too bad if you missed this one. The Superstud seducer from the first night was banished, replaced for this show by a ringleader/MC ready to throw a seriously funky party.

This time Prince didn't play with openers Graham Central Station. Here's how it went down:

Start time 9:15
Let's Go Crazy
Delirious
1999
Little Red Corvette (extended, scorching and sexy)
Sheila comes onstage and does Glamorous Life
I Love U But I Don't Trust U Anymore
Controversy (a badass, tough, stomping version that sound like Batdance in places with an extended final chant)
I don't know what the next song was, but Prince was playing bass on it.
A Love Bizarre (featuring a furious guitar solo)
Play That Funky Music
Thank You Fa Lettin' Me Be Mice Elf (with Graham Central Station)
Le Freak
Love Roller Coaster
A snippet of Housequake that ends with a Controversy reprise
The ladies sing
Sarah McLaughlin's "In the Arms of an Angel"
If I Was Your Girlfriend
Kiss (with an extended ending based on the 12" version of the song)
Purple Rain (Sheila E. on the drum kit)
Sylvester's Dance With Me in the Disco
Baby I'm a Star
Medley: When Doves Cry/Nasty Girl/Sign O' the Times/Alphabet Street
Forever in My Life
A snippet of Darling Nikki
Pop Life
Single Ladies Put a Ring On It
Jungle Love

End time: 11:20

Now you tell me, Fetkuk, do you really think I'm just saying it was better 'cause you weren't there? Would I do that to you?

It was funky good time, that's for sure. Prince said when he announced these shows that no two were going to be alike it looks like he wasn't kidding. I may just have to back tomorrow night to see else he has up his sleeve. As CC told me after the show- F*#king Great!

For Thursday night's set go here.

Orphée, Rothko Chapel, and the Vienna Phil this weekend

This weekend promises to be memorable for music and opera enthusiasts.

First up, starting tonight and continuing through Saturday, the San Francisco Symphony is performing Mozart's Requiem and Morton Feldman's Rothko Chapel. Two masterpieces of their respective eras, these concerts promise to be a highlight of the season. Michael Tilson Thomas conducts.

Then on Friday through Sunday nights, Cal Performances presents The Vienna Philharmonic Orchestra at Zellerbach Hall on the UC Berkeley campus. Making their first local appearance in more than twenty years, renowned conductor Semyon Bychkov will lead one of the world's great orchestras through a different program each night.

To cap it all off, Nicole Paiement's renegade opera company Ensemble Parallèle is staging Phillip Glass' Orphée. Recently described by the New York Times as one of Glass’ “most inspired works” and a“mythic modern opera,” Ensemble Parallèle’s Orphée is set by Brian Staufenbiel partly in the magical world of the circus, underscoring the interplay of the real, unreal and surreal represented in this important work. Inspired by Jean Cocteau's cinematic techniques, Staufenbiel's concept will incorporate floating panel projections, transformed mirrors and stage illusions reflecting the altered mental states of the characters as they move from our world to the underworld. In this new production, the Princess takes on the role of the circus ringmaster, tying the circus-like underworld with the real world. An impressive cast includes Eugene Brancoveanu in the title role, Marnie Breckinridge, John Dukyers, Susannah Biller, Thomas Glenn and Austin Kness. There are only two performances- Saturday night and a Sunday matinee at Herbst. Don't worry- you'll still have time to watch the Oscars afterward. Consider it not-to-be-missed.

Tickets for all of these events are still available.

Twofer

As I was walking home tonight past the Hilton I saw the Sleazy Green-Eyed Con Man ahead of me doing his thing. As I approached him he extended his hand, attempting to lure me into his ridiculous scheme. I gave him the fish eye and kept walking. He touched my arm, but he doesn't remember me. Must be because encounters like our last must be an every occurrence for that low-life.

After crossing Taylor I saw the Little Chinese Man coming my way holding a large pink plastic bag. Obviously it contained the head of his most recent victim, but I wasn't horrified by this. He appeared disturbed by something as his gait was unbalanced and he kept looking behind him in a weird willy-nilly way- first over one shoulder, then the other, while walking in semi-circles down the street. He didn't even notice me and the sight of him behaving this way deeply troubled me. I stopped dead in my tracks and just watched him. I didn't even take out my crappy phone and try to take his picture nor did I text the Reverend Brown his location.

Seriously, I was about to stop him, ask him his name, and if I could be of assistance. But he looked so worried, as if someone were really following him and he wanted to get away, that I thought imposing myself on him this way would send him into paroxysms of irreversible terror.

And then I had the most unnerving thought I've ever had in my life: the realization that not only am I no longer afraid of the Little Chinese Man, but that I care deeply about what happens to him.

While I'm in the hospital, can someone please stop by and feed my cat?

The Prince and I: Welcome 2 America, Oakland version

I may not be a die-hard Prince fan like Anne Enigma, but my history as ardent admirer goes back quite a ways. Here's an interesting "less than six degrees of separation" story for you. Back in 1981, KROQ started playing tracks off of "Controversy"- I thought it was great stuff, the title track and "Let's Work" especially, and soon I was playing Prince regularly at my DJ gigs. At the time I was kind of dating (more like consistently messing around with) a girl named Lisa Cholodenko. Yes, the same Lisa who's nominated for an Oscar this year. I have no idea if it's true or not, but I've long suspected I may have been the last guy she ever dated. I'm not sure what to make of that, but I try not to think about the ramifications of such a fact if it's indeed true.

I asked Lisa if she wanted to go to see the Rolling Stones, who were going to do a gig at the LA Coliseum in support of the Tattoo You album. The opening acts were the J. Geils Band, George Thorogood and the Destroyers, and Prince, in reverse order. This was the infamous concert where Prince got booed off the stage. I remember Lisa saying "who the fuck is this guy- he sucks," or something like that, echoing the thoughts and jeers of 90,000 yahoos who were booing him. I told her I thought he was actually pretty good and it's too bad the obvious racial undertones to the booing were derailing a performer who obviously had some chops and the goods. You don't end up on a Stones tour for nothing. Besides, didn't these idiots know that without Black music there would be no Rolling Stones?

The irony of ironies is that Lisa eventually ended up with Wendy Melvoin as her partner- the Wendy of Wendy and Lisa, famously of Prince's Purple Rain era. Now isn't life odd? I lost track of Cho for years shortly after that era and now she's a well-established, Oscar-nominated filmmaker and I'm just this guy who writes this blog under a pseudonym. That's life. And we all know what happened to Prince.

A couple of short years after that the only rival he had was Michael Jackson. I kept going to his gigs, but eventually, by the time he released Emancipation, I had grown interested in other kinds of music and keeping up with everything was simply too much. Whatever Prince was up to fell by the wayside and he became an artist I used to like, rather than an artist I was still actively engaged in following. It happens.

So a good ten years goes by and while I still broke out my 12"s of "Housequake/Hot Thang" and "When Doves Cry/33 Days" from time to time, the last tunes of his that really grabbed me were from 1992's Glyph album- "My Name is Prince," "Sexy MF," "Seven"- you know the stuff- it kicked ass.

So when my then-girlfriend said we were going to see the Musicology tour in 2004 I was dubious. It sounded like a lame, last go-round, money-milking endeavor to me. But I agreed and she and I, along with the elder Swede, the Reverend Brown and a few others, went and we had the fucking time of our lives. No doubt in part due that I had seriously low expectations, it ended up being one of the very best shows I have ever seen. And trust me- I've seen almost everybody of a certain era and I'm pretty damn critical. That show in my mind was akin to seeing James Brown at the Olympia in the late 60's or early 70's. It really could not have been better. It was "Musicology" alright- a master class in funk, soul, and R&B delivered with searing precision and giddy force without a weak link nor a dull moment. Total. Complete. Brilliance.

The show has stuck in my mind ever since not only an example of how to do it right, but also as a prime example that while the best material some musicians will ever write may be behind them, their chops and musicianship- their understanding of music- only grows with time- like the Rolling Stones, now that I think of it.

When I saw the announcement for the Welcome 2 America shows in and around NYC, and read the phenomenal Esperanza Spalding was going to be part of it, I wanted desperately to go. Sadly, it didn't work out. No more gigs were announced until last week and suddenly it was going to be happening here in a matter of days.

A missive to the usual suspects only netted one taker- the elder Swede, for the Monday show- last night.

We had dinner beforehand at Puccini & Pinetti- a place we used to frequent back when they had a manger who really tried to cultivate locals to their Union Square location. Now it's a ridiculously over-priced tourist trap but they still make good Manhattans. But seriously- $25 for lasagna? No thank you.

The lights went down and for some reason I thought we were about to see Cee-Lo as the opener but instead I was pleased to hear Prince himself introduce Graham Central Station, ex-Sly and the Family Stone bass-player Larry Graham's local funk ensemble. They were tight and engaging and after a few songs began to dig into the Family Stone songbook and tore the not-yet-full house up. 2/3s of the way through their set Prince and the NPG join them, starting with "Mountains" and soon there are 18 people onstage performing "Everyday People" and "I Want to Take You Higher."

Not a bad start, even if it wasn't The Time. As we waited for the Purple One, the screens above the stage played videos of Wilson Pickett and Ike and Tina Turner. Damn, Tina Tuner was hot.

Prince took the stage at 9:15. I've already posted the setlist here, so I'm not going to revisit it, but there are a number of other things I found striking about the show.

First, with the exception of Prince, the drummer and one of two keyboard players, everyone else onstage is female. Sheila E. on percussion, vocalists Elisa Fiorillo and Shelby Johnson, sax player Candy Dulfer, and a couple of others. This had a significant impact on not only the material presented but on how it came across. This wasn't Prince schooling the audience on how to get funky. No, this was Prince schooling the audience in what a superstud he was. Can he pull that off? Of course he can. But instead of evoking James Brown at the Olympia in 1971, this was more like Elvis' comeback special in 1968. Yeah, the talent is all there, and being put to good use, but it felt like it was only one side of the man, albeit one that's fascinating to watch. It's just necessarily the side I'm more interested in. Fully in command of the audience, making asides like, "Oh no, if I sing this it's going to cause a divorce," it was like a Teddy Pendergrass gig from the 70's- except the guys were invited along because really, who else was going to shell out $300 for a ringside seat in order to impress their girl and insure "It's Gonna be a Beautiful Night"?

"Scandalous," "Adore,""Insatiable," and "If I Was Your Girlfriend"? The only one missing from this pack was "Do Me Baby" and "Let's Pretend We're Married"- neither of which I think he sings anymore because of his refined beliefs. He only held a guitar half of the time, and preened his way through the majority of the set, not turning on the guitar pyrotechnics until "Purple Rain" and the near-closer "Dreamer" which really is a damn shame because in truth Prince rivals any living guitarist. Did it work? Hell yes, and the capacity crowd ate it up- myself included, but I still felt like it could have been a lot more.

It felt spontaneous, which is always a good thing, but it also felt loose where it should have been tight, easy instead of challenging, and finally, cocksure instead of cocky. Much has been written in the past 48 hours about how only Prince could announce concerts of this size 5 days in advance, put the tickets on sale two days later, then sell the shows out and and add another one to boot. My take on the crazy scheduling of this tour so far is that Prince is just eyeing vacant arenas and swooping in at the last minute to book halls which would otherwise be dark at rock-bottom prices. It's a rapacious and brilliant move, which only someone like him could pull off. But that uneasy sense of easy-pickings for maximum profit made its way onto the stage. You don't take a show this on the road sporadically here and there and make it work as seamlessly as it did last night. The talent needs to be paid while it's sitting around wondering where they are going to be in a week or three, so there must be a plan afoot, even if it doesn't look like it. So far, as it was after the NY shows, no follow-up dates have been announced. As I said to the girl in the brown mini dress on the upper level during intermission- Really? Really? Really.

I'll be back for more tomorrow night. Why? Because while I know I'm being done, and done hard ($13 beers?),  it sure does feels good while I'm getting it, and I'm a glutton.

For another take, the review of the show over at SFWeekly is the best one I've read so far and has some pretty good photos from the night.

Set list: Prince's first night of Welcome 2 America, Oakland style

For those of you expecting something along the lines of the Musicology tour, Welcome 2 America is an entirely differenent animal. Details to follow, but here's the setlist from tonight's show:

Prince performing with opening act Graham Central Station:
Mountains
Everyday People
I Wanna Take You Higher

Prince's set (starts at 9:15):
Uptown
Rasberry Beret
Cream
Cool (The Time song, written by Prince)
Let's Work
U Got the Look
Glamorous Life (Sheila E. spotlight- no Prince)
Carlos Santana appears onstage and performs "Soul Sacrifice" playing Prince's guitar.
Duet by Shelby J and one of the other female singers
Misty Blue? Rude Boy?
A Love Bizarre
Controversy
Purple Rain
Kiss
If I Was Your Girlfriend
Insatiable
Scandalous
Adore
Dreamer
Bambi
"Welcome 2 America," but to me it sounded more like One Way's "Cutie Pie."
Set ends at 11:15

For Wednesday night's setlist, go here. For Thursday night go here. For a review of the first night, go here.

Borders goes bust

Though it was inevitable, I still find it saddening that when the two Borders stores in downtown San Francisco close, my neighborhood will be without a sizable bookstore and will have only one place to buy music- and since that place sucks- yes, you Rasputin Records-  I'll soon have to venture out of the neighborhood to practice what was once my favorite pastime- browsing through book and record stores.

I don't have any fondness for Borders even though it was very accessible and if I was looking for something mainstream they usually had it. At least as far as books went (I did buy the Keith Richards autobiography there- heavily discounted). But it was a weak place to buy music- and I buy more music than books these days since I already own enough books to last me easily ten years, maybe 20, without ever buying another one. The problem with it, as it is for all large chain retailers, was an insufficiently knowledgeable staff and a middle of the road inventory. Which is why I, like so many other people, buy increasingly more and more stuff online- I can a) find what I want and b) read reviews about what I'm interested in and probably learn about similar things I may also like based on my interests. When's the last time you were in a large chain store and someone said "Oh, I see you're getting this Shakira cd- have you ever heard anything by BeBe or Paulina Rubio?"

Or perhaps I'm holding a book on screenwriting and they ask "Are you familiar with a series called 'Backstory'? Screenwriters on their own work. Great stuff!" Nah, that never happens anymore. Not even at the main library, which is within walking distance of my apartment and has everything I'd probably want (and for free), but I hate going to it because it's full of stinky homeless people doing nasty things.

Sigh. First it was Tower Records (a true loss). Then the independent Stacey's Books (another great loss). Then the Virgin store (no loss at all, except now there's a huge vacant building that's going to be that way for a long time to come). Now Borders. And after those doors close there's nothing left. In San Francisco- a city with an inflated sense of its own literary and musical sophistication.  As much as I love it, tiny KAYO Books is a niche store and won't ever fill the void. Once Borders closes, as you stroll the streets of San Francisco and decide you want to read a Dashiell Hammett novel or Frank Norris' brilliant McTeague after being intrigued by some darker parts of lower Nob Hill or the Polk Gulch, you'll have to go elsewhere in a vehicle to actually buy those books.

Or you could just go back home and get it from Amazon:

Hvorostovsky's peak performance

Since it seems like Dmitri Hvorostovsky has been one of the world's most popular baritones for at least ten years, how is it that his recital last Sunday night at Davies Symphony Hall suggested that not only is he better than he's ever been, but perhaps he hasn't even reached his prime?

Hvorostovsky, accompanied by pianist Ivari Ilja, began the program with four songs by Gabriel Faure: "Automne," "Sylvie," "Apres un reve" and "Fleur jetee." I'm not sold the French language is ever going to be a good fit for him. The words weren't enunciated very well, though his tone was gorgeous. It's new territory for him so kudos are due for branching out, but what followed was so superb the French stuff seemed a poor choice of material in hindsight.

The next part of the program featured five songs by Sergei Taneyev (b.1856- d.1915), a Russian composer not well-known outside of Russia. Hvorostovsky obviously has an affinity for this material. Wielding a beautifully burnished legato, the second song, "Menuet," was stunningly delivered. At the end of the song, as he sang lyrics which translate into "Reveal, reveal to me my fortune!""My lady, your end is at the guillotine," Hvorostovsky let his right hand drop to his side in a slicing motion. A nice bit theatricality perfectly delivered and looked like an unconscious move. Equally impressive was "Stalaktity," a slow, mournful song comparing "a frozen row of bitter tears" to stalactites. The final song of the Taneyev set was "B'jotsja serdce bespokojnoje," a faster paean to lust and love set in a natural landscape.

After intermission came two songs by Liszt from Tre Sonetti di Petrarca (Petrach Sonnets, of course). Again, Hvorostovsky raised the bar to incredible heights-  "l'vidi in terre angelici costume," was probably the most beautifully sung music from a male voice I may have ever heard. The second song was "Pace non trovo"- equally gorgeous as Hvorostovsky kept laying out these long legatos with ease.

The last set was comprised of romance songs by Tchaikovsky, a natural choice and obvious audience favorite (LOTS of Russians in the house for this, of course). With deep feeling and sensitivity, the songs conveyed the sadness of the composer's private life. Hvorostovsky actually made these look easy, though they certainly weren't without vocal challenges, by inhabiting the character of the songs. I thought to myself as I was listening to him that the recital format, which I'm ambivalent about, is a better forum for his talents than the opera stage. Then I thought that was kind of ridiculous.

Then came the first of three encores, "Credo in un Dio crudel" from Verdi's Otello. As good as the recital was up to this point, this blew me away. No one has yet had the pleasure of hearing him actually perform the part, but based on this, when he finally does it (he's said he wants to perform the role), it's going to take a legendary performance from the lead to not get totally eclipsed by Hvorostovsky's Iago. He delivered it with theatrical force, suddenly inhabiting the character. It was thrilling, despite the fact the music loses a lot of its power when performed on a solo piano.

I thought he should have stopped there, because there was no way he was going to top that. In my mind he didn't, though a beautifully sung acapella version of the folk song "Farewell, Happiness" certainly endeared even further into the audiences graces as did again the final encore, Rachmaninoff's "In the Silence of the Night" from Aleko.

He's never sounded better- catch the man in his prime as he tours this program around the country this month. The next stop is Carnegie Hall on Feb. 21st. Oh, and ladies, yes- he looked as good as he sounded- better than ever.

The concert was part of  San Francisco Symphony's Great Performers series, and deservedly so.

Eonnagata

Thursday night GG and I went over to see Eonnagata, which got its first, and so far, only scheduled U.S. staging, courtesy of Cal Performances. The title of this dance-theater hybrid comes from combining the title of Charles de Beaumont, otherwise know as the Chevalier d'Éon with onnagata- which is kind of a drag version of Kabuki theater. Beaumont was an 18th century French diplomat, military man, spy and cross-dresser. Whether his transvestism was initiated to facilitate his exploits in these various roles or was a ploy which gave him a cover to liberate an inner need or desire, I don't know. It doesn't matter- the show isn't about history- it's about identity.

It was conceived and is performed by three heavyweights from various disciplines: Frenchwoman Sylvie Guillem, who as a ballerina was a muse for Nureyev and walked away from that discipline to pursue modern dance; Canadian-born dancer-choreographer Russell Maliphant, whose impact is most forcefully felt in Europe; and Robert Lepage, whose theater company Ex Machina has staged productions ranging from Cirque de Soleil's Ka, a Peter Gabriel tour, and is currently unveiling Wagner's Ring Cycle at the Metropolitan Opera over this season and the next. The costumes are by the late Alexander McQueen. This all adds up to one serious pedigree.

And while all of that is what made me want to see it, I was unprepared for how profoundly it spoke to something elemental, primal even, in how we view ourselves. Each of the participants is stretching the boundaries of what they normally do here. What Guillem can do with her limbs and body is phenomenal, but she also speaks and sings in this piece. Maliphant is performing as well as choreographing. and Lepage has perhaps the most difficult challenge, since he isn't regarded as a performer (at least not before this).

None of this really matters, by the way. What does matter is that for almost an hour and a half, these three take the audience on a magical mystery tour of what it means to be alive and to acknowledge one's identity, however complicated that may be. This resonated with me for reasons I wish I could go into in depth, but I really can't because of personal obligations to someone close to me. What I can say is the end of the piece, which has Guillem and Maliphant leaning over Lepage's body as they do an autopsy to determine Beaumont's gender, was among the most moving theatrical moments I've ever experienced. Yes, there is a much more to say, but I'll leave it at that for now. If Eonnagata is reprised and you have a chance to experience it, please do so. There are so many beautiful moments in this work that will never leave your mind once you've seen them. In a word- stunning.

After the performance we stopped at Sportivo for dinner. The two brothers who run the restaurant made us feel welcome despite us walking in toward the end of the night, and the food and drink were great. We both agreed we'd go back in a heartbeat. Check them out when you're in the neighborhood.

Jon and Carl- how interesting to run into you guys at this show. Hope to see you both again soon!

Koopman's debut is a quirky delight

Ton Koopman: Photo from Internationale Bachakademie Stuttgart

After a very long day at work I headed out to meet Chad Newsome and the Reverend Brown at a coffee shop for conversation and catching up. The Reverend, once the fulcrum of my social circle, is a rare sight these days for those of us who live on this side of the Bay so it was a treat to see him, albeit sadly it was  brief. Chad and I took leave of him and headed over to Tulan since Chad had a hankering for Imperial Rolls. I ordered my usual, #74, and tonight it wasn't very good. It tasted tired and looked like glop, but then I felt the same way about myself. I don't know if I'd go back after this visit, even though dinner for two for less than $13 is an obvious attraction. Or perhaps it should be viewed as a warning?

After dinner we headed over to Davies. I expected Chad would say yes to this program as he's fan of Baroque music, but he knows I'm not  and he said he was surprised this particular concert was of interest to me. The music really wasn't, to tell the truth, but I find this program's conductor, Ton Koopman, fascinating and these concerts are his debut with the San Francisco Symphony.

I first heard Koopman conducting Vivaldi's The Four Seasons some years ago while driving in my car and was immediately taken by his quirky tempos and what was emphasized in his textures. It was almost like hearing it for the first time. I bought the CD and played it endlessly during the summer of 1996. Back when KDFC was still a real classical station, or I'd be driving around LA listening to the radio while visiting (I don't own a car anymore) every once in awhile something quirky would catch my ear and I'd say to myself "I bet that's Koopman" and sure enough it usually was. He is one of the few contemporary conductors who bears a very distinct stamp on the music and his name alone made me want to see what he was going to do.

The program began with J.S. Bach's Orchestral Suite No. 3. The Overture was played very briskly and one of the three horns was having a difficult night from the onset and didn't recover during the movement. It sounded a bit under rehearsed but I suspect the real cause is Koopman is probably a challenge for the musicians of the orchestra (more on this later). The second part, the famous "Air," was slowed down and stretched out to be almost unrecognizable, but it had a lushness to it I found very rewarding. It was exactly the sort of thing I was hoping Koopman would do. The finale sections were played briskly and cleanly by the string sections. If the piece didn't contain a harpsichord (which was well-played by Robin Sutherland) I would love it, but the truth is I just don't like the sound of the thing- it annoys me and now you know why I'm also not really a fan of Mozart's operas. Somehow, Sutherland kept if from annoying me tonight- thank you for that, Mr. Sutherland.

The next piece was Haydn's Cello Concerto No. 2 featuring soloist Mario Brunello who I thought was marvelous though someone I know called him "sloppy but soulful" during the intermission. I agree with "soulful" and would add expressive and clear of tone. I also think for a soloist, working with the quirky Koopman must be quite a challenge because one gets the sense it's really being made up on the fly even though Koopman is very deliberate with his manners, looks and gestures. At one point he even put his hand over his own mouth as if to muffle himself.

When it was over, the members of the orchestra seemed split into different camps of the delighted, the confused and the angry and frankly, though I tried to get a consensus on what they thought of all this there was none to be had.

After intermission was C.P.E. Bach's (J.S.'s son) Symphony in G major, a three movement work which has never been performed by the orchestra. Ever! Koopman made a strong case for it and again I was keenly tuned to what he was doing with tempos within the movements. I also found it very odd but pleasing to inexplicably and involuntarily associate sections of the rhythmic Presto (the final part) with the Scherzo of Beethoven's 9th.

The final work on the program was Schubert's 5th Symphony. Here Koopman rewound the Romantic work into a Classical one with force and speed. The outer movements were stripped of their Beethoven-like romanticism and injected with a lean classicism which made them sound more like Haydn. The inner andante was given a slower, more meditative pace and this Menuetto could only be danced by the sure-footed. Confusing? Slightly. Interesting? Absolutely.

When it was all over Koopman lauded many of the musicians and shook plenty of hands and from my 8th row orchestra seat I tried to read their faces. Again it was an intriguing, inconclusive mix. I've seen this orchestra enough to know their looks and body language after a great performance and one that wasn't. A violinist was holding back laughter- another looked embarrassed. There were whispers and there were wide, sincere smiles. There was pride and confusion and knowing side glances. If ever I had an opportunity to discuss the performance with the orchestra afterward, this would have been the night. Sadly, I had to return home and post this because tomorrow is another long day and tomorrow night is Eonnagata.

All in all it was delightful. Chad enjoyed it as well. There are performances this Friday and Saturday night at Davies and Thursday night in Cupertino. Go hear it for yourself.

And buy this CD!

Marcher and Mom go to Teatro ZinZanni

I spent last Sunday night in a tent with my mother to celebrate her birthday. It wasn't just any old tent, but this gorgeous, antique “spiegeltent,"- the grandeur and charm of it can't be envisioned from its outside appearance. Once inside, we had well-made cocktails at the bar- that's right, the tent has a bar in it, which is lovely of course. After we had our drinks we were ushered into another tent, with a large performance space in the center of it surrounded by round tables, at which hundreds of people were already busily having fun amongst themselves. We were seated next to a delightful couple, and were soon joined by another.

More drinks arrived and then my mother pulled a bottle of Raffanelli ZinZanni from her purse, since it was her birthday. And then all hell broke loose. Well, not really. What actually followed was three-plus hours of some of the best entertainment I've experienced in years and a fantastic five course meal. I don't remember the last time I've laughed that much and just plain enjoyed a show as much as I did this one.

So why hadn't I ever gone to Teatro ZinZanni before? Oh, this reason and that to be sure, but I also had it in my head it would be a touristy thing- kind of like Beach Blanket Babylon, which I always enjoy when I go, but BBB is not a show I really think about seeing unless someone asks me (usually my mother) - which seems to happen once every year or two.

Now if you had told me to imagine the love child of BBB and Trannyshack raised by Kurt Weill and PT Barnum I would have immediately said "Yes! When do we go!?" But no one ever told me it was like that so I never went. Now I'm telling you, so you have no excuse not to go see it.

Again, it was my mother who wanted to go see Teatro Zinzanni. She's been asking me for years and now I feel that certain pang of the Jewish son's guilt that I waited so long to make this happen. We''ll be back though- guaranteed. And the next time it will be me asking her if she wants to go.



The current version of the show, which runs through March 4th, is called License to Kiss II, A Sweet Conspiracy. Why? I honestly don't remember and to tell the truth it really doesn't matter. The plot, which has to do with creating the perfect sweet, is really just the frame for three hours of hilarious gags, well-performed songs, acrobatics, drag, cabaret, dancing, and live music. During the evening a delicious meal is served that's choreographed to the show and delivered by the cast with stunning execution.



Kristen Clayton



Kevin Kent



And the cast is terrific. The uproariously delightful Kevin Kent is the star, but there's tremendous talent throughout the show: aerialist Kari Podgorsky, acrobat Andrea Conway Doba was a huge hit, as was Wayne Doba. Lutz Jope was a vision of Rocky Horror's Riff Raff all these years (and bottles) later. Sweden's Tobias Larsson, as the closest thing to the show's ringmaster, has a serious Adam Lambert kind of thing going on (and that's a good thing, in case you were wondering). My favorite though, was soprano Kristen Clayton, who's appeared with numerous opera companies. She came out toward the end of the evening and just floored me.



After March 4th, a new show will arrive, and if you can't make it to this one I strongly recommend you catch the next. This is a great show for locals and tourists alike- the local lady sitting next us to was there for her third time and I overheard numerous people make similar comments as we were at the bar.



There are often tickets available on Goldstar.



One last thing. Recently it was learned the company is likely to be displaced by the whole America's Cup giveaway/boondoggle. So I wanted to give you some inside information you may not know. Over the past decade, TZ has welcomed more than 1,000,000 guests into the tent.  In addition to the regular performances, they have helped organizations raise more than $2,000,000 for charitable causes by providing the tent and services at cost.  Organizations who have hosted fundraisers include Sean Penn’s Haitian Relief Organization, Huckleberry House, Bread and Roses, Suicide Prevention League, Chez Panisse Foundation, San Francisco Symphony, and more. This is over and above the thousands of tickets they have donated to countless silent and live auctions, etc.  It's not only a great theater company, but like many of the best arts organizations in San Francisco, this is a non-profit arts institution.

In addition to a series of incoming international performers, there is a core group of “performers” who serve as managers, maitre ‘d’s, box office, bartenders, wait staff, etc. Many of these employees joined the Company for what they thought was a temporary job in March of 2000. Ten years later they are a real family – so losing Teatro would be so much more than just losing the show – it would break up this incredible family of employees committed to creating the zany world of ZinZanni through service, or cooking, etc. Anyway, it would be a shame to lose these arts and service jobs in service of….creating jobs and revenue for America’s Cup and billionaire Larry Ellison.  The news on the move is this: the city is working closely with Teatro ZinZanni to explore all options and have also been in touch with America’s Cup Organizers to explore any natural tie-ins. The City seems committed to keeping ZinZanni in San Francisco.

Let's hope they do just that.

Marcher and his Mom

RIP Pussycat!

Tura Satana has died.

If I had Gockley's job (more fantasy seasons)

Lisa Hirsch created a fantasy season of operas after seeing the conservative programming found in season announcements all over the country. Her three posts prompted others to make their own wishlists/ fantasy seasons. This is all fun to ponder and I want in on this action, so I approached it from the local perspective, as if I were programming San Francisco Opera for the following four seasons after 2012. My rules, starting from what I suggested in an earlier post:  half the season has to be standard rep (or by a composer associated with it); the other half is more challenging or unusual- I call this the "Janus Approach"; there can't be more operas sung in German than there are in Italian in any one season; nothing can be put onstage that has appeared in the last ten years; 12 operas per season, a number I ended up because my original list was comprised of 24 operas I doubt we'll see onstage in the next twenty four years the way things are going. The standard rep requirement knocks out earlier music, which is of less interest to me.

Season 1:
Verdi: I Masnadieri
Puccini: Edgar
Rossini: Il Viaggio a Reims
Berlioz: Les Troyens
Debussy: Pelleas et Melisande
Strauss: Arabella
Menotti: double feature of The Medium and The Telephone, or L'Amour à trois
Turnage: Anna Nicole
Janacek: The Excursions of Mr. Brouček to the Moon and to the 15th Century 
Saariaho: Adriana Mater
Schoenberg: Moses und Aron
Reimann: Lear

Season 2: 
Verdi: Aroldo
Rossini: Tancredi
Giordano: Andrea Chenier
Wagner: Parsifal
Strauss: Capriccio
Berlioz: Benvenuto Cellini
Berg: Lulu
Britten: Peter Grimes
Barber: Vanessa
Poulenc: Dialogues of the Carmelites
Janacek: Jenufa 
Rachmaninov: Aleko, Miserly Knight and Francesa da Rimini

Season 3: 
Verdi: Falstaff  
Bellini: I Puritani 
Donizetti: Roberto Devereux
Strauss: Die Frau ohne Schatten
Wagner: Die Meistersinger von Nurnberg
Ravel:  L'enfant et les Sortileges paired with Poulenc's Les Mamelles des Tiresias
Berlioz: Beatrice et Benedict
Szymanowski:  King Roger
Prokofiev:  The Fiery Angel 
Picker: An American Tragedy
Birstwisle: Punch and Judy
Zimmerman: Die Soldaten

Season 4:
Verdi:  I Vespri Siciliani
Rossini: Semiramide
Donizetti Don Pasquale
Mozart: Cosi Fan Tutte
Wagner: Lohengrin
Strauss: Ariadne auf Naxos
Zemlinsky: Der König Kandaules
Dallapiccola:  The Prisoner paired with Bartok's Bluebeard's Castle 
Penderecki:  The Devils of Loudun
Tippett:  King Priam 
Nielsen: Saul and David
Birstwistle: The Mask of Orpheus

Dude Looks Like a Lady

So did anyone else notice Steven Tyler has undergone breast augmentation surgery or know the story behind what is going on here? This photo is unretouched and I just took it from the TV on pause. Really, wtf is going on here?

Yeah, that's it, baby! Just like Beethoven would have wanted it!

Here's to Beethoven and porn!

Here's a what you might call a dilemma:

A year and a half ago, I wrote a particularly snarky post reviewing a concert featuring pianist Jeremy Denk as the soloist in a performance of Beethoven's "Emperor" concerto. It was so snarky Mr. Denk wrote to me about it and seriously gave me a piece of his mind. Denk himself has a blog, which though erudite and entertaining, is not what one could call a snark-free zone, so I called kettle to his pot. We settled the matter like gentlemen- with my extending an offer to buy him a drink the next time he was in town provided he didn't throw it in my face. I also asked him if he minded if I publish our exchange, to which he preferred I not and I honored his request because I wasn't trying to antagonize him. I like to pretend I have boundaries.

Last fall I saw he was on the schedule to perform a recital at Cal Performances so I sent him an email along the lines of "Hey Jeremy, how about that drink?"

No response.

So the Femme Fatale and I attended the recital and many of the elements I found worthy of previous snark were present in that concert as well. It was difficult to hold back, but I think I did a reasonable job of not taking Denk to task for not only failing to deliver what was promised (program-wise) and not revisiting what I found so ridiculous about his previous performance.

Whatever. Denk is a well-respected performer and my quibbles with his performing style aren't going to effect nor affect his career one way or the other. But then he showed up on the San Francisco Symphony schedule as the pianist in Beethoven's Triple Concerto with none other than cellist Alisa Weilerstein. Weilerstein is immensely popular with classical audiences, but I can't stand her because like Denk, her performances seem over-mannered to me to the point of parody. I remember the second time I saw her walk onstage for a concert and thinking to myself, "Oh my god, it's her! Is she going to do that whole Pete Townsend bit again?" And yes, she most certainly did.

So you see, how could I not go? I mean how often does a classical music concert have the same lurid attraction as an evening at Lucha VaVoom? And yet I knew I was going to hate this part of the concert.

So how can I "review" this fairly? That's my dilemma.

Well, they made it easy on me in deciding which way to go.

But first, I should probably write about what was good, since the train-wreck was only 1/3 of what was on the bill, even though it took up half the show. Guest conductor Marek Janowski led the orchestra in tight, if not revelatory, accounts of Beethoven's first two symphonies, which bookended the porn. The first, which finds LVB in his "still rebelling against Haydyn" mode, was well played but lacked a forcefulness until the third movement, when the wind section all of a sudden made the menuetto soar into something quite beautiful. The finale featured a fleet performance by the string section and I can say unequivocally that while I heard nothing new in the work, it was quite enjoyable to experience.

The Second is a different beast than the first, and features many elements that eventually mark Beethoven as the rebel we all know and love. It was forceful, it was clean, it was delightful. Janowski led both without a score, usually a bad sign for me, but his account was assured and never faltered during either, even though there was some asshole with a red flash camera taking pictures of him during the first. The simple fact that this didn't cause him any visible distraction nor discomfort only attests to Janowski's mastery of these works. If it were me, I would have screamed at the guy from the podium.

So that leaves us with the "Triple Concerto." Oh what to say, what to say?

First of all, I love this work, though many consider it lightweight fluff. I think the themes are as great as any Beethoven composed, and when performed well the piece is an inspiring delight. But this wasn't good. The soloists all come on stage with the score. Besides Denk and Weilerstein, violinist Chee-Yun is also on hand. Okay, this bit with soloists performing with scores isn't unprecedented, but it's not a good sign- this is usually reserved for things like Berg or Ligeti- not Beethoven. My take on it is that no one has really committed this to memory and they're just here for a one-off, easy-money gig. The opening sections are a hash. Janowski isn't in control of the orchestra's volume (with the score in front of him no less), and the soloists seem unsure of where to enter and do so with trepidation.

And then Weilerstein, having to play nice with two other soloists, ditches her Pete Townsend-ish bowing movements in favor of giving the audience a "this music moves me so much I'm about to have an orgasm" face. When she's not making the "O" face she's looking over salaciously at Chee-Yun as if to say "you go, you tasty little snack, you!" Chee-Yun is much less animated than Denk and Weilerstain and  plays without making sexy-face grimaces, but is giving the audience a distraction of a different kind. Both the Femme and I thought if she kept on leaning into her bowing so forcefully she was going to pop right out of her halter-top, fetching fuschia dress. I was in fact was anxiously awaiting this moment, but it never came. Jeremy Denk, however, it seemed, judging by the expression on his face, did quite a few times, without even having to look over his shoulder at the two women playing behind him. On top of all this jizz, I mean jazz, Weilerstein, who had the largest challenges among the three soloists as far as the score is concerned, chunked it on many sections, rendering the whole thing a sloppy mess.

And then what happened? Naturally the audience went wild over it, giving the trio a rapturous ovation. Weilerstein looked angry when they came back out onstage. Who knows why? Who cares? The terse look on her face didn't eclipse the look on the orchestra's face as they sat there during the solos, almost everyone one of them bearing this expression on their face as it to say "Really? And I never made it as a soloist?" I guess they just weren't willing to do the Beethoven "sexy face" when it mattered most.

As the Femme and I were leaving the hall, the trio came strutting up the stairs in street clothes to the main lobby level to do a CD signing. Here I was torn  for a moment. Should I say "hello" to Denk and ask him why he ignores me? Should I tell Weilerstein I now feel like I know what she's like in bed? Should I recommend to Chee-Yun "don't be undone by your undergarments?"

Naw, we left because really, who cares what I think? Although the Femme and I really did have many a good silent chuckle between us during the performance which made it all worhwhile. Weilerstein and Denk-please come back soon, and do come together. And the drinks are on us next time. Really! Just let us know beforehand so we can get a hotel room- and a Flip video recorder.

YOU- yes you!

I think this sounds really interesting and I applied. The content below is lifted from the press release I received from YBCA today:

Yerba Buena Center for the Arts (YBCA) announces the pilot session of YBCA: YOU, a free “aesthetic fitness” program designed to empower individuals to make arts learning an ongoing part of their lives. From March 3 through November 30, up to 100 participants will embark on a highly personalized, dynamic arts education curriculum organized around aesthetic themes and YBCA’s Big Ideas. The YBCA: YOU cohort will be given free admission to all YBCA performances, films, exhibitions and community engagement events, and encouraged to use this all-access pass as they would a gym membership. Participants will also be offered opportunities to take part in exclusive behind-the-scenes socials, artist talks and field trips.


YBCA: YOU’s education and engagement specialist, Laurel Butler, will act as an arts-focused personal trainer, assisting with individual goal development, ongoing self-assessment and final evaluation. In addition, she will organize exclusive behind-the-scenes socials, artist talks, and field trips aimed at strengthening the YBCA: YOU community and fostering the exchange of ideas among participants.


“Ultimately, we want more people having better and deeper experiences with art,” says Joël Tan, YBCA’s director of community engagement. “This pilot is about an actual live human guide connecting with individuals and small groups to experience arts and cultural events that are custom-tailored to their aspirations, desires, and educational goals. We invite anyone looking to build their aesthetic muscles to register, whether they want to learn a few pointers for their next cocktail party or attend all the openings in town and just need the motivation to do it.”


YBCA: YOU’s approach is based in Visual Thinking Strategies (VTS), a research-based teaching method that improves critical thinking and language skills through discussions of visual images rather than through academic instruction. VTS is the technique currently used in YBCA’s successful Art Savvy programs. This progressive arts education method provides a supportive, dynamic setting for participants to deepen their connections to contemporary art, starting with refining their observational skills. No prior knowledge of contemporary art is necessary.


To register for the March 3 orientation, applicants must e-mail lbutler@ybca.org by 5 p.m. on February 28 with their name, age, telephone number, and one sentence on why they would like to register for the program. Participants must be at least 18 and will be selected based on their interest in collaborative arts enrichment and the ability to make a nine-month commitment to the YBCA: YOU program. Due to the pilot nature of the program, participants will be expected to provide feedback on their experience to help shape future sessions.


About the Big Ideas:
Each year, YBCA selects four Big Ideas around which to organize its wide-ranging programs. This year’s Big Ideas include ENCOUNTER: Engaging the social context; SOAR: The search for meaning; REFLECT: Considering the personal; and DARE: Innovations in art, action, audience. These ideas, which encompass art from all disciplines, are designed to focus an investigation of contemporary art and its relationship to the larger world. Using the Big Ideas as portals, YBCA has established a framework of thought that invites exploration and risk-taking, quiet reflection and active engagement.

Yalla Misr!

Inspirational!
Yalla Tunis, yalla Misr! Americans are with you!

US Release date set for A Serbian Film

According to IMDb, the U.S. release date for A Serbian Film is May 13, 2011.

Yes, that's Friday the 13th.

Update 03/03/11: the film's distributor, Invincible, has confirmed the release and has started a Facebook and Twitter campign to promote the film. There will be a free preview of the unedited version on March 10th at the Prince Music theater in Philly.