Priceless Entertainment: Rachael Ray, Bad Jokes, and Japanese Ska-induced Riots

There was a line extending up the block, past two venues and a shady bail bonds office, and nearly into the next street’s crosswalk. Word had gotten out that ubiquitous celebrity chef and one-woman brand Rachael Ray was serving lunch at Beauty Bar.

Apparently the invite said something along the lines of “Rachael Ray, celebrity chef and indie music lover, invites you…” Indie music lover? And this whole time I thought her only love was for Wheat Thins.

We found our way inside where DJ Efren Ramirez (still coasting on his “Pedro from ‘Napoleon Dynamite’" fame) was spinning, but we continued on to the stage at the rear patio. The area was slowly filling, free margaritas were flowing, and the media empress herself was floating about in a sea of flashbulbs. Her food – ribs, mac and cheese, and bite-sized burgers – was being doled out and oh, did I mention her husband’s band (The Cringe) would be playing?

I have yet to listen to the free CDs they were giving out to see if the music is fittingly cringe-worthy – so for the meantime, let’s just say that it is.

Meanwhile, Autovaughn was wrapping its set and when the applause settled, I happened to again bump into our family friend. “Wow, you came to see Autovaughn!” he said.
“Sure,” I said. “There was a long line to get in because of Rachael Ray.”
“Who’s Rachael Ray?” he asked.

Apparently he’d been standing right next to the indie music lover herself during Autovaughn’s set and wasn’t quite sure why everyone was so excited to snap pictures of the hostess.

We boogied on outta there and headed up to the less-glitzy festivities at Waterloo Park. Making our way to Stage One, we were promised an afternoon of comedy. But what we got was some of the most groan-inducing repartee I have perhaps ever heard. This is, and I am not making this up, one of the jokes told by a showcasing comedian:

“The previous comedian mentioned Courtney Love. What’s glassier – Courtney Love’s stare or the glass floor Courtney Love walks on? The answer is C: Philip Glass.”

Yeah. I’m not sure I have any words to adequately describe just how bad the rest of the jokes were.

We wandered around for bit looking for something interesting, and found exactly that at Emo’s – an all teen girl Japanese ska band called Oreskaband – or maybe Ore Ska Band – I’m not really sure.

The thing I am sure about is how quickly a group of Asian girls in ties could motivate a group of 20-something boys to start a dance-induced mosh pit through their high energy tunes. Dancing and tooting on trumpets and saxophones, the band put on an impressive show – and all props must go to the amazing electric guitar player. She truly rocked.

To properly finish off a highly weird afternoon, we paid a stop to the Liverpool Sound City showcase – which could have easily doubled as a sauna. We caught a set by The Rascals – a UK group that’s practically indistinguishable from the Arctic Monkeys – but our real want was to see The Wombats.

While their full album may still not be available in the states, if you can get your hands on a copy of The Wombats’ “A Guide To Love, Loss, and Desperation,” it’s definitely worth listening to – many times. The album’s breakout hit, “Let’s Dance to Joy Division” isn’t a question, it’s a command. Boogie.

Getting Offended: The Ting Tings, Santogold, Shout Out Louds, and She & Him

An afternoon at Stubb’s quickly turned into an evening at Stubb’s – the first part of it anyway, as we scurried to catch the end of the UK duo The Ting Tings. We were running a bit late, as I’d been caught up having coffee with a friend of the family who recommended I check out The Heavenly States (from Oakland) and a band called Autovaughn. I told him I’d make a note of it.

Hearing just the last couple of songs from The Ting Tings, it seemed that they’d be best served by picking a sound and style and sticking with it. And, if I might suggest one – the high-powered rapped-over electrorock they cranked out at the end on “That’s Not My Name.”

The Tings were quickly followed up by Brooklyn diva and would-be MIA successor Santogold who was flanked on either side by white sunglassed dancers in black and white parachute-style pants. Backed by Diplo who was running the mix, Santogold was undoubtedly the happiest person in the venue and her incessant smile let you know it. Though when she easily belted out “L.E.S. Artists” everybody was happy to smile.

We were in the mood to dance and a quick glance at our watches let us know that we had just enough time to ask ourselves Does It Offend You, Yeah? In the half-lit back part of Emo’s heads bobbed and booties shook when the British rockers proclaimed “We Are Rockstars.” They were rockstars and we were anything but offended.

To change things up, we powerwalked to the Parish on 6th Street for Swedish smoothies the Shout Out Louds, who delighted with stellar versions of “Impossible” and “The Comeback.” It was the plan to be at the venue early to make sure we got good spots for one of the fest’s hottest tickets – the Zooey Deschanel / M. Ward project, She & Him.

When a doe-eyed starlet joins forces with an indie darling, tongues tend to wag, and we were glad to have our curiosity justly satisfied by seeing the duo up close. With folk/country sensibilities and simple songwriting, the collaborators seemed to pull it off – with some assistance from sometimes Bright Eyes bassist Stefanie Drootin. Note to Hollywood: Have a part that requires an actress to sing? Cast Zooey. Nothing could have saved “Spiderman 3” – but Dechanel’s singing far surpasses the likes of Kirsten Dunst.

Spin Cycle: An Afternoon With The Raveonettes and Vampire Weekend

Choosing to make good use of our status symbol invite-only SPIN party badges, we headed to Stubb’s to catch Ben Jelen’s hyper electric fiddling as he wrapped a sweat-soaked set. It was hot and the incessant axe swinging of The Whigs made things feel hotter. Folks had been buzzing about the Atlanta, GA band, but musically it was hard to differentiate song from song or chorus from melody. They may have just taken turns playing expert guitar solos, I’m not really sure.

The band I was really here to see was The Raveonettes – those formerly Danish hipsters whose “Lust Lust Lust” disc I’d been spinning quite frequently. The two front members each wore big ‘80s era sunglasses and Sharin Foo donned perfect classy old-school hipster garb with her high-necked red blouse and fitted black skirt. “Hallucinations” was a definite standout, while the danceable “You Want The Candy” was a solidified hit. The band chose to end on a more somber not with the ethereal “Aly, Walk With Me,” and may have been better served by slotting “You Want The Candy” in here.

The so-called “it” band that people were packing in to see though was the collegiate quartet Vampire Weekend. The former Ivy Leaguers had made a couple of appearances in SF in early February and subsequently sold out their late March shows. Their brand of upbeat melodies often sound like something you’d hear on a funky carousel, and while “A-Punk” is a solid track and a worthy single, one can’t help but wish there was a little more to get excited about. Of course, for a band that’s already played SNL and landed the cover of SPIN while still in its infancy, they must be doing something right. Even if that something is marketing.

Hipster Pants and Intense Sincerity

Eager to embrace our first night at SXSW, we ran to Cedar Door to catch LA dance-rockers Iglu & Hartly. Each of the band members had taken special care to wear the tightest pants they could find – one of the lead singers donning brilliant orange ones topped with a low-cut top featuring cartoon drawings and exposing an impossibly hairy chest. Despite their seemingly constricted legs, they were ready to rock the crowd and justly did so with electro strains and a rapping style borrowed from Mickey Avalon.

It was a 180 degree turn then, to walk into Mohawk Patio for the mellow stylings of Wisconsin’s Bon Iver. With songs infused with a genuine pain and far-reaching vocals, the group tried to woo the crowd into chanting “what might have been lost” before the drummer lost his mind and broke out the intense beats.

It was a packed house at Mohawk, but the crowd was there for one reason: Jens. With a full band, including a tiny Tinkerbell of a bassist, a bongo player, fiddler, cellist, and electronic mix-master, Jens Lekman gave a rousing performance, himself alternating between guitar and keyboard. He did a stellar version of “A Postcard to Nina” – complete with full story details further explaining the song, and let the mix-master work in the chorus line from Chairmen of the Board’s “Give Me Just a Little More Time” on “The Opposite of Hallelujah.” The Swedish sensation is definitely here to stay.

Third Time’s A Charm

At 5:30am, when I was half-way through my shower, I got a call from American Airlines that my flight had been delayed. 15 minutes later I was knee-deep in anxiety trying to re-schedule my now cancelled flight. Having been excited for weeks knowing I would be making my third pilgrimage to Austin, Texas for the South by Southwest Music conference, I was befuddled at the possibility of not going due to an airline failure.

It was bad enough that we’d already been bumped from the Sheraton due to a hotel overbooking mishap, but the very thought of staying home was unbearable. So, I did what any die-hard indie music festival lover would do -- woke up my roommate with faux-kidnapping flair and hightailed it to the airport.

We talked our way into bulkhead seats on the next flight and finally, at 8pm (5 hours later than our scheduled arrival) we’d made it to Austin.

We walked forthrightly into the convention center to pick up our badges, and were flanked by neon images of a pretty-boy band beaming from multiple TV screens broadcasting the concert going on in the room next door. “Who is that we asked?” and consulted the schedule to see that it was, of course, Hanson.

We’d just traveled 1500 miles to get to indie rock’s yearly keystone fiesta and this is what we get: Mmmbop.

Texas Adventure 2008: SXSW

With the South by Southwest Music Festival merely a few days away, I can hardly contain my level of excitement. I been waking up dancing to the sounds of Simian Mobile Disco and White Williams, playing The Wombats’ “A Guide to Love, Loss, and Desperation” and The Raveonettes’ “Lust Lust Lust” on repeat, and putting the spit shine on my cowboy boots. A trip to Austin, TX demands it.

In preparation for my adventure, I present a special pre-SXSW playlist of what has me most excited.

Songs I can’t get out of my head: Vol. 8

Hot Chip



Hot Chip – Ready For The Floor
This track from the UK electro-rock group that gave us “Over and Over” and “And I Was A Boy From School” is the prime dance cut from new album Made in the Dark. If there’s one thing Hot Chip surely knows it’s how to get a song playing on “repeat” in your head – and this song is a perfect example. Just try to listen to it without singing along and shaking your hips.

The Lashes – A Pretty Girl is Like a Melody
The Lashes full-length release Get It drops soon, but this is a sneak peek at the “powerpop” of this Seattle outfit. Once you get your hands on the album, give “Wanna Girl” a spin. That pop is powerful.

The Helio Sequence – Keep Your Eyes Ahead
Getting ready to play Bottom of the Hill at SF’s NoisePop fest, this track from the Portland indie rockers is repetitively catchy. If it sounds like something borrowed from The Shins, you won’t be surprise to learn they’re label-mates on Sub Pop.

Yeasayer – 2080
The first cut off their “All Hour Cymbals” release, this track has taken Yeasayer to the top, and it remains that album’s strongest. Their brand of sleepy esoteric prog rock shines with melodic vocals and carefully plucked guitars. The Brooklyn four-piece has been touring in the states with MGMT, but is taking off for Europe toward the end of the month.

Songs I can’t get out of my head: Vol. 7

The Virgins






The Virgins – Rich Girls
The story goes that lead singer Donald Cumming was living in New York and writing poetry and no one was listening – so he set his words to music, and before he knew it, his band, The Virgins was off and touring. Now on the road with Ra Ra Riot, we caught them opening for Tokyo Police Club in October. This track, featured on their EP, blends Strokes-y guitars with a super-funky bass and a vocal track that sounds like it could belong to the Arctic Monkeys.

Two Gallants – Despite What You’ve Been Told
If there’s a standout track on 2Gs’ moody self-titled album released this past September, it would be this one. Here the lead vocal wail is complemented perfectly by a banjo-sounding guitar, and it’s rather catchy. The video, which features an aging clown, is genuinely weird, but you might catch a glimpse of a few San Francisco landmarks.
Expect to see the SF band at SXSW.

Iron & Wine – Innocent Bones
There’s a reason Iron & Wine’s “The Shepherd’s Dog” ended up on so many 2007 “best of” lists – its beautiful mellow sound has all the makings of a soundtrack for a lazy Sunday afternoon, or perhaps an artsy indie coming-of-age movie where the characters take a road trip to “find themselves.” I can see that too. This track is simple and delicate and deserves at least a couple lazy afternoon spins.

Hot Challenge – Wine
With the electro sensibilities of Hot Fuss-era Killers, this track from SF band Hot Challenge works some synth into the mix. They’ll be at Great American Music Hall February 2.

Les Savy Fav – Patty Lee
This Brooklyn four-piece (whose members met at RISD) has become well known for their live shows – thanks largely to the clothes-shedding antics of lead singer Tim Harrington. (Catch them in SF April 27th at Great American Music Hall.) This track from their “Let’s Stay Friends” release is less hard-edged and features falsetto-ish vocals, but generally sounds quite similar to Against Me’s “Thrash Unreal.”

Songs I can’t get out of my head: Vol. 6

Operator Please

Von Iva – LaLa

When this hard-rocking trio of SF girls opened for Imperial Teen last month at the Independent, I was duly impressed – and not just because the lead singer jumped on the drum set in a tight dress and high heels.  This signature track bemoans the superficiality of Los Angeles.

Operator Please – Leave It Alone

There’s something oddly infectious about this effort from the Australian five-piece Operator Please.  The lead singer’s vocals are reminiscent of a huskier Blondie, but the track is a stand-out for its rockin’ violin.  

The Heavy – That Kind Of Man

If a song can be a mode of transportation, this groove offers time-travel back to the 70s.  Pick your afro and listen to this funk & soul groove. 

White Denim – World As A Waiting Room

Issuing a five song EP, Let’s Talk About It last year, White Denim has been drawing praise and positioning themselves to take off as a bona fide top tier rock act.  This track, from an album they’re releasing a track at a time online, sounds like it’s taking its cues from the likes of the Black Keys.  Also check out “Paint Silver Gold” from this new release.  

For Your Consideration - Round 1

With Oscar ballots in the mail and the first round of fine flicks already in theaters, I thought I’d offer up a handful of Round 1 potential Oscar nomination candidates.

Best Supporting Actor

Javier Bardem – No Country For Old Men
In this film Bardem is a presence – he terrifies –while uttering little dialogue, never showing remorse, and always seeking revenge. Hand over the statue now and nobody gets hurt.

Tom Wilkinson – Michael Clayton
Playing a top attorney teetering on the brink of self-destruction, Wilkinson gives the film’s best performance, staying just this side of over-the-top.

Philip Seymour Hoffman – Charlie Wilson’s War
Ever a true chameleon Hoffman steals the show from Ton Hanks and Julia Roberts (who was rather painfully miscast in her role as a wealthy Texas socialite with a political agenda). Hoffman is brilliant as the spiteful and deadpan Gust Avrakotos, whose ego is as big as his mustache.

Best Actor

James McAvoy – Atonement
Everybody loves an epic war-torn romance-drama (as long it’s not Cold Mountain), and Atonement’s success hinges on the two lead performances – not least of which is McAvoy’s. As the Sabrina-ish son-to-“the help” Robbie Turner, McAvoy’s painful war scenes alone are deserving of a nom.

Viggo Mortensen – Eastern Promises
If you weren’t startled by Mortensen’s turn as Nikolai, the right-hand man to the head of a Russian crime family, perhaps you missed his completely naked bathhouse knife-fight scene.

There will probably be some talk about George Clooney (Michael Clayton), but as much as Clooney is a great entertainer/performer, his performance here lacks a soft vulnerability. Clooney doesn’t let his guard down enough to fully realize his character, and with the likes of Mortensen and Daniel Day-Lewis (There Will Be Blood) in the running, he shouldn’t have to worry about an acceptance speech.

Best Actress

Keira Knightley – Atonement
As the cold and love-starved Cecilia Tallis, Knightley plays this role better than anyone could have done it, infusing real emotion into a period piece.

Ellen Page – Juno
After viewing Juno a second time, I realized the reason I love this film is thanks to a pitch-perfect performance by Ms. Page. Her deft handling of the smart-alecky dialogue maximizes every line, and when Juno lets her guard down, realizing she doesn’t “know what kind of girl she is,” or veers off the road to cry in her mini-van, it just kills me.

When all is said and done, Knightley may walk away with a statue, but my heart will always belong to Page.

(I also wouldn’t be surprised to see Keri Russell wind up in the running for her role in Waitress.)

Best Supporting Actress
Usually this category is packed with greats, but the field is looking a little sparse.
Currently, bets are on Saoirse Ronan, the young girl with a wild imagination in Atonement, and Tilda Swinton, the no-nonsense businesswoman in Michael Clayton. But, I’d say it’s anybody’s game. Heaven knows Amy Adams will wind up nominated for something.


Stay tuned for Round Two – we’ll find out if Johnny Depp, Daniel Day-Lewis, and Paul Dano should ready their tuxes.

My 2007 Must List

As the year draws to a close, and as “Top 10” and “Best Of” lists run rampant, here is the only list you’ll need.

Oscar-noms aside (as those will be mentioned in detail later), there were a few stand-out films:



Musical
Best romance disguised as a musical, involving vacuum cleaners and the lead singer of The Frames
Once

Romance
Best romance involving pie
Waitress

Comedy
Best chance to leave the theater with a laugh-induced bellyache
Death At A Funeral

Double-Feature
Best use of a machine gun/Kurt Russell
Grindhouse

Comedic Family Drama
Best Wes Anderson flick
The Darjeeling Limited

Documentary
Best rock doc involving faux instrument playing
Air Guitar Nation

Western
Best use of non-American actors playing cowboys (Take that, Seraphim Falls!)
3:10 To Yuma

“Kids” Movie*
Best appearance by a rat in the kitchen
Ratatouille

Best use of Daniel Radcliffe in a role not involving horses
Harry Potter And The Order Of The Phoenix
*Tie


Music

I’m not going to lie, I did not listen to every album that came out this year. But I did listen to as many as I could get my hands on, and with the conceits that I A) like indie rock and B) like to dance – here are my picks for 2007’s top albums.

First, the obvious:

The Arcade Fire – Neon Bible
The follow-up album to the band’s breakthrough 2004 disc Funeral is jam-packed with upbeat instrumentation and automobile imagery. The effort from “Canada’s Most Intriguing Rock Band” is polished and optimistic – even without any “Neighborhood” tracks.

Amy Winehouse – Back To Black
Say what you will about the disc’s diva, Back To Black is a flawless effort that manages to escape sounding like a “throwback album,” yet still sound both fresh and retro. Thanks to the deft production from visionary Mark Ronson, Back To Black lends itself to the dancehall as easily as it does a lazy smoky bar.

Music to mellow out to:

Band Of Horses – Cease To Begin

Shout Out Louds – Our Ill Wills

Blonde Redhead – 23


Worth a listen:

Rilo Kiley – Under The Blacklight

Okkervil River – The Stage Names

Of Montreal – Hissing Fauna Are You The Destroyer?

Goods for a good cause

One of the greatest things about the holiday season is that it is ripe with events. From plays to visual art exhibitions to choral performances –‘tis the season for sharing creative gifts. This past weekend I attended two performances – both which had teamed up with the SF Food Bank.

The Friday night play I went to donated a part of their proceeds to the organization, while the Saturday night improv show had a bin set up to take my canned goods. It’s nice to do something with a cause in mind – and nothing is better than when creative arts and canned goods can team up.

Get involved with the SF Food Bank – you can donate food at most SF Safeways, Grace Cathedral, and many Blockbuster Video locations.

Songs I can’t get out of my head: Vol. 5

Dappled Cities – Fire Fire Fire

A fine indie rock offering from a weird little outfit that toured earlier this year with Tokyo Police Club. While at first this track seems like a sensitive groove, its appeal is really in the tongue-in-cheek humor of lines like, “you’re not a fire, so I will not dance in you.”

Band of Horses – No One’s Gonna Love You

This cut, from one of the year’s best albums – Cease to Begin – is simultaneously calming and haunting with melodic guitars smooth southern vocals. The Carolina boys, who are label mates with the likes of The Shins and The Go Team!, manage to create an atmosphere on this album that transcends the individual tracks. If you haven’t already, definitely pick up Cease To Begin.

The Coup – My Favorite Mutiny

Here sounding a bit like The Roots, and including a line that references the miniseries of the same name, The Coup give us a funky groove featuring horns and a tinkling piano.

Timbaland + The Hives – Throw It On Me

This is a strange song and has been around for a while, but I heard it again recently (featured in a phone commercial, of course), and was reminded about the genuinely kitschy video featuring the girls of wrestling. A complete heist of “Sin City” – the video’s palate works thanks to the always impeccably dressed Hives who never deviate from their black-and-white ensembles (and score a couple of successes on their new disc “The Black And White Album”). In listening to the song again, one gets the feeling that Timbaland is out to prove that he can collaborate with anyone. As to whether he should, well, that’s another question.

The Coen Brothers’ Uncharted Territory

Before venturing into No Country For Old Men, I was told by friends that the film was “intense.” After reviving my left leg, which had cramped under the strain of being held clenched in anticipation for two hours, I would add freaking intense.

In comparison to something such as this fall’s Eastern Promises, which was a fully-developed story with rich characters and subplots (until the unfulfilling draw-your-own-conclusions ending), No Country For Old Men is a sparse and desolate story, told with little dialogue and even less music.

But it’s precisely this texture that makes the film so terse and terrifying.

When Llewelyn Moss (Josh Brolin) stumbles upon the bloody and broken remains of a drug-deal gone wrong, he suddenly finds himself with a suitcase full of tainted money and a handful of conniving folks hot on his trail.

Llewelyn sends his wife Carla Jean (Kelly Macdonald) to her mother’s in Odessa, while he goes on the lam – knowing someone is coming for him. That someone is the frightening, dream-haunting and genuinely scary Anton Chigurh (Javier Bardem).

The subtle side-story that emerges as the films centerpiece, and which holds the picture together, revolves around a fatigued police sheriff, Ed Tom Bell (Tommy Lee Jones). Working to train a new recruit, the sheriff seems generally unfazed by the things he sees. But as he ventures deeper into the case that is unfolding, working to protect Carla Jean, we see that the sheriff may be on his last legs. He may think he’s seen everything, but he’s seen nothing like this.

Despite being based on a novel (by Cormac McCarthy), No Country For Old Men offers us little in terms of a deeper story, backstory, or past history. We actually know very little about the characters. Still, what we do get in terms of performances is quite brilliant.

Tommy Lee Jones gives a real depth and sadness to his aging sheriff. And, even playing something of a hero, Brolin’s Moss maintains a determined and brutish creepiness – rivaled only by William Block – Brolin’s character in Robert Rodriguez’s Planet Terror.

Set against the barren west Texas landscape, the Coen brothers present No Country For Old Men as a rugged and frightening story. It is a rare film that gives intense meaning to every line uttered. And while perhaps a little too much is left to the audience’s imagination (especially concerning characters’ motivations); the film is highly successful in maximizing every detail it does give.

It’s a ride worth taking, and that ride is freaking intense.

Down And Dirty

While we were perched on our knees, wielding metal picks, and whacking into the rocky soil early Saturday morning, the guy across from me said, “You know, my regular job is ‘data mining’.”

Perhaps that’s a comment you’d only hear in the Silicon Valley, but never the less, as we dug and planted at McLaren Park, I was glad to be stepping out of my normal routine to do something for the earth.

For my weekend project, helping to replant some of the hillsides in the park, I signed up through an organization called One Brick. They’re here in SF, and they have chapters in New York, Chicago, and Washington DC.

For anyone who is looking to get involved when they have the time – even if they can’t make an on-going commitment, One Brick is definitely worth looking into. Plus, they’re heavy on the socialization aspect – so not only can you serve a meal or plant a garden, you may find a new friend. Or at least someone who’d like to mine your data.

Reuse it

In a season that’s often about “stuff” – it’s good to take a look around at how much stuff we already have. Granted, it seems that we don’t realize how much we have until we’re moving and have to box everything up and take it to a new location… But looking through our closets and cupboards, we should ask ourselves what we really need and what we’re really using.

I took a look around and then took my books to the Friends of the Public Library bookstore, and clothes to Goodwill. It’s good to routinely clean house and keep a check on our excess of stuff. A sweater I haven’t worn in 2 seasons isn’t doing anything but taking up space – until it gets in the hands of someone who can really use it.

So take a look around and ask yourself what you’re really using, and what’s just taking up space. Find an outlet that can put your stuff to better use.

Back to the land & over the airwaves

Yesterday I signed up to spend a part of my weekend planting in McLaren Park. If it’s been a while since you’ve had some dirt under your fingernails, I’d suggest you volunteer at a park near you. We spend so much of our day-to-day lives touching little more than a keyboard, that it’s nice to get a firm grip around a shovel. It could do wonders for your carpal tunnel.

I also made a new pledge to KQED – the large Bay Area public broadcasting channel. If this seems like an odd donation choice – let me deconstruct it a bit.

In Bill McKibben’s “Deep Economy,” he devotes a part of his chapter on “The Wealth of Communities” to public radio and non-Clear Channel/etc.-owned stations. McKibben points out that “entertainment” is easy to come by, but it is nearly impossible to build community and discuss community issues on stations being run by a central entity thousands of miles away.

McKibben states: “Public radio stations testify to the instinct for community, if only because they all rely on listeners being willing to pay for something they can get for free.”

I can switch on the radio or TV any time of the day and be “entertained.” But if I want to know about local events, what local people care about, and how I can help out – supporting public stations can help deliver those messages.

My month of giving

Each year during this time, we’re encouraged to give presents. Regardless of your religious affiliation, the celebration of “Christmas” in America seems to have long ago transitioned into a national shopping holiday. Anyone who has ever fought tooth-and-nail for a parking space to go into a crowded mall and sit on Santa’s lap knows that the key question he asks is: “What would you like for Christmas?” And unlike a Miss America pageant, if you say “World Peace” – he’s going to give you a weird look.

So instead of making this season about buying, I want to truly make this season about giving. Christmas is not about acquiring more stuff – it’s about (and brace yourself, because I’m about to get hokey here) realizing how much love you have, and sharing it with others.

This year, I am aiming to spend at least 20 days during December giving – either by a donation of money or time.

Yesterday marked World AIDS Day, with events held around the world – including a huge 10-hour concert in Johannesburg, South Africa – the country which is estimated to have the world’s highest percentage of people living with AIDS.

I donated online through the UN Foundation, which works directly with the United Nations to identify and direct funds to worthy organizations worldwide. (You can donate as little as $5.)

Possibly the most visible campaign against AIDS, the Product (RED) campaign – also contributes a portion of money made through the sales of Product (RED) items towards the Global Fund, which focuses on eliminating AIDS in Africa. If you’ve purchased a (RED) Gap t-shirt, iPod Nano, or Armani wristwatch – a portion of those proceeds support the campaign.

This year, make a pledge to yourself. Skip a couple of morning lattes, pack a lunch from home, take the $10 or $15 you save and give it to a worthy organization. Or donate an old coat to kids who don’t have one. Serve a meal at a shelter.

If you can, hand-make cards and gifts. They’ll be more meaningful – because they were made with love.

Stay tuned for more ways to give.

Songs I can’t get out of my head: Vol. 4

MIA takes her best shot

Black Kids – I’m Not Gonna Teach Your Boyfriend How To Dance With You

If there’s one reason this Jacksonville, FL group is raising industry eyebrows it’s this song off their 4-song EP (which you can snag for free from http://www.blackkidsmusic.com/). If there’s a second reason, it is of course the band’s name, for obvious reasons of political correctness.

Pitchfork cited the Go Team! and Arcade Fire as points of comparison in their record review – and that’s a dead-on assessment – perhaps with a little bit of Of Montreal-style lyricism thrown in for good measure (particularly on the track “I’ve Underestimated My Charm Again”).

MIA – Paper Planes

A bonus track on MIA’s new disc “Kala,” this seems like a laid-back psychedelic groove – until the faux gunshots and clinking cash register chime in. It’s a track you want to chill out to, but to which you can’t relax.

Sea Wolf – The Cold, The Dark & The Silence

A mellow ode to a lonely evening, the verbal imagery in this track is strong enough to feel. Don’t be surprised if you think a lot about water rushing through your lungs afterward.

White Williams – New Violence

After an intense (and sweaty) tour with Girl Talk and Dan Deacon, White Williams is headlining a tour of his own – brining his unique brand of electro-dance-pop and scraggly-drawn Demetri Martin-ish visuals. This track showcases his Beck-like tendencies.

Lions For Lambs Treads Too-Familiar Waters

In the opening minutes of “Lions For Lambs,” the playing field is blatantly laid out for us – a Senator looks at charts of declining approval levels, a journalist references her notebook, and a professor looks over his grade and attendance sheets. These are your characters. They like to write things down.

Over the next hour and a half, moving between story lines, “Lions For Lambs” weaves in the story of two buddy-soldiers and former students of Professor Stephen Malley (Robert Redford) who may not survive their tenure in Iraq. Their story is the background to Malley’s new quest – convincing ace student slacker Todd Hayes (Andrew Garfield) to apply himself so that history does not repeat itself.

Meanwhile, on Capital Hill, Senator Jasper Irving (Tom Cruise) has called a meeting with seasoned journalist Janine Roth (Meryl Streep) to convince her he a) has a new plan for Iraq, b) is not creepy. Sadly, he doesn’t quite succeed at either.

While I cannot begrudge Mr. Redford for wanting to put together a piece commenting on the current state of international affairs – what with “Rendition,” “Redacted,” “In the Valley of Elah,” “The Kingdom,” and probably “National Treasure: Book of Secrets” (though I haven’t seen it) it’s the in vogue thing to do – but it seems that there is nothing truly daring offered by this film.

While we may be anticipating the new decisions to be made by the characters, it seems that they should have realized the need for new decisions long ago. While the ever-amazing Streep delivers a charming breakdown, one can’t help but feel her character should have experienced this decades before.

The statement Redford seems to want to make is that unless we act with a conscience, we will never escape this struggle.

But considering the methodologies this film chooses to employ, there are too many other films that make greater use of these methods. We’ve seen the story of a young hot-shot slacker getting schooled by a Vietnam-vet professor (“Good Will Hunting”), we’ve seen career-driven characters facing crises of conscience (“Jerry Maguire,” “Broadcast News”), and of course we’ve seen countless send-ups of the TV news business (put “Wag the Dog” back in your NetFlix queue).

While the message is indeed heartfelt, perhaps the film is like Redford himself – best looked at through a very soft-focused lens.