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Monday, June 15, 2009

Track of the Day: Kid Cudi

Posted By on Mon, Jun 15, 2009 at 11:13 AM

kid_cudi_small.jpg
If there was any doubt that Kid Cudi's on his way up in this world, the Brooklyn (by way of Cleveland) rapper's latest single should help cement his ascendency. "Make Her Say" samples Lady Gaga's "Poker Face" hit and adds two star attractions on the mic: Kanye West and Common contribute their sexual innuendos to a tune originally tagged "I Poke Her Face." The ladies spit, strip, and swallow in this litany of locker room bravado bits, but the beats keep things light and bouncy as an innocent summer-at-the-roller-rink ditty. The song is the second single to come off Cudi's upcoming album, Man On The Moon: The Guardian.

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End of the Line For Clear Channel?

Posted By on Mon, Jun 15, 2009 at 11:05 AM

Davey-D
  • Davey-D

The most recent edition of Davey-D's FNV Newsletter contains a bombshell: according to Jerry Del Colliano of Inside Music Media, "Clear Channel is done." As in, stick a fork in it. As in, Chapter 11 bankruptcy proceedings, probably within the "next six to nine months."

Del Colliano cites several reasons for this: the economy is a major factor, as is the over-leveraged status of most CC stations. "Some stations are actually making money, but not enough to pay down huge corporate debt," he says. He believes that "much or all of Clear Channel will eventually be broken up - sold off to raise as much revenue as possible," noting that "Clear Channel is already acting like there is no tomorrow," by "gutting the stations, cutting every possible expense and using repeater radio content from national syndicators and their network to fill up the airwaves."

Del Colliano is so sure of this eventuality, his blog addresses not only the possibility of Clear Channel's demise--and the possible demise of two other commercial radio chains, Citadel and Cumulus--but what the commercial radio spectrum will look like after this happens, which could be as early as the 4th quarter of 2009.

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Funk Makes a Three-Night Stand at Yoshi's SF

Posted By on Mon, Jun 15, 2009 at 9:38 AM

He Came to Funk You: B'nai Rebelfront
  • He Came to Funk You: B'nai Rebelfront

The Punk Funk Mob, B'Nai Rebelfront, and Greg Scott are the featured performers in "We Got the Funk: A Tribute to the Sixth Funk Dynasty," a musical miniseries highlighting local funksters happening June 15-17 at Yoshi's SF.

Punk Funk Mob  features singer Femi, who's normally a soul/R&B/house vocalist; in PFM she'll embrace her funk/rock/new wave side. Rebelfront is a soft-spoken, hard-rockin' guitarist who plays with Lyrics Born and the Coup; he'll step out of the sideman shadows at his Yoshi's gig and present his own solo material, which references everyone from Ernie Isley to early Prince to Funkadelic. Scott is a keyboardist/vocalist in the Donny Hathaway mode whose new album, Bring Me Back, updates the funk template with vocoderized soul slams and other rhythmic nuggets.

According to the PR, "The Sixth Funk Dynasty picks up where author Rickey Vincent's, "Funk: The MUSIC, the PEOPLE, and the RHYTHM of THE ONE" left off," following in the footsteps of the "First Funk Dynasty (Unification), Second Funk Dynasty (The Shining Star), Third Funk Dynasty (P-Funk), Fourth Funk Dynasty (Naked Funk) and Fifth Funk Dynasty (Hip Hop Nation)." In the Bay Area, the funk never really left, so these 6th D funkateers are probably more of a continuation than a revival. Still, for anyone who likes funky music in a live setting, all three of these shows should tickle your funk fancy without hurting your wallet too much--tickets are only $10 advance and $12 at the door.


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Last Night: The Gershwins' Porgy and Bess at War Memorial Opera House

Posted By on Mon, Jun 15, 2009 at 8:55 AM

Eric Owens (Porgy) and Laquita Mitchell (Bess) - CORY WEAVER
  • Cory Weaver
  • Eric Owens (Porgy) and Laquita Mitchell (Bess)
Better than: Being trampled -- in your own seat -- by half the people in your section as they make for the Irish coffee at intermission. More on that later.

On the BART ride home after San Francisco Opera's Sunday evening performance of George and Ira Gershwin's Porgy and Bess, I overheard a woman discussing the show with a seatmate who'd apparently just come from Wicked. She declared it "the best opera I've ever seen," largely because she deemed it suitable for "people who don't really like opera that much."  Which, I'd imagine, is sort of a mixed bag of a reaction if you work in outreach for SFO. While I'm not sure I can agree with the first part of the woman's claim, the second part is central to understanding the production's appeal.  

You've heard of theater of the absurd?  Porgy and Bess may well be called something like "opera of the quotidian," featuring musical idioms borrowed from jazz, blues, and pop instead of a traditional classical score; minor characters such as "Crab Man" and "Strawberry Woman" rather than the hangers-on of the nobility; South Carolina's fictitious "Catfish Row" instead of a glamorous European locale; and not least, a libretto in English rather than in Italian, French, or German.  Indeed, the production can at times seem like more of a musical than an opera (though Porgy and Bess: The Musical closed after a brief, ill-fated run in London in 2006). And it wasn't until the late 1970s, following a groundbreaking production by the Houston Grand Opera, that the work became a widely accepted part of the operatic canon.

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Your Zen Headbanging Video of the Day

Posted By on Mon, Jun 15, 2009 at 6:18 AM

From clubs editor John Graham. I think the title just about says it all.

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