Toyota Pavilion at Concord was the third-to-last stop on this summer’s Freaks on Parade tour. 12,000 devotees traveled far and wide to be in attendance for this rally featuring Cooper, alongside running mates Rob Zombie, Al Jourgensen (Ministry), and Richard Patrick (Filter).
Make no mistake though… while Zombie might play second fiddle on a presidential ticket to the elder Cooper, the spectacle of his production and show easily makes him the final headliner of this co-headline gathering!
Y’know, as often as I try to keep on top of hip, new things, I’m 43 years old (going on 44 next month!), and I DEFINITELY reminisce about the Bay Area of my youth (Read: 30’s). And Talkies at the old Cinecave (The best comedy venue in history, RIP) was something that I always loved. Well, ever since George Chen moved to LA, the show moved, too. We’d only get to enjoy the blend of film, PowerPoint, stand-up, sketch, and storytelling that is TALKIES during his annual Sketchfest visit. Well… FEAR NOT! TALKIES is ON TOUR and it’s coming home during the off-Sketchfest season!
TALKIES is hosted by Nick Stargu, Aviva Siegel, George Chen, and Land Smith-Abbinate. Special Guests for these shows will be Drennon Davis and Jack Brown, along with Ashley Monique in SF and Jessica Sele in Sacramento and Santa Cruz. (BTW: I bloody love those last two comics AND don’t drive, so, yeah, I’m a little sad about them being on different shows.)
Hardison’s monumental life is on full display in Invisible Beauty
“I would always think of a Samurai when I would walk.” -Bethann Hardison
A pioneer who continuously pushed boundaries, Bethann Hardison is the subject of Invisible Beauty, an autobiographical (she is co-director) look at her trail-blazing life and her ongoing push for equal representation in the modeling and fashion industries. As one of the first high-profile Black models, Hardison gained widespread fame in the ‘70s and launched her own modeling agency in the mid ‘80s. Shortly after, she started the Black Girls Coalition (BGC) with fellow model and activist, Iman, to promote and support Black models. Invisible Beauty takes us behind-the-scenes of Hardison’s extraordinary journey, while appropriately following her in the present as she works on her memoir. The film features numerous interviews with a wide breadth of famous faces and impressive footage of turning-point moments that capture Hardison’s immense impact.
Farewell tours are a strange business. How does a band perform with sincerity and a sense of purpose that feels genuine without the trappings of a cash-grab mentality that us cynical fans have come to expect? I’ve personally never been to a farewell show outside of bands in the local music scene where I grew up, so I wasn’t very sure what to expect aside from what I was seeing on social media. A 40-year-old punk band going on with an absolute bang at each and every show, celebrating not only their longevity but celebrating the music scene that they came up in. What better place than San Francisco, the second home to one of the most iconic bands to come out of the 80s hardcore punk scene in Los Angeles, to wave goodbye to an incredible career?
There’s nothing more exciting than realizing you’ve reached “fan” status with a band. And after picking up Social Lubrication, followed by their 2020 live album IRL, I’ve gone officially “all in” on the political dance punk stylings of Dream Wife. My turntable has pretty much alternated between both discs all year, reminding me that I need to pick up the two earlier records so I don’t wear out the other ones. This show has been on my calendar for most of the year, and it was also my return to Bottom Of The Hill, one of the most magic venues on the west side of SF Bay.
Modern shoegazers Crumb and Psych’s reigning chanteuse Melody’s Echo Chamber have never come to mind as a collaboration that felt like the world needed. Both bands are fantastic, but their similarities never really gelled to me. And then I heard “Le Temple Volant.” What an airy, breezy groove of a song! I can listen to a song like this endlessly… I speak no French, and it doesn’t matter. This one-off single screams for a full-length collaboration of goodness like this.
You can enjoy “Le Temple Volant” in all the usual places. Both Crumb and Melody’s Echo Chamber are currently on the road, sadly separately. Tour dates after the jump, and maybe enough streams of this track will get a clever booker to put the two bands together for a Spring package run? Please?
The extended weekend of October 5, 6, 7 and 8 of the year 2 0 2 3 has been leaving fans of heavy metal music in decision limbo since the beginning of April. In mid-March, the annual heavy metal pilgrimage to Sacramento, called Aftershock Festival, announced another stellar (as always) 4-day lineup for an unforgettable weekend of Rock N Metal. What nobody knew then is that a mere two weeks later, Power Trip (not the band) would announce a killer classic metal lineup for their festival, to take place simultaneously on the same weekend, albeit in the southern California desert. Goldenvoice had just put Danny Wimmer Presents (DWP) on notice, and fans then had to decide which to go to! Now, with t-minus two weeks and counting, Spinning Platters is here to explain why Aftershock Festival is thee festival to attend and how they will not be relinquishing their West Coast Fall Festival crown…
Children’s Fairyland is a pretty magical, at times even mythical place. The place that may or may not have inspired Disneyland has certainly inspired the imaginations of many generations of children who have grown up in the Bay Area. Yet, aside from the annual open-bar fundraiser, there haven’t been many opportunities for adults without children to really experience the wonder of this place. Really, it would take a special type of person, an artist who understands what fairies mean to grown-ups, who can bridge the beauty of approaching the world with a childlike curiosity with an adult’s maturity. There are probably three local musicians who are capable of curating an event at Children’s Fairyland and doing it right. It would be either Les Claypool, Tom Waits, or SPELLLING. And, really, we all know SPELLLING is the only person who could really do it right.
Country music is a messy, messy place these days. The narrative seems to always be dominated by the Jason Aldeans and Toby Keiths, and Morgan Wallens, folks that dominate the mainstream not because they make good music but because they speak to the petty grievances of right-wing America. (I’m not putting Oliver Anthony in this boat, and someday I’ll write a real blog post about that song, but I don’t think he’s saying what people think he’s saying with that song.) Anyway, I’ve already said too much about despicable white men who are deathly afraid of losing power and control. I’m much more interested in the people looking to speak the truth, unafraid of losing power. Maren Morris’ new EP, The Bridge, does just that. It’s a direct rebuttal of “Try That In A Small Town,” two singles about the crushing weight of hate in this country and how to navigate it. Neither of the tracks are actually political anthems. She’s managed to hit that specific feeling of being overwhelmed by the hell we are in, and sometimes it feels like we are just doomed, but we’ve gotta take a step out and rest and then get back to work, because we are all humans and need to treat each other as such.
Anyways… I’m also on Day 12 of testing positive for my first ever COVID-19 infection (and hoping hard to test negative tomorrow and finally leave my room) and feeling SUPER angry about how we don’t have any sufficient ways to protect ourselves while still existing and such. So, yeah, I’m feeling raw and Maren Morris is like a nice weighted blanket telling me that I’m not alone, and maybe, just maybe, we will get through this. The Bridgeis out now and is available on all your DSPs. Hopefully, we will see a physical release, too!
