Journalist, Author & Syndicated Columnist
Divided into two sets, spanning more than 26 songs and running three hours long, Poi Dog Pondering’s spectacular concert Friday night at the Vic was the creative realization of ambitious leader-singer Frank Orrall. In the second of four sold-out shows – three evenings at the Vic followed by a gig Sunday at Lounge Ax – Poi Dog Pondering put on an event that transcended the boundaries of a typical rock ‘n’ roll concert.
Candy-coated. Saccharine. Gaggingly syrupy. Celine Dion’s heard it all from critics who hate her music. “I’m used to getting some critics who like me and some who can’t stand me,” says the French-Canadian singer, who was sweet enough to call us from Quebec. “Thank goodness there are more people out there who like syrup.” Since 1990, when Dion released her first English-language album, “Unison,” Dion has won a loyal following of fans who fell in love with her smooth vocal delivery on such songs as “Where Does My Heart Beat Now?” After her duet with Peabo Bryson on the Grammy Award-winning “Beauty and the Beast” a couple of years ago, she became a bona fide star.
Until releasing his latest album, Nick Heyward hadn’t had a fantastic day for a long, long time. A decade ago, Heyward fronted the English pop band Haircut 100, whose debut album, “Pelican West,” spawned a trio of hit singles (“Love Plus One,” “Favourite Shirt” and “Fantastic Day”). At the height of the group’s success, he trimmed himself from Haircut to pursue a solo career.
Don’t let the faux leopard skin tablecloths scare you when you peek inside Soul Kitchen. The food waiting for you inside this Ukrainian Village restaurant is scrumptious.
Making as much noise as Sonic Youth and relying as heavily on guitars as My Bloody Valentine, England’s Swervedriver throws in a touch of reggae that mutates their sound just so. Sometimes uneven live performers whose songs tend to drone on a la the Grateful Dead, Swervedriver fares much better with its current CD “Mezcal Head”: strong lyrics and punkish guitars played LOUDLY.
The best thing about going to Duran Duran’s concert Sunday night at McGaw Hall was catching its opening act, James. I’ve said it before and I’ll say it again: It’s a bad, bad idea for headliners to hire opening acts that are more interesting than they are. Don’t get me wrong. I like Duran Duran. And for a couple of years in the ’80s, I truly loved them. Until they stopped growing.
The best comedy, says Betrice Berry, is outside the Dunkin’ Donuts at the corner of Clark and Belmont.
Sooyoung Park’s theory is there’s a time and place for everything. When he majored in math in college, he didn’t worry that school was holding back his music career. And when Seam’s singer-songwriter-guitarist felt ready to tackle music full time, he put grad school on hold.
The Cat & Fiddle is easily my favorite L.A. hangout. Trendy, but not snooty, this pub and restaurant is one of the places to be seen this. People have a difficult time remembering what it’s called – I’ve heard Fiddle Dee Dee, Cat in the Hat and Cat in the Fiddle – but in a city filled with poseur clubs, the Cat & Fiddle stands out as winner.
All the liquor I’ve ever consumed in my lifetime would fill a martini glass. OK. Maybe two. When I was in college, one of my cousins – also not a big drinker – told me I would have to learn to drink socially or I would risk being viewed as an oddball. I’ve been viewed as odd for many reasons, but not drinking has never been one of them. Why don’t I drink?
With “Kabuki Medea,” Wisdom Bridge Theatre uses traditional Japanese Kabuki-style theater to tackle Euripides’ Greek classic “Medea.” The result is a splendidly clever tale that is familiar, enacted in a way that is not. Almost 400 years old, Kabuki theater is based on highly stylized and exaggerated moves. In Shozo Sato’s production, which opened Monday night, the actors speak English, but with exaggerated Asian inflections. The rich costumes and demure movements are decidedly Japanese, but the thoughts behind them are Western. The Greek locales in Euripides’ play are substituted by medieval Japanese islands. This adaptation keeps the Western names that Euripides gave his heroes. By the end of the first act, the audience doesn’t find it at all surprising that a Japanese nobleman would be named Jason.
She’s not a former actress, TV reporter or radio personality. So what’s Bertice Berry doing with her own talk show?
Pop singer Chris Isaak makes a one-night stand here tomorrow.
It wasn’t just its homebase that differentiated Fluid from its Sub Pop label mates. It was, according to guitarist James Clower, a matter of attention – or lack thereof. “I don’t want it to sound like I’ve got sour grapes, because I don’t really,” Clower says. “But (Seattle’s) Sub Pop (Records) kind of blew us off because we lived in Denver and all its other bands lived there. They didn’t want to have to deal with us. That’s one of the reasons why we decided to switch labels.”
Which came first for the Gin Blossoms? The hit single “Hey Jealousy,” or the record company’s campaign to change the group’s image with a new video, new promo photos and a new album cover? The hit single, oddly enough.
“In a sense, we do take mischievous pleasure doing what we’re doing,” said vocalist Michael Hutchence. “But we’re not trying to tease our fans, really, because this (club tour) is part of an ongoing world tour. We’ll be back. Why we chose to play in clubs for our first trek of our U.S. tour is really quite simple. It was time for us to get back to the basics, which meant getting back into the clubs we started our careers in.
Chinese-American. The hyphen between the nationalities says it all to playwright Elizabeth Wong, whose latest piece, “Kimchee and Chitlins,” is running at the Victory Gardens Studio Theatre.
“All Kinds of Love” isn’t the “The Dick Van Dyke Show,” that’s for sure. When Carl Reiner created the classic ’60s TV series, his married couple – Rob and Laura Petrie – weren’t allowed to sleep together in the same bed, much less dally with next-door neighbor Milly.
Bob Geldof is a hard sell. He is 40 and says he feels it, though he doesn’t look much different from when he was a young punk in the ’70s band the Boomtown Rats. Tall and gangly, he is charismatic on stage – defiant in conversation. He is quick to laugh, but the Irishman makes it clear he doesn’t suffer fools.
