Tuesday, November 27, 2007
Hints at global warming seen in Sigur Ros's free film
by Contessa Abono and Nadine Caouette, [X]press Online
Twinkling lights yielded to snowy icecaps as the wondrous eyes of children gave way to bright-red kites flying against the blue cloud-filled sky.
Over 500 people packed the Mezzanine Monday, November 19 to view the Icelandic band Sigur Ros's new film “Heima,” which documents their homeland summer tour of Iceland in 2006.
The film gave fresh perspective to a country many have yet to see with their own eyes. Footage of streams, rivers, oceans, fog and raindrops were played back in reverse to give the illusion of turning back the clock.
The film meaning "at home" or "homeland" was shot in a documentary style by Dean DeBlois. Sigur Ros’s myspace.com blog states, "In the event, the open-door policy worked amazingly well, with people of all ages, who would never have normally bought a ticket for a Sigur Ros show, just coming along to check it out. As the tour went round, it gained a semi-mythical status."
Using high contrast and saturation, with foreground images that popped out and made you feel like you were there, the film incorporated the town life into the music and used an earthquake-shaking effect when the band talked about the music industry. "The music biz is left overseas," said their drummer, Orri Páll Dýrason, when talking about their worldly fame.
The film captured the day-to-day lives of the Icelanders and had a special focus on child-like innocence, possibly to foreshadow the films take on the future of Iceland. It seemed as though they were sending out a message about globalization and how Iceland likes to be their own community.
Sigur Ros could also be sending out a message about global warming with the numerous shots of ice melting.
Admission to the film was free, and it is now being shown in movie houses around the world. The band is giving back to their fans -- a more recent trend in music for the 2007 year. For example, Radiohead is now letting you set the price for their latest album sold only on their website, www.inrainbows.com.
The culture and imaginative gusto of the filmmakers and band alike gave a deeper meaning to Iceland and Sigur Ros's music.
Longtime Sigur Ros fan Shelly Booth attended Monday night’s screening. This was her seconded time seeing the film. "The first time that I saw ‘Heima’ in L.A., it was purely a sensory experience," said Booth. "I left speechless. I knew that it was amazing, but I had to see it again to make sense of what I had felt about the film."
For more information on Sigur Ros visit www.sigur-ros.co.uk. For more information about the film go to www.heimafilm.com.
Twinkling lights yielded to snowy icecaps as the wondrous eyes of children gave way to bright-red kites flying against the blue cloud-filled sky.
Over 500 people packed the Mezzanine Monday, November 19 to view the Icelandic band Sigur Ros's new film “Heima,” which documents their homeland summer tour of Iceland in 2006.
The film gave fresh perspective to a country many have yet to see with their own eyes. Footage of streams, rivers, oceans, fog and raindrops were played back in reverse to give the illusion of turning back the clock.
The film meaning "at home" or "homeland" was shot in a documentary style by Dean DeBlois. Sigur Ros’s myspace.com blog states, "In the event, the open-door policy worked amazingly well, with people of all ages, who would never have normally bought a ticket for a Sigur Ros show, just coming along to check it out. As the tour went round, it gained a semi-mythical status."
Using high contrast and saturation, with foreground images that popped out and made you feel like you were there, the film incorporated the town life into the music and used an earthquake-shaking effect when the band talked about the music industry. "The music biz is left overseas," said their drummer, Orri Páll Dýrason, when talking about their worldly fame.
The film captured the day-to-day lives of the Icelanders and had a special focus on child-like innocence, possibly to foreshadow the films take on the future of Iceland. It seemed as though they were sending out a message about globalization and how Iceland likes to be their own community.
Sigur Ros could also be sending out a message about global warming with the numerous shots of ice melting.
Admission to the film was free, and it is now being shown in movie houses around the world. The band is giving back to their fans -- a more recent trend in music for the 2007 year. For example, Radiohead is now letting you set the price for their latest album sold only on their website, www.inrainbows.com.
The culture and imaginative gusto of the filmmakers and band alike gave a deeper meaning to Iceland and Sigur Ros's music.
Longtime Sigur Ros fan Shelly Booth attended Monday night’s screening. This was her seconded time seeing the film. "The first time that I saw ‘Heima’ in L.A., it was purely a sensory experience," said Booth. "I left speechless. I knew that it was amazing, but I had to see it again to make sense of what I had felt about the film."
For more information on Sigur Ros visit www.sigur-ros.co.uk. For more information about the film go to www.heimafilm.com.
Dude, it’s Devin the Dude and Del!
by Dan Verel, [X]press Online
It’s no secret that underground hip-hop is big in the Bay Area. So when famed and well-respected Del The Funky Homosapien, from the Hieroglyphics camp in East Oakland, makes a return to the stage, hard-cord Bay hip-hop kids come out in full force.
Wednesday, Nov. 14 was no exception as Del wrapped up his nation-wide tour at Slim’s in the SoMa district. As the headliner, and after recently signing with indie hip-hop juggernaut Def Jux, Del had created quite the buzz as the tour wound down and headed back to the Bay Area for two shows at Slim’s. And while he did not disappoint, Devin The Dude and his Houston homies may have stolen the show.
The Dude does well to distance himself from the typical “Crunk” sound of the South, as he and his H-Town cohorts display a sound more akin to Snoop Dog mixed with a touch of Outkast.
Unfortunately, the performance on the 14th suffered the same fate as hip-hop shows the world over: mediocre and bad opening acts. The show started out promising, with Knowbody, a new talent out of East Oakland who toured the country with Del and Devin, being the first to the stage. The little-known emcee impressed the early crowd, with clever and well-written rhymes set to bass-heavy, energetic production. He was an appropriate opener for Devin and Del, and acknowledged as much with a concise but solid set.
The next act, however, would not do the same. Shortly after Knowbody came the Serendipity Project – “Unfinished Project” might be a more apt name. The eight-piece band of surfer-looking frat boys and one female vocalist sounded like a cross between the B52s and the Red Hot Chilie Peppers, except that the guy from the B52s probably had a better flow. Borrowing a tired chapter out of countless copiers of The Roots, Serendipity Project’s attempt at blending virtually every genre of music into hip-hop failed, though not for lack of effort. My esteemed colleague who writes about hip-hop for MP3.com succinctly summed up the sound with four words: Santa Cruz jam band. Next.
Next, indeed, was Bukue One, from all parts East Bay. The skateboarding, kick-flipping emcee was a welcome respite from the ill-fated mess that preceded him. The only problem with Bukue, despite his engaging and reggae-infused freestyles, was that his set seemed to last for 56 hours. The crowd came to see Devin the Dude and Del, so when 14K – named after the cheap gold that coats the teeth of equally cheap gangsters – came to stage, the show finally picked up where Knowbody had left off. 14K, part of Devin’s Houston crew, engaged the crowd with the unique southern style that has made Devin a legend in Texas and in the underground generally: smooth flows, great stage presence, and tales of smoking weed and chasing skirts.
Soon to follow was the Coughee (pronounced “coffee”) Brothers, yet another crew of H-Towners aligned with Devin, who was quick to join them on stage. With Devin leading the way, the crew of six lit blunt after blunt on stage, while treating the crowd to a sound not typically heard in the Bay Area. G-Funk meets southern twang in Devin’s and the Coughee Brothers’ unique brand of hip-hop, and the Hyphy-crazed heads in the bay might do well to take notice. Plus, the Coughee Brothers have the gangtsa version of Ray Charles in Rob Quest, a blind member of the group who was arguably the best rapper on stage.
Finally, four hours later on a Wednesday night, Del came out to massive adulation, and performed a great set of throw back jams from his heyday. But the contact high provided by Devin The Dude and his pals was more than enough to leave at least one person satisfied for the night. The show was a bit of a blur after them, but in a good way.
For more information, visit:
http://www.myspace.com/devinthedude
http://wc05.allmusic.com/cg/amg.dll
http://www.myspace.com/cougheebrothaz
http://store.definitivejux.net/store/index.htm
http://wm03.allmusic.com/cg/amg.dll
It’s no secret that underground hip-hop is big in the Bay Area. So when famed and well-respected Del The Funky Homosapien, from the Hieroglyphics camp in East Oakland, makes a return to the stage, hard-cord Bay hip-hop kids come out in full force.
Wednesday, Nov. 14 was no exception as Del wrapped up his nation-wide tour at Slim’s in the SoMa district. As the headliner, and after recently signing with indie hip-hop juggernaut Def Jux, Del had created quite the buzz as the tour wound down and headed back to the Bay Area for two shows at Slim’s. And while he did not disappoint, Devin The Dude and his Houston homies may have stolen the show.
The Dude does well to distance himself from the typical “Crunk” sound of the South, as he and his H-Town cohorts display a sound more akin to Snoop Dog mixed with a touch of Outkast.
Unfortunately, the performance on the 14th suffered the same fate as hip-hop shows the world over: mediocre and bad opening acts. The show started out promising, with Knowbody, a new talent out of East Oakland who toured the country with Del and Devin, being the first to the stage. The little-known emcee impressed the early crowd, with clever and well-written rhymes set to bass-heavy, energetic production. He was an appropriate opener for Devin and Del, and acknowledged as much with a concise but solid set.
The next act, however, would not do the same. Shortly after Knowbody came the Serendipity Project – “Unfinished Project” might be a more apt name. The eight-piece band of surfer-looking frat boys and one female vocalist sounded like a cross between the B52s and the Red Hot Chilie Peppers, except that the guy from the B52s probably had a better flow. Borrowing a tired chapter out of countless copiers of The Roots, Serendipity Project’s attempt at blending virtually every genre of music into hip-hop failed, though not for lack of effort. My esteemed colleague who writes about hip-hop for MP3.com succinctly summed up the sound with four words: Santa Cruz jam band. Next.
Next, indeed, was Bukue One, from all parts East Bay. The skateboarding, kick-flipping emcee was a welcome respite from the ill-fated mess that preceded him. The only problem with Bukue, despite his engaging and reggae-infused freestyles, was that his set seemed to last for 56 hours. The crowd came to see Devin the Dude and Del, so when 14K – named after the cheap gold that coats the teeth of equally cheap gangsters – came to stage, the show finally picked up where Knowbody had left off. 14K, part of Devin’s Houston crew, engaged the crowd with the unique southern style that has made Devin a legend in Texas and in the underground generally: smooth flows, great stage presence, and tales of smoking weed and chasing skirts.
Soon to follow was the Coughee (pronounced “coffee”) Brothers, yet another crew of H-Towners aligned with Devin, who was quick to join them on stage. With Devin leading the way, the crew of six lit blunt after blunt on stage, while treating the crowd to a sound not typically heard in the Bay Area. G-Funk meets southern twang in Devin’s and the Coughee Brothers’ unique brand of hip-hop, and the Hyphy-crazed heads in the bay might do well to take notice. Plus, the Coughee Brothers have the gangtsa version of Ray Charles in Rob Quest, a blind member of the group who was arguably the best rapper on stage.
Finally, four hours later on a Wednesday night, Del came out to massive adulation, and performed a great set of throw back jams from his heyday. But the contact high provided by Devin The Dude and his pals was more than enough to leave at least one person satisfied for the night. The show was a bit of a blur after them, but in a good way.
For more information, visit:
http://www.myspace.com/devinthedude
http://wc05.allmusic.com/cg/amg.dll
http://www.myspace.com/cougheebrothaz
http://store.definitivejux.net/store/index.htm
http://wm03.allmusic.com/cg/amg.dll
Oh, Cheez Whiz, where art Thou?
by Dan Verel, [X]press Online
As most students who are forced to eat on campus on a regular basis know, the options can be limiting, tiring and downright frustrating. How many mediocre bagels and Cesar salads can one stand? So when I found an authentic East Coast treasure being offered at the Gold Coast Grill in the student union, I was smitten with guilty pleasure.
The delectable item at hand: A Philly cheesesteak. Sounds simple enough. Steak, cheese, bread – done. But this was no ordinary cheese steak. Although the amiable line cooks would ask the ludicrous question of whether or not you wanted lettuce and tomato on the meaty and cheesy concoction, (never!) someone had the foresight to honor a Philly tradition that might otherwise be shunned in the food-conscious Bay Area. Not provolone, not cheddar, not American cheese. Cheez Whiz, that hot, yellow, liquid-y Kraft product that comes out of a jar and sort of resembles cheese. While the three just-mentioned cheeses are acceptable, any true East Coaster knows what really makes a cheesesteak legit – yes, it’s Cheez Whiz.
Now before the organic mafia bristles at the notion of a chemical concoction tasting better than any soy product, consider this: you’re a hippie, and few people outside of the Bay Area care.
Like I said, I was tickled when I found this out. I could indulge in one of my favorite, most gluttonous snacks – a cheesesteak with da’ whiz, cooked mushrooms, grilled onions, topped off with an ever-so-slight spread of mayonnaise. Heaven. But in San Francisco, they try to throw mustard, lettuce, tomato, peppers, avocado, salsa, cucumbers, sprouts, patchouli and fairy dust on a cheese steak, and it’s gross.
But then something terrible happened, about two weeks ago. The warmer that turned the typically thick and otherwise inedible Whiz into a hot vat of deliciousness that you could bathe in broke. The first day they told me wasn’t so bad; I had eaten a cheesesteak consecutively for nearly two weeks, so I could handle a day without the artery clogger. I’m pretty sure the guys behind the grill thought I was insane, but what did I care? I had whiz!
The key word now is had. Nearly two weeks after first reporting this kitchen catastrophe to me, no progress has been made to replace the pot of gold that sat next to the grease-caked griddle. That’s where the magic happens. And despite repeated promises of “maybe next week,” no action has been taken. Now, instead of biting into a gooey and delicious mess of whiz, mayo and beef, I’m forced to settle for boring old cheddar. With four slices of the cheddar, it’s kind of close, but not really. One guy, seeing my constant disappointment, offered what sounded to be a decent solution: nacho cheese. About the same, right? Wrong. I tried it in good faith, but it was too soggy, and had that hint of jalapeño flavor that should never be mixed with beef. I wasn’t sure if I was eating at 7-11 or at Pat’s in South Philly.
So, Gold Coast Grill, I have one simple request: Bring back the whiz! I know I’m not alone in this matter.
For more information, visit:
http://en.wikipedia.org/wiki/Cheesesteak
http://en.wikipedia.org/wiki/Cheez_Whiz
http://www.patskingofsteaks.com/Site/Welcome.html
http://en.wikipedia.org/wiki/Pat%27s_Steaks
As most students who are forced to eat on campus on a regular basis know, the options can be limiting, tiring and downright frustrating. How many mediocre bagels and Cesar salads can one stand? So when I found an authentic East Coast treasure being offered at the Gold Coast Grill in the student union, I was smitten with guilty pleasure.
The delectable item at hand: A Philly cheesesteak. Sounds simple enough. Steak, cheese, bread – done. But this was no ordinary cheese steak. Although the amiable line cooks would ask the ludicrous question of whether or not you wanted lettuce and tomato on the meaty and cheesy concoction, (never!) someone had the foresight to honor a Philly tradition that might otherwise be shunned in the food-conscious Bay Area. Not provolone, not cheddar, not American cheese. Cheez Whiz, that hot, yellow, liquid-y Kraft product that comes out of a jar and sort of resembles cheese. While the three just-mentioned cheeses are acceptable, any true East Coaster knows what really makes a cheesesteak legit – yes, it’s Cheez Whiz.
Now before the organic mafia bristles at the notion of a chemical concoction tasting better than any soy product, consider this: you’re a hippie, and few people outside of the Bay Area care.
Like I said, I was tickled when I found this out. I could indulge in one of my favorite, most gluttonous snacks – a cheesesteak with da’ whiz, cooked mushrooms, grilled onions, topped off with an ever-so-slight spread of mayonnaise. Heaven. But in San Francisco, they try to throw mustard, lettuce, tomato, peppers, avocado, salsa, cucumbers, sprouts, patchouli and fairy dust on a cheese steak, and it’s gross.
But then something terrible happened, about two weeks ago. The warmer that turned the typically thick and otherwise inedible Whiz into a hot vat of deliciousness that you could bathe in broke. The first day they told me wasn’t so bad; I had eaten a cheesesteak consecutively for nearly two weeks, so I could handle a day without the artery clogger. I’m pretty sure the guys behind the grill thought I was insane, but what did I care? I had whiz!
The key word now is had. Nearly two weeks after first reporting this kitchen catastrophe to me, no progress has been made to replace the pot of gold that sat next to the grease-caked griddle. That’s where the magic happens. And despite repeated promises of “maybe next week,” no action has been taken. Now, instead of biting into a gooey and delicious mess of whiz, mayo and beef, I’m forced to settle for boring old cheddar. With four slices of the cheddar, it’s kind of close, but not really. One guy, seeing my constant disappointment, offered what sounded to be a decent solution: nacho cheese. About the same, right? Wrong. I tried it in good faith, but it was too soggy, and had that hint of jalapeño flavor that should never be mixed with beef. I wasn’t sure if I was eating at 7-11 or at Pat’s in South Philly.
So, Gold Coast Grill, I have one simple request: Bring back the whiz! I know I’m not alone in this matter.
For more information, visit:
http://en.wikipedia.org/wiki/Cheesesteak
http://en.wikipedia.org/wiki/Cheez_Whiz
http://www.patskingofsteaks.com/Site/Welcome.html
http://en.wikipedia.org/wiki/Pat%27s_Steaks
Monday, November 26, 2007
Stussy is still super sick with it
by Pamela Bryant, [X]press Online
Stussy used to be a brand that was associated with a Rasta cartoon caricature that I, along with everyone else, wore in junior high. They produced M.C. Hammer type parachute pants and focused in on the “hype” of the hyper-color movement (which I heard is making a comeback).
Currently, Stussy is more than just clothing. It’s a name henceforth built by popularity with attachments to hip-hop and rock music, collaborations with famous graphic designers, and grand creations with world-renowned artists.
Stussy has become a staple among the skateboard, DJ, and artist community as was relevant at their latest in store endeavor.
Graffiti artist Ghost, a.k.a. Cousin Frank made his mark inside the Stussy San Francisco location with an opening party Saturday, November 17th.
Ghost, born in the 60’s, made his début in the graffiti word by “bombing trains” in the Bronx. Those familiar with graffiti have seen its prolific movement from the streets to upscale gallery status.
Stussy has housed many artists of the like; deeming Saturday’s shindig no different than any other soiree they’ve thrown.
A crowd of what appears to be 20-year-old skateboarders, huddled by the front door, eyes half closed, glancing at each arriving person’s attire. Clouds of smoke blew past the entrance, as track bike after track bike were locked up at any and all available parking meters. The crowd consisted mainly of boys, but after an hour passed, the maidens were soon in tow.
Ghost remained, well, rather ghost-like as he drifted from outside to upstairs, where he could view the crowd without interruption. He was later joined by his friend Lupe Fiasco (plus entourage), which caused a slight buzz among the patrons/ art go-ers. I, of course, had to be told whom the commotion was about, since my cable was cut off last year, leaving me to fend for myself by reading Big Rich logos plastered on SUVs.
Everyone just kind of clumped together in small groups of two or three, each examining the art hanging around the store at their leisure, in between sips from their Dixie cup. (Yes, the infamous red Dixie cup reared its ugly head containing liquid for the legal adults in the room).
The show lasted until 11 p.m., the keg tapped, the lingering conversations of invitations to after parties died down, and everyone piled their drunk, yet culturally enlightened minds onto Haight Street.
All in all, the art was super sick, the patrons thought they were super sick, and I’m sure a few people actually became super sick from the chilled air of the night.
Stussy used to be a brand that was associated with a Rasta cartoon caricature that I, along with everyone else, wore in junior high. They produced M.C. Hammer type parachute pants and focused in on the “hype” of the hyper-color movement (which I heard is making a comeback).
Currently, Stussy is more than just clothing. It’s a name henceforth built by popularity with attachments to hip-hop and rock music, collaborations with famous graphic designers, and grand creations with world-renowned artists.
Stussy has become a staple among the skateboard, DJ, and artist community as was relevant at their latest in store endeavor.
Graffiti artist Ghost, a.k.a. Cousin Frank made his mark inside the Stussy San Francisco location with an opening party Saturday, November 17th.
Ghost, born in the 60’s, made his début in the graffiti word by “bombing trains” in the Bronx. Those familiar with graffiti have seen its prolific movement from the streets to upscale gallery status.
Stussy has housed many artists of the like; deeming Saturday’s shindig no different than any other soiree they’ve thrown.
A crowd of what appears to be 20-year-old skateboarders, huddled by the front door, eyes half closed, glancing at each arriving person’s attire. Clouds of smoke blew past the entrance, as track bike after track bike were locked up at any and all available parking meters. The crowd consisted mainly of boys, but after an hour passed, the maidens were soon in tow.
Ghost remained, well, rather ghost-like as he drifted from outside to upstairs, where he could view the crowd without interruption. He was later joined by his friend Lupe Fiasco (plus entourage), which caused a slight buzz among the patrons/ art go-ers. I, of course, had to be told whom the commotion was about, since my cable was cut off last year, leaving me to fend for myself by reading Big Rich logos plastered on SUVs.
Everyone just kind of clumped together in small groups of two or three, each examining the art hanging around the store at their leisure, in between sips from their Dixie cup. (Yes, the infamous red Dixie cup reared its ugly head containing liquid for the legal adults in the room).
The show lasted until 11 p.m., the keg tapped, the lingering conversations of invitations to after parties died down, and everyone piled their drunk, yet culturally enlightened minds onto Haight Street.
All in all, the art was super sick, the patrons thought they were super sick, and I’m sure a few people actually became super sick from the chilled air of the night.
Greenfestival for freaks?
by Pamela Bryant, [X]press OnlineA friend once told me, “the more evolved you get in the environment, the weirder you get.”
I just shrugged it off with my response of how I am vegetarian and eco-friendly but definitely not weird. And yes, I’m sure there are a few people out there who beg to differ with that last statement but I’m not referring to how I talk too much when I drink, or how I wear pajamas even if it’s three in the afternoon. I’m talking about the people we stare at that ride electric bicycles, wear brown outfits that resemble elf clothing, and swear by coffee enemas (yes, I said enemas).
I thought about it for a while and remembered a time when I would throw paper in the trash. Now, I yell at my roommates for not recycling their grocery receipts, going as far as digging in the trashcan for cardboard toilet paper rolls. Do they view me as the recycling nut job? Yes. The answer is yes, they do.
A few weeks ago, my fellow weirdos and I attended Greenfestival at the San Francisco Concourse Exhibition Center.
I used to think Greenfestival was about promoting a healthy lifestyle with vegetarian and vegan diets. While it does contain those elements, I realized this year after volunteering, that it is more about sustainability.
Most of the vendors I visited had samples of delicious snacks, organic soaps, and even lip balm that doesn’t contain Petrolatum and isn’t tested on animals. However, in addition to these items, there were leaflets containing information on signing up for environmental causes, such as www.care2.com, that focuses on green living.
In the front of the Concourse, there was an area to drop off used batteries, (as most people put them in the trash not realizing how hazardous that is for our environment) along with a listing of places to drop off used laptops, computer monitors, etc.
My job volunteering this year was to stand by the trash, recycle, and compost cans (fun, right?). I learned so much about what can and cannot be recycled, such as gum (it doesn’t make that stain on the cement from it’s compostability).
The receptacle that maintained its capacity the most was green. Of course you would imagine at GREENfestival, the green container would receive the most action. But did you know the sample cups used were made from corn or potatoes, making them biodegradable? I found out the hard way but putting coffee in mine resulting in a disappearing act of cup, not coffee.
Hopefully someday soon, we will be living in a world where you can eat with a fork, and then eat your fork after, drink from glass and then plant it in soil, write with a pen…well, you get my drift.
Until then, I will continue to recycle my receipts, toilet paper rolls, and stop chewing gum, because after all, I am a weirdo.
Tuesday, November 13, 2007
Reopening of The Uptown in Oakland a good sign for local bands
by Contessa Abono, [X]press Online
Downtown Oakland is undergoing some exciting revitalization projects these days. One that caught the eyes and ears of the local music community was the reopening of The Uptown Nightclub on Friday, November 2.
Around the corner from The Paramount Theater and near the Tribune Building, the location is ideal for many East Bay residents who don’t want to make the trip all the way into the city of no parking zones -- also know as San Francisco. The Uptown will feature entertainment ranging from live burlesque shows to skating video premiers -- something different from the crackers-and-cheese, live-band standards of other venues.
Larry Trujillo, Zero Magazine’s publisher and editor-in-chief, took on the club after its recent owners let it go. He sees a niche in the area that The Uptown could fill. After waiting for the club to go through escrow, he and his team worked to get the nightclub remodeled and ready to rock.
“Tonight is literally the first time I have seen it all put together. We have been working night and day, up until the last second,” said Trujillo of the reopening show, which featured Bay Area indie rock locals Birdmonster, The Morning Benders, The Mumlers, and Poor Bailey.
Two newly-remodeled rooms upstairs in the club are now open to the public and feature black leather couches, balcony views and semi-private seating nooks, full of plush pillows perfect for sneaking a make-out session. As far as the ambiance, Trujillo likens The Uptown to its sister club, The Blank Club in San Jose, which Trujillo also owns and operates.
The Uptown was like a well-divided household with a bar on one side; an adjacent room; “the family room,” which has a decent-sized stage; the surprisingly large “backyard,” which serves as the smoking area; and an upstairs “master bedroom,” a lounge with a smaller bar area.
San Francisco alternative radio station Live 105 (KITS 105.3FM) also presented at the reopening. Music director Aaron Axelsen, creator of the radio show Soundcheck, was at the event. Intent on discovering up-and-coming musicians, Soundcheck has a distinctive focus on SF Bay Area bands, and Axelsen came to the East Bay venue to support the nights undertaking.
“I grew up in the East Bay going to places like Gilman,” said Axelsen.
Axelsen feels it’s important to support local venues especially in the East Bay where there isn’t a plethora of activities for kids to choose from. Axelsen has his finger on the pulse of virtually dozens of local bands including Minipop who played a studio session recently on Soundcheck.
Axelsen feels clubs like The Uptown are vital for new music and hopes to see more clubs popping up all over the East Bay.
“The East Bay club scene has been stagnant lately,” said Axelsen. “Hopefully, The Uptown can rekindle the flourishing underground warehouse venues that were happening before. I feel this venue harnesses that sprit. The Uptown has that serendipitous nature.”
The demand for music venues outside of San Francisco seems to outweigh the number of hot spots that do exist -- making the reopening of The Uptown even more intriguing to local residents.
Vincenzo P. Mantooth, from San Leandro, had been to The Uptown before the reopening and was pleased with the changes.
“They are much friendlier now. As far as customer service goes they seem more attentive,” said Mantooth.
Many of the opening nights attendees had not been to a show at The Uptown so for them this was a night of excitement and possibly new beginnings.
You might find yourself winding up at The Uptown in the near future, catching an indie band and finding out that a local music scene does exists beyond the Bay Bridge.
The Uptown Nightclub is located at 1928 Telegraph Ave, Oakland. For more information on upcoming shows visit www.uptownnightclub.com.
Downtown Oakland is undergoing some exciting revitalization projects these days. One that caught the eyes and ears of the local music community was the reopening of The Uptown Nightclub on Friday, November 2.
Around the corner from The Paramount Theater and near the Tribune Building, the location is ideal for many East Bay residents who don’t want to make the trip all the way into the city of no parking zones -- also know as San Francisco. The Uptown will feature entertainment ranging from live burlesque shows to skating video premiers -- something different from the crackers-and-cheese, live-band standards of other venues.
Larry Trujillo, Zero Magazine’s publisher and editor-in-chief, took on the club after its recent owners let it go. He sees a niche in the area that The Uptown could fill. After waiting for the club to go through escrow, he and his team worked to get the nightclub remodeled and ready to rock.
“Tonight is literally the first time I have seen it all put together. We have been working night and day, up until the last second,” said Trujillo of the reopening show, which featured Bay Area indie rock locals Birdmonster, The Morning Benders, The Mumlers, and Poor Bailey.
Two newly-remodeled rooms upstairs in the club are now open to the public and feature black leather couches, balcony views and semi-private seating nooks, full of plush pillows perfect for sneaking a make-out session. As far as the ambiance, Trujillo likens The Uptown to its sister club, The Blank Club in San Jose, which Trujillo also owns and operates.
The Uptown was like a well-divided household with a bar on one side; an adjacent room; “the family room,” which has a decent-sized stage; the surprisingly large “backyard,” which serves as the smoking area; and an upstairs “master bedroom,” a lounge with a smaller bar area.
San Francisco alternative radio station Live 105 (KITS 105.3FM) also presented at the reopening. Music director Aaron Axelsen, creator of the radio show Soundcheck, was at the event. Intent on discovering up-and-coming musicians, Soundcheck has a distinctive focus on SF Bay Area bands, and Axelsen came to the East Bay venue to support the nights undertaking.
“I grew up in the East Bay going to places like Gilman,” said Axelsen.
Axelsen feels it’s important to support local venues especially in the East Bay where there isn’t a plethora of activities for kids to choose from. Axelsen has his finger on the pulse of virtually dozens of local bands including Minipop who played a studio session recently on Soundcheck.
Axelsen feels clubs like The Uptown are vital for new music and hopes to see more clubs popping up all over the East Bay.
“The East Bay club scene has been stagnant lately,” said Axelsen. “Hopefully, The Uptown can rekindle the flourishing underground warehouse venues that were happening before. I feel this venue harnesses that sprit. The Uptown has that serendipitous nature.”
The demand for music venues outside of San Francisco seems to outweigh the number of hot spots that do exist -- making the reopening of The Uptown even more intriguing to local residents.
Vincenzo P. Mantooth, from San Leandro, had been to The Uptown before the reopening and was pleased with the changes.
“They are much friendlier now. As far as customer service goes they seem more attentive,” said Mantooth.
Many of the opening nights attendees had not been to a show at The Uptown so for them this was a night of excitement and possibly new beginnings.
You might find yourself winding up at The Uptown in the near future, catching an indie band and finding out that a local music scene does exists beyond the Bay Bridge.
The Uptown Nightclub is located at 1928 Telegraph Ave, Oakland. For more information on upcoming shows visit www.uptownnightclub.com.
Saturday, November 10, 2007
"The name's Newsom...Gavin Newsom"
By Timothy Henry
I think I have a crush on Gavin Newsom.
Well…not really. I mean, maybe I should explain here that I am a heterosexual male (and a liberal)– and even still, the now second term mayor of San Francisco has something about him. Je ne sais quoi – I don’t know what to call it. It is charisma, charm, confidence, elocution . . . and . . . what?
Gavin Newsom San Francisco State’s Knuth hall campus on October 29th, in a sparsely attended and poorly advertised rally hosted by the College Democrats (were these to be metaphors for poor voter turnout?). Newsom, sported his token attire: hair, a heavily gelled and perfectly sculpted helmet; shirt, absent of a tie, and unbutton two-fold, and the whole ensemble framed by a black blazer and black slacks.
“Is he wearing a tuxedo,” a fellow reporter asked, as our journalistic posse of three trotted into the last twenty minutes of the event. Newsom’s ensemble did resemble worn formal-wear, and you had to wonder if Newsom was coming from some fancy, high-powered event, like James Bond after a long night of fighting spies, drinking dry martinis, and wooing exotic women.
Someone who identified them-self as a “driver” asked Newsom a transportation question, to which the mayor responded, “. . . That lays out a Transit Effectiveness Plan – TEP.”
Oh, you had me at TEP Gavin (or Gav’s, as I like to call him).
Indeed, what a ring acronyms and statistics have. Newsom then spouted of percentage, to the decimal. These are the basic tools of a good politician, not unique to Newsom, but certainly he uses this tool with great skill. Clearly one has weight, authority, and legitimacy if they have stats (to the freaking decimal) at their fingertips.
Newsom continued: “Integrative Traffic Management System ITMS 36.4 million dollars in repaving our street, three times more money . . .” Oh, yes, YES! Don’t stop, Gav’s.
Cecilia M. Vega of the San Francisco Chronicle attended Newsom’s State of the City earlier in the day, and wrote:
“In a presentation bordering on both a commercial for his administration and a college lecture series, Newsom carried a wireless microphone and walked around the stage and through the aisles in an auditorium at UCSF's Mission Bay campus, at one point briefly taking a seat next to an audience member.”
Yes, Newsom is a master politician. Bill (Slick Willy) Clinton had the Je ne sais quoi too , that smooth charm, that ability to seduce an audience. Indeed, my puppy-dog like crush is not limited to the young Gavin Newsom--it’s something that all good politicians can illicit (even Republicans).
Like Clinton, Newsom has been able to absorb scandal and emerge relatively unscathed, perhaps even politically stronger. “There was no mention of the sex scandal that rocked his administration earlier this year,” wrote Vega.
When thinking of slick politicians, I always refer to the beginning of Joe Klein’s “Primary Colors,” the brilliant semi-fictional journals of Bill Clinton’s emergence:
“. . . The handshake is the threshold act, the beginning of politics. I’ve seen him do it two million times now, but I couldn’t tell you how he does it, the right-handed part of it – the strength, quality, duration of it, the rudiments of the pressing flesh. I can, however, tell you a whole lot about what he does with his other hand . . . He is a genius with it. He might put it on your elbow, or up by your biceps: these are basic, reflexive moves. He is interested in you. He is honored to meet you. If he gets any higher up your shoulder – if he, say, drapes his left arm over your back, it is somehow less intimate, more casual. He’ll share a laugh or a secret then – a light secret, not a real one- flattering you with the illusion of conspiracy . . . He’ll flash that famous misty look of his. And he will mean it.”
I think I have a crush on Gavin Newsom.
Well…not really. I mean, maybe I should explain here that I am a heterosexual male (and a liberal)– and even still, the now second term mayor of San Francisco has something about him. Je ne sais quoi – I don’t know what to call it. It is charisma, charm, confidence, elocution . . . and . . . what?
Gavin Newsom San Francisco State’s Knuth hall campus on October 29th, in a sparsely attended and poorly advertised rally hosted by the College Democrats (were these to be metaphors for poor voter turnout?). Newsom, sported his token attire: hair, a heavily gelled and perfectly sculpted helmet; shirt, absent of a tie, and unbutton two-fold, and the whole ensemble framed by a black blazer and black slacks.
“Is he wearing a tuxedo,” a fellow reporter asked, as our journalistic posse of three trotted into the last twenty minutes of the event. Newsom’s ensemble did resemble worn formal-wear, and you had to wonder if Newsom was coming from some fancy, high-powered event, like James Bond after a long night of fighting spies, drinking dry martinis, and wooing exotic women.
Someone who identified them-self as a “driver” asked Newsom a transportation question, to which the mayor responded, “. . . That lays out a Transit Effectiveness Plan – TEP.”
Oh, you had me at TEP Gavin (or Gav’s, as I like to call him).
Indeed, what a ring acronyms and statistics have. Newsom then spouted of percentage, to the decimal. These are the basic tools of a good politician, not unique to Newsom, but certainly he uses this tool with great skill. Clearly one has weight, authority, and legitimacy if they have stats (to the freaking decimal) at their fingertips.
Newsom continued: “Integrative Traffic Management System ITMS 36.4 million dollars in repaving our street, three times more money . . .” Oh, yes, YES! Don’t stop, Gav’s.
Cecilia M. Vega of the San Francisco Chronicle attended Newsom’s State of the City earlier in the day, and wrote:
“In a presentation bordering on both a commercial for his administration and a college lecture series, Newsom carried a wireless microphone and walked around the stage and through the aisles in an auditorium at UCSF's Mission Bay campus, at one point briefly taking a seat next to an audience member.”
Yes, Newsom is a master politician. Bill (Slick Willy) Clinton had the Je ne sais quoi too , that smooth charm, that ability to seduce an audience. Indeed, my puppy-dog like crush is not limited to the young Gavin Newsom--it’s something that all good politicians can illicit (even Republicans).
Like Clinton, Newsom has been able to absorb scandal and emerge relatively unscathed, perhaps even politically stronger. “There was no mention of the sex scandal that rocked his administration earlier this year,” wrote Vega.
When thinking of slick politicians, I always refer to the beginning of Joe Klein’s “Primary Colors,” the brilliant semi-fictional journals of Bill Clinton’s emergence:
“. . . The handshake is the threshold act, the beginning of politics. I’ve seen him do it two million times now, but I couldn’t tell you how he does it, the right-handed part of it – the strength, quality, duration of it, the rudiments of the pressing flesh. I can, however, tell you a whole lot about what he does with his other hand . . . He is a genius with it. He might put it on your elbow, or up by your biceps: these are basic, reflexive moves. He is interested in you. He is honored to meet you. If he gets any higher up your shoulder – if he, say, drapes his left arm over your back, it is somehow less intimate, more casual. He’ll share a laugh or a secret then – a light secret, not a real one- flattering you with the illusion of conspiracy . . . He’ll flash that famous misty look of his. And he will mean it.”
Wednesday, November 07, 2007
Plumpynut
By Tim Henry
A week ago, my editor pitched a Blog to me about a breakthrough in a food-supplement for famine-ravaged countries, with the unlikely name of “Plumpynut.” I watched a 60 Minutes segment with the white-haired Anderson Cooper roaming through Niger, showing kids squeezing packets of a peanut-butter paste in their mouths.
In an age when American’s are dosing themselves all manner of drugs for increasingly obscure symptoms, when pills can give men extremely accurate and responsive erections, and when five year olds are hopped up on Ritalin and Adderall, what a sad statement of humanities priorities it is that simple, life saving and sustaining sustenance has only recently been created and distributed.
And a few days after I discovered Plumpynut, it was Halloween.
The United States and Africa have long been represented the extremes of human conditions. Abundance versus scarcity, prosperity versus suffering. For the first time in my life, I bought candy and handed it out to lines of children dressed as all manner of super-hero’s and monsters. My roommates and I spent around thirty dollars for Pumpkins and candy.
“A daily dose of Plumpynut costs about a dollar,” said Anderson Cooper in his 60 Minutes cameo. So we had essentially bought the equivalent of 30 days of food for one African child – and for what? Halloween is the first in the American holiday season of abundance (followed, of course, by another type of feast, and then a feast of materialism and consumerism).
My dogs started eating the pumpkins, and we realized that pumpkins are more than just ornamental squash . . . they are in fact a vegetable. They are food that we cut designs into, while Africans are trying not to starve.
Plumpynut is a peanut butter flavored vitamin paste that can bring terribly emaciated children back from the brink of death. “Plumpynut” was created by the French company Nutriset, and has been put into widespread use in developing nations by Doctors Without Borders. It is a blend of peanut butter, powdered milk, powdered sugar, and vitamins.
Powdered milk and other basic food substitutes require preparation, available clean water, and refrigeration, all basic elements that we take for granted in developed countries. Part of Plumpynut’s effectiveness is that it does not need to be prepared, refrigerated, or distributed by professionals.
Nutriset calls Plumpynut a Ready to Use Therapeutic food or RUTF, and can be eaten directly from it’s packet.
A week ago, my editor pitched a Blog to me about a breakthrough in a food-supplement for famine-ravaged countries, with the unlikely name of “Plumpynut.” I watched a 60 Minutes segment with the white-haired Anderson Cooper roaming through Niger, showing kids squeezing packets of a peanut-butter paste in their mouths.
In an age when American’s are dosing themselves all manner of drugs for increasingly obscure symptoms, when pills can give men extremely accurate and responsive erections, and when five year olds are hopped up on Ritalin and Adderall, what a sad statement of humanities priorities it is that simple, life saving and sustaining sustenance has only recently been created and distributed.
And a few days after I discovered Plumpynut, it was Halloween.
The United States and Africa have long been represented the extremes of human conditions. Abundance versus scarcity, prosperity versus suffering. For the first time in my life, I bought candy and handed it out to lines of children dressed as all manner of super-hero’s and monsters. My roommates and I spent around thirty dollars for Pumpkins and candy.
“A daily dose of Plumpynut costs about a dollar,” said Anderson Cooper in his 60 Minutes cameo. So we had essentially bought the equivalent of 30 days of food for one African child – and for what? Halloween is the first in the American holiday season of abundance (followed, of course, by another type of feast, and then a feast of materialism and consumerism).
My dogs started eating the pumpkins, and we realized that pumpkins are more than just ornamental squash . . . they are in fact a vegetable. They are food that we cut designs into, while Africans are trying not to starve.
Plumpynut is a peanut butter flavored vitamin paste that can bring terribly emaciated children back from the brink of death. “Plumpynut” was created by the French company Nutriset, and has been put into widespread use in developing nations by Doctors Without Borders. It is a blend of peanut butter, powdered milk, powdered sugar, and vitamins.
Powdered milk and other basic food substitutes require preparation, available clean water, and refrigeration, all basic elements that we take for granted in developed countries. Part of Plumpynut’s effectiveness is that it does not need to be prepared, refrigerated, or distributed by professionals.
Nutriset calls Plumpynut a Ready to Use Therapeutic food or RUTF, and can be eaten directly from it’s packet.
Sunday, November 04, 2007
Zombies come "Out of the Abyss" for Judgement Day
by Contessa Abono, [X]press Online
From the darkened corners of a quiet basement, the sight of ever-nearing zombies creeping towards the members of Oakland-based band, Judgement Day, lingered in the air like a cold and dreary prison.
This is a scene from their video shoot for the song “Out of the Abyss,” the latest off of the band’s first album, “Dark Opus,” which they released back in 2004.
“Right now it's 'Out of the Abyss' -- a bonus track when you buy the album online, like on iTunes or Rhapsody,” said Anton Patzner.
Patzner plays violin for Judgement Day and has also recorded with East Bay bands Poor Bailey and Audrye Sessions, but is better known for his work in the indie-rock great Bright Eyes. He plays with a well-balanced match -- his brother, Lewis Patzner, plays cello, and Jon Bush is on drums.
An experimental take on a darker classical sound, Judgement Day’s music has an unmistakable, pure-metal vibe that comes through their use of effects pedals on the cello and violin. The band says some of their influences include Refused, Mars Volta, Shostakovich and Bartok; but their sound has a surprising blend you most likely haven’t caught before. The first obvious difference is the absence of guitars. Instead, Anton takes the role of lead guitar with his violin while Lewis seems to be fitting the roll of rhythm guitar.
The video for “Out of the Abyss” is destined to leak out of the coffee house basement where it was shot. Director Travis Jones and Assistant Director Adam Rygiol -- who also handles special effects and editing -- have created a feast of flesh for the zombies as the band becomes their unlucky meal.
Look forward to an undead bride and groom backed by music that any “Night of the Living Dead” movie is lacking. But you will have to wait until November 28, when the music video comes out. Look for it on You Tube.
From the darkened corners of a quiet basement, the sight of ever-nearing zombies creeping towards the members of Oakland-based band, Judgement Day, lingered in the air like a cold and dreary prison.
This is a scene from their video shoot for the song “Out of the Abyss,” the latest off of the band’s first album, “Dark Opus,” which they released back in 2004.
“Right now it's 'Out of the Abyss' -- a bonus track when you buy the album online, like on iTunes or Rhapsody,” said Anton Patzner.
Patzner plays violin for Judgement Day and has also recorded with East Bay bands Poor Bailey and Audrye Sessions, but is better known for his work in the indie-rock great Bright Eyes. He plays with a well-balanced match -- his brother, Lewis Patzner, plays cello, and Jon Bush is on drums.
An experimental take on a darker classical sound, Judgement Day’s music has an unmistakable, pure-metal vibe that comes through their use of effects pedals on the cello and violin. The band says some of their influences include Refused, Mars Volta, Shostakovich and Bartok; but their sound has a surprising blend you most likely haven’t caught before. The first obvious difference is the absence of guitars. Instead, Anton takes the role of lead guitar with his violin while Lewis seems to be fitting the roll of rhythm guitar.
The video for “Out of the Abyss” is destined to leak out of the coffee house basement where it was shot. Director Travis Jones and Assistant Director Adam Rygiol -- who also handles special effects and editing -- have created a feast of flesh for the zombies as the band becomes their unlucky meal.
Look forward to an undead bride and groom backed by music that any “Night of the Living Dead” movie is lacking. But you will have to wait until November 28, when the music video comes out. Look for it on You Tube.
Emergency: This Temblor is Not a Test
by Shanon Corbin, [X]press Online
My eyes slowly wander around the room as the thought crosses my mind: Is this tremor, this shaking actually happening right now? It is real -- a 5.6 magnitude earthquake happening at 8:16 p.m. on a Tuesday night in San Francisco. I quickly thought to myself as I was lying in bed, “Find your pants and stand in the doorway.” As I made my way out of bed, the small earthquake stopped. I asked myself, “What can I do in case this happens again? Am I ready for the next big earthquake -- especially if I am in San Francisco?”
I remember being eight years old and sitting somewhere in my family’s home when -- exactly at 5:04 p.m. on October 17 -- the Loma Prieta earthquake struck the San Francisco Bay area. I did not know what was happening except that a once-talked-about textbook example and a now-put-into-practice emergency drill was now real. In that brief two minutes, my family members were shaken -- one actually thought it was the Rapture. Ha-ha. No, when that happens, you will hear a horn, silly.
Experiencing what just happened, I think to myself that people are never prepared for such events, because until something actually happens, the moment itself is hypothetical. If another earthquake -- or any natural disaster – struck, I would ideally like to take,my Ipod and its charger, an external hard drive, my digital SLR camera, important documents, and a some pictures with me. But that is materialistic. Realistically, the items I should have ready in the next natural disaster are clothing, a pack of mints and credit card. People can always anticipate disaster, but until it strikes, the event remains at the back of our mind. In case of any emergency, try to stay calm and go from there.
My eyes slowly wander around the room as the thought crosses my mind: Is this tremor, this shaking actually happening right now? It is real -- a 5.6 magnitude earthquake happening at 8:16 p.m. on a Tuesday night in San Francisco. I quickly thought to myself as I was lying in bed, “Find your pants and stand in the doorway.” As I made my way out of bed, the small earthquake stopped. I asked myself, “What can I do in case this happens again? Am I ready for the next big earthquake -- especially if I am in San Francisco?”
I remember being eight years old and sitting somewhere in my family’s home when -- exactly at 5:04 p.m. on October 17 -- the Loma Prieta earthquake struck the San Francisco Bay area. I did not know what was happening except that a once-talked-about textbook example and a now-put-into-practice emergency drill was now real. In that brief two minutes, my family members were shaken -- one actually thought it was the Rapture. Ha-ha. No, when that happens, you will hear a horn, silly.
Experiencing what just happened, I think to myself that people are never prepared for such events, because until something actually happens, the moment itself is hypothetical. If another earthquake -- or any natural disaster – struck, I would ideally like to take,my Ipod and its charger, an external hard drive, my digital SLR camera, important documents, and a some pictures with me. But that is materialistic. Realistically, the items I should have ready in the next natural disaster are clothing, a pack of mints and credit card. People can always anticipate disaster, but until it strikes, the event remains at the back of our mind. In case of any emergency, try to stay calm and go from there.
Haute Couture Shock
by Shanon Corbin, [X]press Online
My little known secret: I like the culture of fashion and fashion-photography. When Gentlemen’s Quarterly, W magazine, Purple Fashion Magazine or any other stylish publication grabs my attention on the newsstand through slick and innovative photography or great clothing, I will buy! I was more than compelled when I saw this month’s Out magazine with cover model and designer Tom Ford – Oy!
Tom Ford is a big deal in the fashion world. Tom Ford summary: Ford graduated from the Parson’s School of Design in 1986 and moved to Italy in 1990, where he began working at Gucci and took different leadership roles, from designing women’s clothing to becoming their creative director in 1994. Ford left Gucci in 2004, to form a clothing line under his own name only a year later.
I read the article, and like most stylish, hip magazine pieces that are made for gay 21-to 36-year-olds, it is a fluff piece. Flipping through the new November issue of Out magazine or visiting Ford’s website (www.tomford.com), a viewer will see a well-positioned bottle of Tom Ford’s new men’s fragrance nestled in the middle of a woman’s neatly shaven crotch. Yes…exactly.
Granted, the ad does what it sets out to do -- cause some chatter and maybe get some people to buy the fragrance. But even I, as a gay man, wonder if the ad is going a bit too far. Tom Ford says in the Out article, “We need to get over our sexual hang-ups,” but is using a woman’s body in a sexually explicit and exploitive manner to sell a fragrance for men really going to create conversation about why people in the United States are so silent when it comes to sexuality? No, because changing the views of sexuality starts by disrupting the heterosexist and patriarchal systems that exist in the United States, and not in a magazine where someone is trying to sell a product. Ford took a gamble in his new ad campaign, but I believe it wasn’t worth the bet.
My little known secret: I like the culture of fashion and fashion-photography. When Gentlemen’s Quarterly, W magazine, Purple Fashion Magazine or any other stylish publication grabs my attention on the newsstand through slick and innovative photography or great clothing, I will buy! I was more than compelled when I saw this month’s Out magazine with cover model and designer Tom Ford – Oy!
Tom Ford is a big deal in the fashion world. Tom Ford summary: Ford graduated from the Parson’s School of Design in 1986 and moved to Italy in 1990, where he began working at Gucci and took different leadership roles, from designing women’s clothing to becoming their creative director in 1994. Ford left Gucci in 2004, to form a clothing line under his own name only a year later.
I read the article, and like most stylish, hip magazine pieces that are made for gay 21-to 36-year-olds, it is a fluff piece. Flipping through the new November issue of Out magazine or visiting Ford’s website (www.tomford.com), a viewer will see a well-positioned bottle of Tom Ford’s new men’s fragrance nestled in the middle of a woman’s neatly shaven crotch. Yes…exactly.
Granted, the ad does what it sets out to do -- cause some chatter and maybe get some people to buy the fragrance. But even I, as a gay man, wonder if the ad is going a bit too far. Tom Ford says in the Out article, “We need to get over our sexual hang-ups,” but is using a woman’s body in a sexually explicit and exploitive manner to sell a fragrance for men really going to create conversation about why people in the United States are so silent when it comes to sexuality? No, because changing the views of sexuality starts by disrupting the heterosexist and patriarchal systems that exist in the United States, and not in a magazine where someone is trying to sell a product. Ford took a gamble in his new ad campaign, but I believe it wasn’t worth the bet.