Born and raised in Santa Barbara, I like to consider myself a friendly native. But there are some corners I’d rather not share with certain tourists, and a few Santa Barbara gems I get a little territorial about preserving for those who truly respect and appreciate them. Cold Spring Tavern is one of those corners, and The Tradesmen, one of those gems.
For KJEE fans accustomed to the Summer RoundUp at the Bowl, perhaps the Arlington Theatre seemed a strange place for a rock show. Until, of course, Angels and Airwaves, 30 Seconds to Mars, and Jet took the stage and shook hands with the theatrical side of rock.
A blending of diverse sounds and genres isn’t always fruitful, and plenty of bands have tried and failed to pull it off. Yet, for Calexico, who played at the sold-out SOhO last Thursday night, disparate elements come together so well that one is forced to wonder how they could have existed without one another. The fortunate souls able to get in to the show were treated to Calexico’s melange of foot-stompin’ roots rock backed gorgeously by slide guitar, mariachi horns, and, of all things, a xylophone.
To any unsuspecting pedestrian strolling State Street last Wednesday night, it would be forgivable to presume the Arlington was hosting some Urban Outfitters-sponsored fashion show for the under-21 set. Indeed, the crowd spilling in and out of the theater was decidedly hip, effortlessly dressed, and ready to pay homage to one of indie rock’s most important bands.
Before funk, before rock, and even before rhythm and blues, there was gospel. Gospel revues packed into automobiles crisscrossed America throughout the 1940s and ’50s playing venues big and small, spreading the word about God with sweat-drenched, soul-shattering harmonies and rough-edged, powerful vocal solos.
LICORICE STICKLER: Whatever his other contributions to the world’s store of knowledge and amusement, Woody Allen should also be recognized as one of America’s poster boys for a solid work ethic. Long ago, he settled in on his creative life, and he has stuck to it, cranking out nearly a film a year for 30 years-mostly of the comic variety, with occasional visits to the dark sides of suspense or existential despair (equipped with escape routes).
The crowd on the altar was exceptionally large: one conductor, four soloists, about 30 instrumentalists, and 90 members of the choir, all clad in black. Above and behind them, a Christmas tree with white lights reminded us we were here for the most popular of all oratorios-Handel’s Messiah. When Maestra Jo Anne Wasserman lifted her baton, our spirits rose in response.
ONE CRAZY NIGHT: If the sudden influx of tinsel and tree flocking into your everyday life doesn’t fill you with the holiday spirit, you might be interested in the Hanukkah Tour 2006, which pairs Jews and punk music for a rocking response to the Christmas season. The Oakland punks of Jewdriver-itself a response to the skinhead punk band Skrewdriver
It’s hard to believe the man who made the campy Tom Cruise film The Last Samurai could pull off this minor triumph. And yet, director Edward Zwick has achieved the almost impossible: a feature film about contemporary Africa, replete with liberal preaching, that remains compelling from first gunshot to final self-congratulations. Leonardo DiCaprio also pulls off the unlikely as Danny Archer, a barely sentimentalized soldier of fortune.
Mel Gibson has been getting a bad rap lately for assorted misdeeds and misspeaking, and most of the scowling scrutiny is due to a focus on the artist rather than the art. Meanwhile, however, his directorial chops have soared. He has effectively transformed himself from a goofy B-level marquee actor to an important voice in American film, not to mention a bold individualist who dares to work outside the system to follow his heart and mind as an artist.
