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Date: May 22, 2017

Publication: Pretty Much Amazing

This sweet, funny collection is probably the least offensive comedy rock album ever made.

At the heart of the Season 5 Bob’s Burgers episode “Li’l Hard Dad”, a great little exchange takes place between Bob, who’s on his way to demand a refund for his crashed model helicopter, and his son Gene. “Some people say you have to learn to let things go,” Bob rhapsodizes, not realizing how self-important he sounds. “Well, you know what happens when you learn to let things go? You drop the thing you’re holding!” Gene’s been recording the whole thing on his portable keyboard, and when Bob finishes his spiel, Gene plays it back. “I sound important,” Bob observes. Then Gene punctuates the speech with a sampled fart. “Maybe take out the fart noise?” Bob suggests. Gene refuses. “It makes you go, ‘good point.’ And also: ‘good fart!’” (Click “web or pdf” link to continue reading.)

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Date: Dec 02, 2016

Publication: Hoodline

Pauline Oliveros, one of the most radical and outspoken composers of the 1960s San Francisco avant-garde, passed away last Friday. She was 84.

Oliveros is best-known for her philosophy of “deep listening,”which she developed in the ‘80s and promoted through workshops, books, and records by her Deep Listening Band. “Hear with your ears, listen with your heart” was her credo. Under Deep Listening, anything can be music: the hum of a fridge, the din of cars, the chatter of crowds. If you want it to be music, it’s music. (Click “web or pdf” link to continue reading.)

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Date: Aug 31, 2016

Publication: Pretty Much Amazing

Now this is how you drop a surprise album. After six months of inactivity—an eternity in Atlanta rap years—Young Thug has delivered precisely what his audience wanted. Jeffery builds on Thug’s past work, emphasizes his best qualities, and comes on as strong as Young Thug’s first release in six months should; it’s dressed to impress. While many of us still pray Frank Ocean will actually drop Boys Don’t Cry on November 13, Jeffery makes the fact that Young Thug has been sleeping on a major-label debut called HiTunes for almost his whole career entirely moot.

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Date: Jan 28, 2016

Publication: Daily Emerald

(The article received a second place award for Best Feature Story by the Oregon Newspaper Publishers Association in the 2016 Collegiate Newspaper Contest.)

The Campbell Club’s dish drainer was “fucked.”

“I cut through the pipe and gallons of stagnant sink waste started spraying out,” said Waldo Przekop, the job and maintenance coordinator at the University of Oregon’s oldest co-op.

Drenched in foul-smelling fluid, Przekop ran to fellow co-opper Jimi Wood for help.

“He comes upstairs covered in straight poop water like, ‘Jimi help me!’ ” said Wood.

Wood toweled off Przekop’s face and the two of them rushed downstairs to fix the dish system. After much trial and error, they managed to get it running again.

“But people still throw food in the sink,” Przekop said, laughing.

They could have called a plumber, but the Campbell Club is already $17,000 in debt. If the clubbers can’t scrounge this amount together by March 20, the co-op will be shut down by the Student Cooperative Association, its overseeing body.

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Date: Jan 21, 2016

Publication: Daily Emerald

(This article, co-written with Alex Ruby, received a first place award for Best Review by the Oregon Newspaper Publishers Association in the 2016 Collegiate Newspaper Contest.)

David Bowie released Blackstar two days before his death at age 69. This was no coincidence: he’d been fighting cancer for 18 months, and we now know Blackstar was a carefully planned “farewell gift” for his fans. The record is replete with references to the singer’s fate, most portentously on “Lazarus” (“Look up here, I’m in heaven,” he cries). But instead of mourning the inevitable, Bowie clings stubbornly to life and puts out one last fight before he goes out. He isn’t staving off death so much as seizing what’s left of his life and milking it for all it’s worth.

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Date: Jul 09, 2015

Publication: San Francisco Magazine

It’s the final night for SUB-Mission. In the shadow of towering, psychedelic murals in the back courtyard, teens and older punks light smokes, laugh, yell, and get ready for the multi-band blowout that will be the last for the Mission’s beloved punk rock venue.

Two in the crowd—Fabrizio Incerti, drummer/vocalist for psychedelic rock band Clumsy, and his friend Sam Velarde—suggest rallying slogans for the soon-to-be-scattered contingent of SUB-Mission regulars. “#Submissioninexile” is Incerti’s suggestion; Velarde’s is simply “Free SUB-Mission!”

SUB-Mission began as an art gallery known as Balazo 18, but it soon expanded to hosting local and small touring bands. Most shows are only $5, in line with the venue’s adamantly non-profit stance. But with rents in the Mission skyrocketing, non-profit began to mean non-viable. “The landlord was willing to negotiate, but he wanted to charge $40,000 just to sit and talk with him,” said the current space manager, who goes by Kay Two. (We asked for his real name and he told us “Lou Sypher,” so that’ll teach us.) “That wasn’t guaranteeing we had a lease when the meeting was over. So we decided not to burn that money.”

 

 

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Date: Apr 02, 2015

Publication: Daily Emerald

As far as album concepts go, it’s hard to beat the one behind Eugene funk band Soul Vibrator’sElectric Stardust. An alien lands on Earth from a planet that has lost the art of music and discovers vinyl and cassettes; enamored, he rockets back to his home planet and saves rock ‘n’ roll. It’s as supremely goofy as the motley crew who made it.

“We wanted something spacey, cartoon-y, because that’s who we are as people,” said bassist Miles Alberts, face buried in a gargantuan bag of kettle chips as he and his fellow band members lounge on their friend Andy Hudson’s back porch. The band is taking a well-deserved rest before packing up for three shows on the Oregon Coast as part of its ongoing Electric Stardust tour.

Indeed, hanging out with Soul Vibrator is a lot like being in a cartoon. The band members exchange words effortlessly, and almost everything they say is funny. They also have strikingly distinct personalities. Alberts talks with the pep and clarity of a football coach. Drummer Sam Hayward, with his impressive mustache and dry sense of humor, could be a TV cop. Saxophonist Ben Latimer and trombonist Charles DeMonnin are quiet but occasionally say something hilarious. Keyboardist Alvin Johnson is a jokester. Singer Zev Kamrat is at lunch with his girlfriend.

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Date: Aug 12, 2014

Publication: San Francisco Bay Guardian

While still a child in early­’80s San Francisco, Boots Riley witnessed something he didn’t quite understand but that would stick with him for the rest of his life. Walking into a theater performance at the venerable Mission District art space Project Artaud (http://www.projectartaud.org/) , Riley saw actors in body paint writhing around him in apparent agony on all sides. It was meant as a simulation of the AIDS epidemic, with the actors portraying the afflicted. But it didn’t enlighten him much as a kid.
“It just scared the hell out of me,” Riley recalls. “You walk into this place, and it’s like a whole city, with people all around you.”

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Date: Jun 26, 2014

Publication: San Francisco Bay Guardian

Just over a year ago, Adam Tod Brown wrote a great article for Cracked called “4 Classic Albums That Get More Praise Than They Deserve.
(http://www.cracked.com/blog/4­classicalbums­that­get­more­praise­than­theydeserve/) ” Though it contained as much Yoko Ono­bashing as you’d
expect from a website as frequently fratty as Cracked, it made a great argument for Ringo’s self­titled as the best solo ’70s Beatles album and
contributed substantially to the recent critical revival of Neil Young’s On The Beach. The thing that interested me most, however, was Brown’s citation of Prince’s Purple Rain as a “flawless album” that gets as much press as it deserves, “no matter how many other great Prince albums there are.”

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Date: Nov 20, 2011

Publication: SF Rebirth

It would be an understatement to call Nick Martin a perfectionist. During a pre-gig rehearsal in a crowded, dimly lit room at San Francisco’s Lennon Studios, Martin, leader of R&B ensemble Romance of Thieves, is dissatisfied, and he has the horn section squarely in his sights. “You guys don’t have your shit down!” shouts Martin, 16. “Paul’s only been in the band five days, and he knows his shit better than either of you guys!” He gestures towards newly recruited bassist Paul Mallari, who watches while noodling nervously on his bass.
The horn section, comprising brothers Jonah (trumpet) and Aaron (saxophone) Baker-McCann, seems a bit puzzled. They’re not getting things quite right, but neither can figure out what they’re doing wrong, and Martin doesn’t seem inclined to give much in the way of direction. The other band members choose not to intervene. They recognize Martin’s leadership and implicitly understand that he may be the only guy in the room who knows what the horn part is supposed to sound like.

The tension mounts, and within about ten seconds, Martin and Jonah Baker-McCann are in the midst of a shouting match, which mixes with the other band members’ noodling to create an unbearably awkward cacophony. Jonah threatens to quit; Martin ignores his threats. Finally, Jonah packs up his trumpet and walks right out the door.

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Videos

articles | videos

“Know Your Weed”

This video was created for my Comedy and Media Class for the University of Oregon School of Journalism, a class focusing on the role of comedy in society and political discourse. Our assignment was to highlight a social or political issue and make a five-minute comedy video relating to that issue; we chose the legalization of marijuana in Oregon. I conceived of the concept for this video and co-wrote the script with fellow student Blake Marancik in addition to acting in several roles, including the stoner in the car and the son at the beginning (in the wig).

“It’s A Protest: Keeping Whoville Alive”

This video was created for my Reporting II class for the University of Oregon School of Journalism. Again, we were assigned to highlight an issue. After meeting Ryan Stearns collecting cans outside my house, I decided to profile him and the Whoville homeless encampment in Eugene. I shot the footage, edited the video and audio, conducted the interviews, and composed and recorded the music for this clip myself.