I hear San Luis Obispo singing …

The first-ever California International Choral Festival and Competition kicks off tonight with a welcoming ceremony full of international flair.

The San Luis Obispo Vocal Arts Ensemble will greet visiting choirs from Spain, Uganda, Finland and other countries with a concert of works in their native languages.

The concert starts at 7:30 p.m. tonight at the Performing Arts Center, 1 Grand Ave. in San Luis Obispo. Tickets are $15.

Local music-lovers can check out the choirs for free on Saturday morning as each of the seven groups performs its own interpretation of two required pieces for judges.

Later that day, the folk song competition brings color, energy and fun to the PAC. The visiting choirs will perform their countries’ folk songs while clad in
traditional garb. That’s at 7:30 p.m. Saturday.

Sunday brings the choir’s choice competition at 1 p.m. — each choir performs a 12-minute program of their best work — and the grand finale awards ceremony at 7:30 p.m.

That final concert will feature an encore performance by the top three choirs, and a mass concert of “This is My Song” from Sibelius’ “Finlandia,” “Cantate Domino” by Sweelinck and “O Magnum Mysterium” by Lauridsen.

Again, ticket prices are $15 for each concert. For more information, call 756-2787 or visit the festival Web site.

Can’t make the main festival?

Fringe activities include an outdoor “choir stroll” through San Luis Obispo before Saturday’s evening concert, featuring the voices of the Fresno Youth Choir.
Visiting choirs will also sing during morning services at several local churches on Sunday.

-- Sarah L.

Ain't misbehaving?

Is Paso Robles getting a taste of Hollywood misbehavior?
Just as news of the visiting film production of “Farm House” spread, Paso Robles police received two reports of partying early Wednesday morning at the local Motel 6, police logs show.
On their second visit, a noise complaint at 3:48 a.m., officers advised the “management co. of film” that the loud guests could lose their rooms if police had to visit again, the log said.
No word on whether there’s any link between the partiers and “Farm House.”
-- Sarah L.

Bloody "Farm House" filming up north

Brian from “Wings,” a “Star Trek” Romulan commander and the psychic girl from “Heroes” on one Central Coast movie set? Who’da thunk it.
The cast of the psychological thriller “Farm House” is currently filming in the countryside west of Bradley, production spokesman Terrance Gillum said.
According to Gillum, “Farm House” follows a young married couple, Chad and Scarlet, as they head west to escape their tragic past.
When a horrific car crash leaves the duo stranded in the desolate Midwest, they come into the care of Samael and Arlene. But the country folks turn on their new guests.
According to Gillum, the Alliance Group Entertainment film takes some of its inspiration from Dante’s “Inferno.”
Steven Weber (“Wings,” “Studio 60 on the Sunset Strip”) and the lovely Kelly Hu (“X-Men: United,” “The Scorpion King”) lead the “Farmhouse” cast as the creepy country couple.
William Lee Scott (“Pearl Harbor”) and Jamie Brown (“The Notebook”) are the young lovers.
The rest of the cast ranges from Jack Donner, best known as Romulan Subcommander Tal in the original “Star Trek” series, to Adair Tishler, who plays the little girl Molly on NBC’s hit “Heroes.”
Filmmaker George Bessudo also directed “Lake Dead,” set to be released in theaters July 13. In the horror film, three sisters confront the demented family occupying their dead grandfather’s backwoods home, according to genre fansite Bloody-Digusting.com.
“Farm House” also stars Sam Sarpong of MTV’s “Yo Momma,” Drew Sidora of “Step Up” and relative newcomer Nick Heyman.
The film crew plans to stay in the Paso Robles area until July 4, Gillum said. Rumor has it the cast is staying at the Paso Robles Inn.
-- Sarah L.

The man, the myth ... Mozart!

With the San Luis Obispo Mozart Festival only a few weeks away, it’s time to bone up on the life of one of the world’s most popular composers.
“In Search of Mozart,” a documentary about Wolfgang Amadeus Mozart, will be screened tonight in San Luis Obispo — thanks to HopeDance Magazine.
Director Phil Grabsky’s documentary highlights Mozart’s human side, exploring money woes and family tiffs while following the Austrian native from his childhood as a budding musical genius to fame, fortune and failure as a popular composer.
Filmed on location in Europe, the film includes expert interviews, dramatic reenactments of events in Mozart’s life and selections from his finest works as interpreted by modern-day orchestras.
Catch “In Search of Mozart” tonight at 7 p.m. at the SLO City-County Library, 995 Palm St., in San Luis Obispo. A $10 donation is suggested.
-- Sarah L.

Local band hits the big time

A local band is opening for one of alternative rock’s most popular bands.
Threes and Nines, an acoustic rock trio from Arroyo Grande, will open for favorites Violent Femmes on Sunday at Ventura’s famed Ventura Theatre.
Led by guitarist Jake Brebes, Threes and Nines gained regional attention after winning the grand prize at the 2005 Winery Music Awards in Paso Robles.
The band, which includes drummer Max Triplett and stand-up bass player Tasha Brittain, took home cash, studio time and a record contract with RNB Entertainment of Los Angeles.
Threes and Nines plans to release its self-titled debut album later this year.
Tickets for the Violent Femmes show, which starts at 7 p.m., are $25. They're available through Ticketmaster.
Threes and Nines returns to the Central Coast next month for a locals-only outing with Iamb, Candle and Eddie Bunsen and the Burners.
That show will take place July 15 at Downtown Brewing Co., 1119 Garden St., in San Luis Obispo. Tickets are $5.

***
Threes and Nines isn’t the only local band with links to a big name.
San Luis Obispo prog-rockers Criticnue open for Southern rock icons Lynyrd Skynyrd on July 15 at the Pozo Saloon, 90 W. Pozo Road in Santa Margarita.
Tickets cost $47 to $65.
Visit the Pozo Saloon Web site for more.

Lord of the Dice

Ever wonder what “Dungeons and Dragons” players do behind closed doors?

A movie with a Cal Poly connection offers new insight into the world of role-playing games that will make moviegoers laugh and probably cringe.

Geared toward hardcore gamers and total newbies, “Fellowship of the Dice” explores the joys of spending an afternoon armed only with paper, imagination and multi-sided dice.

The film will be screened tonight at 6 p.m. and Saturday at 2 and 8 p.m. at PolyCon, Cal Poly’s annual convention dedicated to card, board and role-playing games. Now in its 25th year, the San Luis Obispo event features game vendors, industry pros and tournaments for everything from “Warhammer” to “Magic: The Gathering.”

“Fellowship of the Dice” stars Aimee Graham as a bored party girl who accepts an invitation to play the fantasy role-playing game, “Wizards, Warriors and Wyrms.” (Think "Dungeons" with an extra dose of nerd.)

She finds herself trapped by confusing rules, high-stakes adventure and a big dose of geeky drama between the tyrannical Game Master and his fellow players.

“Fellowship of the Dice” blends the story with interviews with real-life gamers, filmed two years ago at PolyCon.

According to producer John Collins, “Fellowship of the Dice” draws on a life-long love of role-playing games shared by writer Tom Hietter.

“After encountering a good deal of quirky players and odd ‘Game Masters,’ we felt this subculture was ripe for the Christopher Guest treatment,” said Collins, who also stars in the film.

“Working on the film in our off hours from our day jobs in reality television, Tom and I have brought our love of the game and our professional expertise to form an entertaining and comedic entrée into the goofy world of RPG’ers, half-trolls, and paranoid computer game beta testers,” he said.

Collins and co-director Matthew Ross will be on hand at Poly Con to promote the film.

“Fellowship of the Dice” is also available at www.fellowshipofthedice.com and at online stores including Amazon and Barnes & Nobles. It’s slated to hit brick-and-mortar stores in the next six weeks.

*******

PolyCon XXV runs Friday through Sunday at Embassy Suites, 333 Madonna Rd. in San Luis Obispo. In addition to several game tournaments and a barbecue, the event will feature guest appearances by Randal Keith Hilholland of the online comic “Something Positive” and Tom Jolly, creator of WizWar, Drakon and Camelot.

PolyCon is also offering an Independent Game Prize worth $500 for aspiring game designers.

Registration is $35 at the door. For more information, visit the Web site.

-- Sarah L.

Not just another surf mix

‘You’ll never hear surf music again’

At the end of Jimi Hendrix’s “Third Stone From The Sun” he can be heard in the background saying, “may you never hear surf music again.”
That was 40 years ago, and may have been a reference to the Beach Boys after the group pulled out of the 1967 Monterey Pop Festival that introduced much of the world to Hendrix’s talent. (Or, according to Dick Dale, the king of surf guitar, it was Hendrix’s way of encouraging him in his battle with colon cancer at the time the album was recorded in 1967.)
But surf music is still alive. And that’s what this mix (titled “You’ll never hear surf music again”) is about: A tribute to the genre and a little history to boot.
Most tracks date from the early to mid-’60s when the surf music phenomenon began to ebb, washed over like a tsunami by the British invasion that was led by The Beatles. The mix has an introduction, three “sets” and an epilogue.
The surf music genre had a resurgence in the 1980s and again in the 1990s with Quentin Tarantino’s 1994 “Pulp Fiction,” which used Dick Dale’s “Miserlou” to begin the film and closed with The Lively Ones’ “Surf Rider” (with a handful of surf tunes from The Tornadoes, Link Wray and The Marketts sandwiched between).
Now in its fourth decade, the music still fuels “The Stoke,” that energy that brings watermen and waterwomen back in search of another ride. It’s the perfect soundtrack to any surf trek ... whether you’re bound for A-Beach in Morro Bay or Trestles near Oceanside.

On the beach
1. “Moonshine”
The mix opens with Jack Johnson and helps establish the vibe. This track comes from the soundtrack to his 2000 surfing film “Thicker Than Water.”
Why: The track is reminiscent of “Pachelbel’s Canon,” which many brides and grooms choose to play when they begin their life journey together. Plus I just liked its tone.

2. “Tasty waves, a cool buzz, and I’m fine ...”
Jeff Spicoli (Sean Penn) from 1982’s “Fast Times at Ridgemont High” offers his insights about work vs. water time.
Why: Who thinks about that stack of papers in your inbox when you’re out for a session? At moments like that, with the sky above and the horizon in front, Spicoli isn’t the only person feeling fine.

3. Theme from “Endless Summer”
The Sandals (formerly The Sandells) from San Clemente will be forever remembered for this instrumental from Bruce Brown’s pioneering 1964 film. The group broke up a few years later, but reunited in 1994 to work on music for the film’s sequel.
Why: This track is key; the mellow instrumental shape the entire mix, foreshadowing what’s to come, like mackerel skies and mares’ tails signal blustery sailing ahead.

4. Surfin; Tragedy”
Bob Vaught & The Renegaids was another act that caught the ear of L.A. music producer Tony Hilder, who brought the surf sound to a host of indie Southern California labels in the early 1960s.
Why: I needed a bridge to the next track. This one segues nicely with a tempo that’s slightly faster than “Endless Summer.”

5. “Latin’ia”
The Sentinals was a San Luis Obispo-based surf band that formed in 1961. Their Latin-influenced riffs and melodies (heard in this tune — which was a 1962 hit on the West Coast for this group of San Luis Obispo High School students) gave surf music a distinctive sound from other guitar-driven instrumentals of the era. Drummer Johnny Barbata would later go on to record with The Turtles, Jefferson Starship and Crosby, Stills, Nash and Young.
Why: This was a must-have track because it was a hit by a SLO-based band. It provides a little slice of home as the surf trek moves south.

6. “Tsunami”
Paul Johnson, one of the pioneers of surf guitar, was a charter member of The Belairs when he was 14, and later The Surfaris.
Why: This song starts with a wave and a faster tempo and completes the mix introduction to the three “sets” that will follow.

7. “All I’m looking for is a smile.”
Dave Kalama is a big-wave surfer from Maui. This sound bite is from the 2003 documentary “Step Into Liquid.”
Why: Kalama rides gi-mungous waves (when they’re breaking), other days he’s like anybody else in search of The Stoke.

8. “Pipeline”
The Chantays recorded this landmark instrumental originally as a B-side under a different name (“Liberty’s Whip”) in late 1962, but renamed it after seeing one of Bruce Brown’s surfing films. “Pipeline” remains the group’s only hit — but what a hit!
Why: This classic is almost a cliché (it’s so familiar), but my goal was to season the unfamiliar with a few classics to, well, keep up the musical Stoke.

9. “Santimamineko Fandangoa”
Kepa Junkera is a folk music icon in the Basque region of Spain; he is known as an innovator on the diatonic accordion or “trikitixa.”
Why: This Basque accordion music segues pretty well. The guitar notes are reminiscent of something you might hear from Los Lobos. The accordion gives it a distinctive sweet edge that helps you get lost in the sound.

10. “Surf Jam”
Carl Wilson got his first songwriting credit for this instrumental that appeared on the Beach Boys’ 1963 release “Surfin’ USA. He was 16, and, no, he’s not the Wilson brother who surfed. (That was Dennis, who drowned, but that’s another story ...)
Why: A short clip from “Gidget,” the Hollywood exploitation film that forever changed surfing, segues into this instrumental that the Beach Boys recorded near the height of the surf music craze.

11. “Beach Party”
This is the title track (from the 1964 movie of the same name) written by two songwriters who were frequent collaborators of Brian Wilson. Roger Christian co-wrote “Little Deuce Coup,” “Don’t Worry Baby” and “Shut Down.” Gary Usher, who discovered the comedy troupe The Firesign Theatre, co-wrote “409” and “In My Room.” In the movie, singer-star Annette Funicello heeded Walt Disney’s advice about protecting her image by appearing in a bikini that reached up to her navel.
Why: This is part of Hollywood’s homage to (silly) surfing — those awful flicks aimed at teens that drove surfers of the era crazy — but the song by the “Queen of the Beach” is peppy and, more importantly, over before it grows weary.

Paddling Out

12. “Bongo Rock”
Oakland native Preston Ebbs scored a No. 14 pop hit in 1959 playing these skins. Epps learned to play bongos during the Korean War while stationed in Okinawa, Japan.
Why: It carries forward the beach party theme but steers the mix back to the instrumental vibe.



13. “Goofy Footer Hodad”
This 1963 single by Shean & Jenkins was recorded at the old RCA Hollywood studios at Sunset and Vine. A goofy foot is a surfer (or snowboarder) who rides with the right foot forward. Hodad is a guy who never goes in the water but acts and dresses as if he does.
Why: This track starts with a clip from Gerry (Mr. Pipeline) Lopez. I love the voiceovers on this tune and the sax solos. Hodad is said almost with contempt: “Rollover Hodad!”


14. “Penetration.”
In early 1964, The Pyramids’ composition peaked at No. 18 with this “Pipeline”-inspired instrumental. When the Long Beach group’s first single fizzled, the bassist studied the Chantays’ classic and came up with a variation of that opening reverb riff. Lead guitarist Will Glover stood out among surf bands. Glover, who is black, was also one of the few left-handed surf guitarists (so was Dick Dale). While other surf acts were left in the wake of the British invasion, The Pyramids fought back. They’d appear onstage wearing Beatles wigs that they’d whip off mid-song to reveal chrome domes (they’d shaved their heads in protest). Other gimmicks included arriving for gigs on elephants or in a helicopter. The group makes an appearance (along with Stevie Wonder) in the 1964 Annette Funicello and Frankie Avalon movie “Bikini Beach.”
Why: This is another classic surfing track although not as well worn as “Pipeline.”

15. “Walk, Don’t Run” (Edit)
The Ventures, which formed in 1958 in Seattle, reached No. 2 on the pop charts in 1960 with this instrumental. Four years later, the group released an updated version, “Walk Don’t Run ’64,” which hit No. 8. The group also recorded additional versions in 1968, 1977, 1986 and 2000.
Why: I’m pushing my luck by following one well-known track with an even better-known one. But this edit (from a medley) is short enough to offer a sample of how sweet The Ventures were (and continue to be). It’s the end of my first set, “Paddling Out.”

16. “Surfin’ and Swingin’ ”
Les Brown Jr. got his start playing as a teen in his dad’s famous Band of Renown. Junior cut this track for his 1962 album “Wildest Drums Yet!” In 2001, the one-time TV actor (“Gunsmoke,” “General Hospital” and “Gilligan’s Island”) became the full-time leader of the Band of Renown, which is based in Branson, Mo.
Why: The drum is front and center in this release by a young guy who had it all — good looks, talent, a famous (and presumably rich) old man — and doing what he loved. It and the next track are part of the transition to the next, more soulful set.


17. “Surf Age”
Jerry Cole (& his Spacemen) was a member of The Champs, whose initial single “Tequila” sold a million 45s and won a Grammy in 1958. Along with Cole, other Champs alums include Glenn Campbell, and Sash Crofts and Jimmy Seals (Seals and Crofts). “Surf Age” is from the 1964 album of the same name, which includes “Martian Surf,” “Rosarita Surf,” “Movin’ Surf,” “Power Surf” and “Deep Surf.”
Why: The drums on this track segue nicely. Also, the horn section will help foreshadow what is to come.

Soul Surfing

18. “Holes in Heaven”
Jack Johnson, the surfer-turned-filmmaker-turned musician, wrote this song about a trip to Andaman and Nicobar Islands of India to film (and surf) for his surfing documentary “Thicker than Water.”
Why: It’s one of my favorite Johnson tunes, with a great vibe to start the “Soul Surfing” set. The track segues into a clip describing how surfers also find solace and inspiration from watching waves break.

19. “Soothe Me”
Sam (Moore) and Dave (Prater) took this cover of a Sam Cooke tune to No. 16 on the 1967 R&B charts. Dan Aykroyd recalls that “Soothe Me” was “the first rhythm and blues song I heard. I just turned 14 years old and was at Expo ’67 in Montreal, where I saw Sam & Dave in concert,” he told a reporter. “And I went away not being able to think of anything else.”
Why: It helps establish the tone of soul set by one of R&B’s most dynamic duets. Plus, the song lives up to its soothing title.

20. “Mr. Moto”
Just what is the first official surf record, “Mr. Moto” or Dick Dale’s “Let’s Go Trippin’ ”? The Belairs’ tune, penned by then 14-year-old Paul Johnson, was recorded and released before Dale’s tune, but it “sat there for months before it got on the radio,” Johnson later told a reporter. Dale’s tune charted first and thus is credited by many as being the first in the surf genre. Johnson said the tune is based on the mild-mannered Japanese detective of the same name (played by Peter Lorre) in a 1930s film series, adding that he “stole the entire chorus from a guitar solo from “Hot Rod Lincoln.” The Belairs took their name from the 1955 Chevy owned by the sax player.
Why: This classic keeps the mix swimming through the whitewater to the soulful outside.

21. “Soul Beat Part II”
Jim Waller formed The Deltas in 1961 while attending Fresno State. It was one of the few keyboard-oriented surf bands. The group disbanded six years later during a yearlong gig at the Flamingo Hotel in Las Vegas. Waller later directed stage bands at Santa Barbara Community College for a year while completing his music degree at UCSB.
Why: This song includes something different: Waller’s Hammond organ takes command. And at one point in the song the band screams: “From the soul ...” Yeah baby!

22. “Pachuko Soul”
Producer Tony Hilder called nonsurfing Soul Kings the No. 1 exponents of the soul beat. The group was based in Delano.
Why: This segues well and shreds with its funky skip-to-it beat and powerful trumpet and sax solos.



23. “Watermelon Man”
In 1957, members of the Lamplighters from Delano joined up with members of rivals the Rhythm Aces, from Tulare, to form a new pachuco surf-and-soul combo called Al Garcia and the Rhythm Kings. This cover of the 1962 Herbie Hancock composition was recorded live in March 1963 during a battle of the bands at the Santa Monica Pier. The group won. The hipster introduction is by surf producer Tony Hilder.
Why: The horn section drives this baby, giving the listener a nice break from pulsing Fender reverb.

24. “Delano Soul Beat”
A soulful tune from Kern County’s Surf City — that county’s second largest city, better known for table grapes than its beach break.
Why: After the crazed intro (“It’s soul time. Let’s make it on over to the soul house”), we plunge back (with pachuco gusto) into more soulful reverb guitar.

25. “Soul Man”
This classic (considered by many to be an anthem for the black consciousness and black pride movements at the time) was No. 1 on the R&B charts in 1967 for Sam & Dave. Twenty-five years later the pair was inducted into the Rock ’n’ Roll Hall of Fame. Dan “Elwood Blues” Aykroyd said that without the singers, known as the “Dynamic Duo” for their rousing performances, “there never would have been a Jake and Elwood.” The exclamation “Play it, Steve” heard in the song refers to guitarist Steve Cropper, a member of Booker T. & the M.G.’s and The Blues Brothers Band. Cropper co-wrote “(Sittin’ on) The Dock of the Bay” with Otis Redding.
Why: This is a fitting cap to the soul set. Some people surf for The Stoke; some surf for the soul; some do both.

26. “Woo-Hoo”
This rockabilly tune has been a favorite of advertisers (Vonnage and Chevrolet). It was first recorded in 1959 by West Viginia-based Rock-A-Teens who, according to Cub Koda of Goldmine Magazine, “could barely play their way out of a paper bag. ... Check out that wackoid (Gene) Krupa solo, complete with cowbell licks. Check out that meaningless acoustic guitar solo. Check out that blood-curdlin’ rebel yell right before the ‘woo-hoos’ start comin’ on. ... Hey, we’re talking about one of the great, truly stupid records of all time.”
Why: This track starts with a (“Gnarly!”) clip from surfer Jeff Spicoli that segues into this admittedly goofy instrumental recorded before there even was a surf music genre. It’s got everything and the kitchen sink in a breath over 2 minutes and sets the mix up for the third set.

The Stoke

27. “Wipe Out”
The Glendora-based Surfaris needed a B-side for their “Surfer Joe” during a 1963 recording session (which cost $13 at a studio owned by Frank Zappa). The group created the song almost on the spot at Pal Recording Studio in Cucamonga, jamming for a half-hour before recording it in two takes. The sound of the cracking surfboard at the song’s intro is a 2-by-4 breaking. It’s followed by the manic voice of the band’s manager, Dale Smallen, who says: “Ha-ha-ha-ha-ha, wipe out.” By August of 1963, “Wipe Out” had become a million seller, and rose to No. 2 on the Billboard charts; “Surfer Joe” eventually reached No. 62.
Why: This classic goes from goofy to rockin’ in 15 seconds! It’s a classic that segues nicely and is a complete change of direction from the soul section to the final set titled “The Stoke.”

28. “Raw-Hide”
Link Wray (& his Wraymen) pioneered a new sound for electric guitars in the 1958 instrumental “Rumble,” which sold 4 million copies and inspired a generation of guitar players including Pete Townsend of The Who. Before “Rumble,” electric guitars produced clean sounds and jazz chords. Wray led the ragged way, achieving the sound by deliberately punching holes in his amplifier speakers. “Raw-Hide,” released in 1959, was another hit that sold 1 million records.
Why: The three Rs (1950s raw, ragged and straight-ahead reverb)!

29. “Storm Surf”
The Surfaris claim that this was their last surf tune as they were transitioning from surf instrumentals toward a folk-rock style in the late 1960s.
Why: This track tones down the reverb a bit and lets you catch your breath just in time for a ...

30. “Tidal Wave”
Los Angeles-based SlackTone formed in 1995 and is made up of surf band veterans. They describe their music, which has been featured on the WB’s “Summerland,” “MTV Real People” and Fox Sports Network, as “a hyper-kinetic mix of melody, speed and jaw-dropping technical skill.”
Why: More reverb guitar action and a pounding drum beat with a solo that makes you feel like you’ve just gone over the falls and were pounded in a washing machine. The turnaround at the end sets up the showstopper tune that follows.

31. “The Lonely Surfer”
Jack Nitzsche gained a name working as an arranger on some of Phil Spector’s greatest productions. (He also worked with such recording artists as the Rolling Stones, Marianne Faithfull, The Monkees, Neil Young and Graham Parsons.) Nitzsche was also an occasional recording artist in the 1960s and early ’70s. “The Lonely Surfer” peaked at No. 39 in September 1963. “(It) was not surf music in the classic sense,” wrote rock critic Richie Unterberger. “It was something like an appropriate soundtrack theme to a surf documentary, the low, reverberating bass lines setting the mood for shots of building and ebbing waves, enhanced by soaring strings and Latin-influenced horns with an epic sweep.” Session players included Leon Russell on piano, and David Gates (later of the soft-rock group Bread) on bass.
Why: This tune really is more epic in nature with a wall of sound (French horns and strings!) to marvel at.



32. “Stoked”
The term stoked (happy, excited or contented) sums up what surfing is all about. The Beach Boys, inducted into the Rock ’n’ Roll Hall of Fame in 1988, have been fanning the stoke since 1961. This instrumental is found on the “Surfin’ Safari/Surfin’ USA” CD re-release.
Why: This track (prefaced by a clip from a Lake Michigan surfer from Sheboygan, Wis.) expresses what all wave riders crave — the buzz that keeps them coming back for more. It also marks the cap for the third set.

Epilogue

33. “Do It Again”
This song, written by Brian Wilson and Mike Love, was released first as a single in 1968. The hammering sounds at the end of the song were from the “Smile” sessions recorded two years before. The lyrics reportedly were inspired by a day Love spent surfing with a friend.
Why: Every session ends. But who doesn’t want to remember the good times?

34. “A better ride tomorrow ...”
Why: Pete “PT” Townend, the 1976 Surfing World Champion, sums up the hopes of all watermen and waterwomen on this sound bite from Dana Brown’s “Step Into Liquid.”

35. “Endless Summer II”
Why: Gary Hoey covered The Sandals ’60s classic and brings the mix full circle.

36. “The Wave”
This is a mix of sound bites from a collection of movies (“Step Into Liquid” and “Ride the Wild Surf”) and sound effects.
Why: The hope of any session is big (or big enough) waves. In the film the tube of this wave could contain a two-story mansion. On this rolling hill of thunder, a lone surfer (big-wave rider Laird Hamilton) catches the ride of a lifetime.

37. “Donny ... was one of us ...”
Why: This eulogy for Theodore Donald “Donny” Kerabatsos (Steve Buscemi) by Walter Sobchak (John Goodman) in 1998’s “The Big Lebowski” pays homage to surfing, from Pismo Beach to La Jolla.

38. “In the Sun”
Blondie released this song in 1977. It takes us out on a hopeful note (after Donny’s untimely demise) from Debbie Harry’s opening scream (“Surf’s Up!”) to her closing refrains that ask: “Where is my wave?”

— Jay Thompson

Comp CD challenge

A few weeks ago, features copy editor Jay Thompson said it was impossible to make the perfect road CD – a claim, I thought, was absurd. (I think I even proclaimed, “BOSH!”)

In order to prove him wrong, I offered to make him a road CD, boasting that, yes, it would be the perfect road companion. He, in turn, offered to make me a surf compilation. Then we decided we’d blog about the two projects with features writer Sarah Linn sizing them up in the end.

There were a few rules, which you can see on our last blog on the subject.

Mindful of the “nothing obvious” rule, I had to disqualify songs like “On the Road Again,” “Ramblin’ Man” and “Truckin.’” And I had to resist putting songs on the comp just because they mentioned traveling or cars.

Still other tough choices had to be made. I started out with around 50 songs, and with much pain I decided to cut some gems, including songs by the Eagles, The Shins, the Stones and the Commodores. And then I thought: Why didn't I include Springsteen's cover of "Viva Las Vegas?"

Dang.

But, hey – life is about tough choices, right?

Here are the liner notes I made for Jay’s comp:

Life in the Pat Lane (Road Music)



(Everybody Wanna Get Rich) Rite Away – Dr. John
You’ve packed your clothes, got a full tank of gas and a bag of Twizzlers at your side. Now let’s start it out with a little Cajun funk.

Either Way – Wilco
There will be a lot of oldies on this CD. But just to show that I’m not completely mired in the past, here’s a new one.

Redwood Tree – Van Morrison
Morrison has a lot of great driving songs. This one is perfect for that trip to Yosemite.

Banana Pancakes – Jack Johnson
Is there a better feel-good musician out there right now?

Mr. Blue Sky – Electric Light Orchestra
This one just makes me bop my head, from an underrated band that offered their unique and complicated spin to the obvious Beatles influence.

Everybody’s Talkin’ – Harry Nilsson
It was, of course, used in the famous “Urban Cowboy” scene and then cleverly copied in “Borat.” But I think any song that begins with a picked guitar makes for a good road song.

Church on Time – Ben Harper w/Blind Boys of Alabama
A Sunday driving song, for sure, Blind Boys really brought the soul out in Harper on this album.

San Francisco Days – Chris Isaak
In his liner notes, Isaak says he listens to this when driving into San Francisco. Rightly so – it’s a perfect soundtrack to the Golden Gate Bridge.



Burning Love – Elvis Presley
I remember seeing some documentary about Elvis, where they played this as they were on the tour bus, and it was perfect. And for the record, I love the jumpsuit Elvis!

Two of Us – The Beatles
Any Beatles songs threatens to violate my “nothing obvious” rule of comp CDs. But this isn’t as played as much as “Hey Jude” or “Yesterday.” And it just creates a perfect driving visual.

Interstate Love Song – Stone Temple Pilots
Time to rock it up a bit. I just love the chorus on this one.

If You Want Me to Stay – Sly and the Family Stone
I wind up putting this one on a lot of comp CDs, because it’s just a great song. And the beginning bass line will synchronize well with your wheels while driving in city traffic.

Six Days on the Road – Taj Mahal
My mom was a corporate secretary for many years, then somehow wound up driving a big rig from Indiana to California and back. So naturally I put this one, about a trucker (with nice use of metaphor), on her last comp CD.

If She Wants Me – Belle and Sebastian
Jack Black’s character in High Fidelity doesn’t think much of these guys. But he might have changed his mind after this one came out.

Santa Monica – Everclear
Picture the pier, the palm trees and the traffic along the Pacific Coast Highway. If that doesn’t help you picture Santa Monica, think “Three’s Company.”

New York’s Not My Home – Jim Croce
My wife thought this one slowed things down too much, but, gosh darn it, I like it. It’s perfect for a longing, somber drive where you wish you were somewhere else.

Los Paraguayos – Rod Stewart
She also thought I should cut this one out. But I love hearing this when I drive, especially when the drums kick in.

Going Mobile – The Who
I paid a scalper $50 back in ’89 to see The Who in Washington, D.C. Still one of the best shows I’ve ever seen – even without Keith Moon.

Coming Into Los Angeles – Arlo Guthrie
He sang this at Woodstock. The busy little guitar fillers make it great for the road. And, yeah – it’s about traveling to L.A.



Hey Hey What Can I Do – Led Zeppelin
It was between this and “Goin’ To California,” because I wanted to mention how we requested “Goin’ ” on the radio as we drove out of Indiana. But that one seemed a little obvious. And this one moves a little more.

You Can Make Me Dance, Sing or Anything – Faces
Rod Stewart again. I considered “Ooh La La” by Faces, but since that was on a commercial a while back, I thought it would be lame.

Please Don’t Go – Stevie Wonder
One of my long-standing comp CD rules: Always, always, always include a Stevie song.

Well, to everything there is a season. So now it’s time to eject the CD, unload the car and toss the empty Twizzlers bag.

-- Pat L.

TV dads

Ever since "Father Knows Best," dads have been part of American television.
Thanks to sitcom writers, they're often bumbling fellows with gorgeous, capable wives and cute-as-a-button kids. They can solve a problem in half an hour. They rise to any occasion. And they usually know exactly what to say.
We combed through television's family men, single fathers and divorcés to find a few examples.

Dan Conner, “Roseanne”
We like Dan (John Goodman) because he’s such a genuine person — a real guy, even though he’s not actually real. Of course, he’s not perfect. He seems to be out of work quite a bit, he sometimes hangs out with the guys too much, and he could certainly lose a few pounds. But he’s a concerned parent who can speak to his kids on their level, yet at the same time knows his role is more parent than friend.

Ward Cleaver, “Leave it to Beaver”
There are mixed feelings on this one. On the one hand, Ward (Hugh Beaumont) was so perfect, he made most real-life dads look like deadbeats. Always even-tempered, responsible and willing to offer sage advice to his sons, Ward was almost too good. (The guy wore a suit to dinner, for crying out loud!) Makes you wonder: Was he secretly a drunk? We suspect he might have been a robot. Still, he remains one of the all-time best TV dads.

Phillip Drummond, “Diff’rent Strokes”
The guy adopted his dead housekeeper’s sons. ‘Nuff said, right? He's a rich businessman, so you might think he's lost touch with the common people. You might even think he’s a pompous jerk. But you shouldn’t think things like that. First of all, it’s not nice. Besides, Phillip’s kids always came first. And even though he comes from a different background than his adopted kids (from the ghetto to the penthouse), he can relate to them, without neglecting his biological daughter. Too bad he couldn’t save the real-life kids, whose lives went down the tubes after the show.

Michael Brady, “The Brady Bunch”
So we know in real life that Robert Reed (Mike) thought the show was beneath him. And we know that his marriage to a woman demonstrated true acting ability. Still, he was a great TV dad and, the kids from the cast say, he was also a great father figure in real life.

James Evans, “Good Times”
You wanna talk about stress? Try living in Cabrini-Green, a public housing project rife with gang violence in inner-city Chicago. James (John Amos) also frequently deals with unemployment and poverty, making something as simple as Kool-Aid a bit of a luxury. And he constantly has to worry about the gangs that threaten to recruit or harm his kids. Yet — thanks, in part to his wife, Florida — he manages to keep it together and provide for his three kids.

Archie Bunker, “All in the Family”
Granted, Archie (Carroll O’Connor) always came through for his daughter, Gloria. And he even got teary-eyed when his son-in-law, whom he not-so-affectionately called “Meathead,” left the house. But his famed bigotry, name-calling and general grumpiness had to rub off in a negative way on his child. Perhaps he would have been better off single, rooming with Mel from “Alice.”

Peter Griffin, “Family Guy”
One of a score of oafish dads on TV, Peter Griffin draws an instant comparison with Homer Simpson. He’s childish, portly, greedy and not very bright. While Homer obviously dotes on his family, Peter often ignores his sons and always has an insult ready for his only daughter, Meg. Here’s one redeeming factor: He’s madly in love with his smokin’ hot wife, Lois.

Dr. Heathcliff Huxtable, “The Cosby Show”
Bill Cosby’s much-loved sitcom broke ground in more than a few ways. It starred a successful black stand-up comedian, portrayed an upper-class African-American family with two working parents (an obstetrician and an attorney), and was filmed in New York — not L.A. Most importantly, the show set for the standard for decades of hideous “dad” sweaters. Shudder.

Dr. Katz, “Dr. Katz, Professional Therapist”
Voiced by stand-up comedian Jonathan Katz, Dr. Katz is a divorced dad whose love for his slacker son, Ben, is palpable. They get on each other’s nerves occasionally, but in general their relationship is an easy, natural one — understanding mixed with gentle teasing.

Red Forman, “That ’70s Show”
This no-nonsense dad may be hard on his timid son, Eric — he frequently calls him “dumbass” — but he dotes on his daughter, Laurie. (“Daddy’s Little Girl,” as her brother knows, is actually a cruel, promiscuous flirt.) The show indicates that Red is actually trying to transform his teenage son into a tough, mature man. His methods just lack subtlety.

****

Ever wonder about the salaries of TV's most popular pops? CNN does the math with this handy chart, showing the paychecks of every dad from Tim Taylor of "Home Improvement" to Ricky Ricardo of "I Love Lucy."

-- Pat. P and Sarah L.

Fathers of film, supplemental

Here's a gaggle of movie dads who didn't make the cut for this week's Ticket cover story.

More top pops

Elliot Hopper in “Ghost Dad”
Bill Cosby loves his family so much that he comes back from the dead. See also “Jack Frost,” Michael Keaton’s so-called “comedy” about a father who’s resurrected as a rude, crude snowman. Really.

Gomez Addams in “The Addams Family”
Easily the best dressed of the movie dads, Raul Julia in the part is charming, generous and madly in love with his wife and odd, demented children. And, oh yeah, he’s got a severed hand for a butler.

Ted Kramer in "Kramer vs. Kramer"
Dustin Hoffman plays a loving dad who sacrifices everything — even his advertising job — to win custody of his son. He’s just not very good at making French toast.

Jack Butler in “Mr. Mom”
At first blush, Jack (Michael Keaton) seems like a pretty crappy dad. After he loses his job as an engineer for an auto manufacturer, his wife lands a job as an ad executive, and Jack becomes a stay-at-home dad. Yet, it’s apparent early on that he has spent little time with his kids. The guy is absolutely clueless. But, hey, this is Michael Keaton, right? You can’t not like him. And, as the movie progresses, he gradually finds his way, realizing the importance of being an involved dad. This film did a lot for changing the perception of gender roles, so much that real-life stay-at-home fathers are still often referred to as “a Mr. Mom.”

Armand and Albert Goldman in "The Birdcage”
This gay couple (Robin Williams and Nathan Lane) makes a set of loving parents to Armand’s son, Val. So loving, in fact, that when Val gets engaged to the daughter of an ultra-conservative Senator, they go along with a plan to obscure their lifestyle and Jewish background in order to make a good impression on the irascible man for Val’s sake.

More bad dads

Allie Fox in “Mosquito Coast”
Mad scientist Harrison Ford drags his family to Central America so he can build an ice factory in the jungle. Do we hear “custody battle”?

Gideon Largeman in "Garden State"
This doc-turned-dad is one cold, clinical S.O.B. When his wife is paralyzed in a household accident, Ian Holm’s character blames his son, then sends the kid into a medicated stupor for at least a decade. Jerk.

Vito Corleone in “The Godfather”
The don of the Corleone family, Vito (Marlon Brando) surely fancied himself a family man, what with his big get togethers and what not. Indeed, the concept of family probably did mean a lot to him. But let’s talk about what kind of a role model the guy was. First of all, his job entails several anti-family-values activities, such as, oh, let’s just start with murder. Then he thinks, oh well, this murderous career is so great, I’ll recruit my sons into it because, you know – the dental plan is something else. His child rearing is so bad, the kids even kill each other. (“I know it was you, Fredo.”) Lesson learned: If your job entails thievery, deception and murder, you should probably leave your work at the office.

More in-betweeners

H.I. McDunnough in “Raising Arizona”
Sure, this small-time crook — played by Nicolas Cage — did kidnap his so-called son. But what dad is so devoted that he’d hold up a convenience store to get diapers?

Bob Parr/Mr. Incredible in “The Incredibles”
Mr Incredible’s (Craig T. Nelson) selfish bid to relive the glory days of superheroism causes him to lie to his family, shirk his responsibilities and lose his job, so he loses points for that, but by the end his questionable choices have led to the defeat of a villain systematically wiping out the world’s “supers,” and in the formation of a family-size super-squad. So we’ll call it a wash.

Penguins to Pink Floyd

NOTE: Today’s blog is presented Larry King-style, with bolded names and entries that have no connection to each other.

***
OK, I have a confession to make.

I went to the movie “Surf’s Up” over the weekend on the premise that I thought our 3-year-old daughter would like it. But in reality I just really wanted to see it myself.

And wow. How fun. If you’re a fan of surfing or “The Big Lebowski” — or even if you’re one of those weird, into-penguins people — you’ll get a huge kick out of this.

I’ve seen quite a few surf movies, and I have to say “Surf’s Up” is better than many. First of all, it has a story. And secondly, believe it or not, I think it captures the surfing experience far better than, say, “Blue Crush.” (Don’t laugh – it was work-related!) You really sense this as Cody — a surfing penguin — barely paddles over his first big wave in the “Big Z Memorial” contest. But beyond that it captures the vibe so well, the writers have to be surfers themselves.

Maybe I’ll look it up sometime. But not now.

Also noteworthy was Jeff Bridges, whose character is basically The Dude from “Big Lebowski” — that is, if the Dude was a big fat penguin who can charge giant waves like Laird Hamilton, except that he doesn’t have the nice tan Laird has.

I wasn’t surprised to see lots of kids in the crowd. But I figured there’d be more surfers. The film features several nods to popular surf movies like “Step Into Liquid” and “Riding Giants.” And it’s definitely not all kid humor.

Besides, that surfing chicken? HILARIOUS!

And, yeah — my daughter liked it, too.

***


Speaking of my daughter, getting a 3-year-old ready for a musical is quite a challenge. On Sunday, Sunny performed in “Peter Pan,” put on by the Pacific Dance Center, at the Spanos Theater. It was a small part, of course — she’s only three — but I think it’s important for her to experience being in front of a crowd. And I want to support the studio.

The problem is, the play started around 3 p.m., which is pretty much smack in the middle of Sunny’s nap time. In fact, it’s pretty much smack in the middle of every 3-year-old’s nap time, which is why you don’t want to be in a dressing room full of 3-year-olds at 3 p.m. By the time they went on stage, I was ready for a nap.

But they pulled it off. And, unlike in last winter’s “A Nightmare Before Christmas,” Sunny didn’t hit anyone in the head with a shoe this time.

***

The new album by Wilco is pretty great, by the way. Jeff Tweedy’s voice often sounds like John Lennon’s on this one, and there are some terrific, but not overdone guitar solos. This is a mellow album with insightful lyrics. That it was atop the Billboard charts recently restores a little faith in the music industry, even though I still think it’s awful.
***

I was happy to see in our recent online poll that no one thought The Beatles’ “Sgt. Pepper’s Lonely Heart Club Band” was “vastly overrated” or “the worst album ever.” (55% thought it was the best ever.)

Granted, 40 responses doesn’t exactly meet Gallup Poll standards. Still, I would’ve been discouraged if anyone didn’t like this Beatles masterpiece.

***


If you want to talk about overrated albums, though, I’d like to nominate Pink Floyd’s “Dark Side of the Moon.” I mean, I dig the concept, and I can appreciate innovation in sound. But the album just . . . bores me.

In fact, rumor has it that if you play the film “Wizard of Oz” to “Dark Side of the Moon,” the album still really sucks.

Yet, classic rock stations just can‘t get enough Floyd.

So, at the risk of upsetting stoners with Floyd flags hanging from their ceiling, I’d like to propose a 5-year radio moratorium on Pink Floyd.

And as soon as it comes out on DVD, I’m going to recommend you play “Surf’s Up” to the Beach Boys’s “Pet Sounds.” Now that’s trippy.


— Pat P.

The hills of SLO are alive ...

The hills of San Luis Obispo are alive with the sound of organ music.
The Performing Arts Center pulls out the stops this week with a series of concerts and other events highlighting its brand-new Forbes pipe organ.
The festivities kick off tonight with a sold-out solo organ recital by Todd Wilson, chair of the Organ Department at the Cleveland Institute of Music.
He’ll play selections by Bach, Mozart and Maurice Duruflé.
Wilson serves as music director and organist at The Church of the Covenant in Cleveland, Ohio. He’s also the organ curator at Severance Hall, home of the Cleveland Orchestra.
Music fans can learn more about the organ Tuesday at a free brown-bag lunch and lecture. The staff of renowned organ builder C.B. Fisk will explain and demonstrate what makes the massive instrument work.
On Wednesday, Wilson will perform with the San Luis Obispo Symphony and a community choir.
Members of the public are invited to take their own turn at the keyboard on Sunday. Would-be organists can sign up for 10-minutes slots following a brief orientation.
All events will be held at the Performing Arts Center, 1 Grand Ave. in San Luis Obispo.
For more information or to buy tickets, call 756-2787 or visit the PAC Web site.

THE SCHEDULE:

Solo organ recital
8 p.m., tonight
Sold out

Brown-bag lecture
Noon to 1 p.m., Tuesday
Free

Organ concert
8 p.m., Wednesday
Sold out

Open Keyboard session
10 a.m. to 5 p.m., Sunday (June 17)
Free

ABOUT THE ORGAN:
Built by C.B. Fisk of Gloucester, Mass., the pipe organ is three stories tall and features more than 2,700 pipes ranging from 32 feet long to the length and width of a pencil.
It’s a gift to the PAC from Burt and Candee Forbes, founders of the local computer development firm Ziatech Corp.

Girls: Dare to get "Knocked Up"

A week after it hit the theaters, I’m still smiling about “Knocked Up.”
Judd Apatow’s latest comedy mixes off-beat, often raunchy jokes with a shaggy-dog love story with surprising heart. Finally, a guy movie for girls.
As the trailer suggests, “Knocked Up” pairs slacker Ben Stone (Seth Rogan) with Alison Scott (Katherine Heigl of “Grey’s Anatomy”).
She’s way out of his league, a blonde goddess who works for E! He’s a scruffy slacker who spends most of his time smoking pot and watching movies with a Greek chorus of geeky roommates.
Then the unthinkable happens: What starts as a one-night stand turns into a full-blown disaster.
To Apatow’s credit, the camera spends just as much time with the pregnant Alison as it does with his goofy but likeable male lead.
As Ben struggles to make the transition from shiftless slacker to responsible dad, Alison worries about losing her job and her independence.
He’s got the munchies. She’s got morning sickness and mood swings.
“Knocked Up” doesn’t offer an easy fix.
Its protagonists are exact opposites plagued by bad examples. Even Allison’s put-together sister (Leslie Mann, Apatow’s wife) and her husband (Paul Rudd) are struggling to find meaning in their marriage.
I won’t go so far as to call “Knocked Up” the next “When Harry Met Sally.”
There’s a wealth of testosterone-driven humor, including a hilarious running gag about beards that I refuse to ruin here. But “Knocked Up” shows a new level of maturity for the man behind “Anchorman” and “The 40-Year-Old Virgin.”
What begins as a cautionary tale for career girls – don’t swap spit with losers – becomes a sweet exploration of that final leap into adulthood.
Chalk it up as one of my favorite movies of the summer.

FUNNY BUSINESS:
The prediction: Comedies, not overblown blockbusters, will top the box office charts this summer.
The evidence: “Spider-Man 3” dropped dramatically its second weekend.
“Pirates of the Caribbean: At World’s End” saw “one of the steepest post-Memorial Day opening drops on record," watchdog Box Office Mojo reported, pulling in $114 million its first weekend and only $44.2 million the second.
Meanwhile, “Knocked Off” raked in $30.7 million its opening weekend. The movie is already being mentioned in the trailers of Seth Rogan’s next movie, “Superbad.”
Now factor in the fact that "Pirates" cost $300 million to make. "Knocked Up" cost a tenth of that -- $30 million.
I’m banking on comedies.

-- Sarah L.

Moviegoer comedians

So we saw “Knocked Up” over the weekend, and — as expected — it was a clever comedy with lots of laughs. But one of the best lines from the night came not from stars Seth Rogan, Paul Rudd or Leslie Mann.

It came from my friend Dan.

The packed theater was watching a preview for “The Game Plan,” the next movie starring Dwayne “The Rock” Johnson. The Disney pic is about a tough football star who suddenly discovers he has a 7-year-old daughter from a bygone relationship. As the preview was rolling — showing scenes of squirt gun fights, bubble baths and a bulldog with a pink tutu — I could I could sense Dan waiting for his moment.

This is, after all, what he lives for.

Just as the preview faded and the theater grew silent, Dan loudly whined his one word review:

“TERRIBLE!”

I swear to you the entire theater laughed. And, of course, Dan was quite proud of himself — just as he had been every other time he offered the exact same comment after a preview.

It reminded me a little of the character Ignatius J. Reilly from the book “Confederacy of Dunces,” who took pride in going to movies he hated just so he could lambaste the screen with comments like, “Who made this abortion of a movie!”

It also reminded me of this guy who was in the crowd when I saw “The Abyss,” a science fiction classic starring Ed Harris. In the movie, Harris’ character goes to the bottom of the ocean to defuse a nuclear bomb, sent to blow up undersea aliens.

He gets to the bomb okay, but he doesn’t have enough oxygen to return to his crew. Resigned to die, he communicates to the crew on a keypad that he hadn’t expected to return. Then, shivering from the cold sea, he sits down and types a final note to his spouse: “LOVE YOU WIFE.”

As he slowly begins to die, a huge underwater spacecraft — with lights brighter than 10 football stadiums — suddenly illuminates the dark depths of the ocean. Harris’ character is shocked and uncertain as the spacecraft slowly begins to lift him to the surface.

That’s when the guy in the theater, very coolly, shouts: “NO ... BUD LIGHT!!!”

The crowd erupted in laughter. And when I turned to look at the guy, who was sitting alone munching on popcorn, he had a proud grin on his face.

And, hey — more power to the guy. It was a moment. But when you experience success like that, you can’t let it get to your head.

You can’t want more.

This guy, however, didn’t understand restraint. He let success — the glory of the crowd — get to his head. So he started adding more comments, “Mystery Science Theater”-style, every few minutes. Except each comment was less funny. And by the end, the crowd was beginning to turn on him.

He wasn’t deterred, though. In fact, I imagined him going to several other showings of “The Abyss” just so he could relive his moment in the sun. Maybe he’d even rehearse the “Bud Light” line at home, thinking, “I can do better.”

I’ll never know, of course. The next time I saw “The Abyss,” it was on TV in my home, and that dude wasn’t anywhere in sight. But I will say this: That “Bud Light” line was pretty funny.

And while I’m at it, I’ll also say this: Dan was right — that Rock movie does look terrible.

— Pat P.

Month of movies starts with "God Grew Tired of Us"

Tired of the typical summer blockbusters?
Check out a fresh crop of HopeDance FiLMs, starting tonight with “God Grew Tired of Us.”
“God Grew Tired of Us” follows four young African men as they journey from war- and poverty-torn Sudan to a new life in America.
The documentary plays tonight at the San Luis Obispo City-County Library, 995 Palm St. in San Luis Obispo. Tickets are $5.
On Friday and Saturday, HopeDance Magazine hosts the LOCALization FiLM Festival, featuring films about what it means to be truly local. They’ll be screened at the San Luis Obispo library.
The schedule is as follows:

FRIDAY, 7 p.m.
“A Crude Awakening: The Oil Crash”
Attend the world premiere of this documentary about how our civilization’s addiction to oil could lead to a grim future. Made in Switzerland.

SATURDAY
2:30 p.m.
“Independent America: The Two-Lane Search for Mom & Pop”
Director Hanson Hosein goes on the road to discover the struggle between mom-and-pop stores and big-box chains.
Adam Hill, who is running for the county Board of Supervisors, will speak.

4 p.m.
“Slow Food Revolution”
Learn about the worldwide movement to embrace fruit, vegetables, wine and other foods made the old-fashioned way. Slow Food was launched in Italy in response to Europe’s fast-food industry.
Local experts and the owner of Naked Food Live Cuisine will be on hand to answer questions and dish out a light dinner. Call today for a reservation: 550-2487.

6:30 p.m.
“Ourtown”
In this documentary, two mothers fight plans to bring Wal-Mart to their small Maine town. Tom Comar, of Atascadero’s Oppose Wal-Mart group, will speak.

8 p.m.
“Gordo”
This short film follows a Mexican immigrant who leaves his family’s popular taco stand for California.

8:30 p.m.
“Indies Under Fire”
This documentary examines the devastating impact of large bookstore chains on independent book sellers throughout the country. Jim Hill of Novel Experience Books will answer questions.

Tickets are $10 per film or $40 for the entire six-movie series. For more information, call 544-9663 or visit HopeDance’s Web site.

-- Sarah L.

Potty problems in Nipomo

In Nipomo High School’s latest theatrical production, sewage woes pit a small town’s inhabitants against each other with disastrous results.
Sound familiar?
“Urinetown,” the Tony Award-winning musical about one community’s potty problems, comes to the South County school this weekend.
Here’s the premise: When a 20-year drought threatens, the resulting water shortage forces the public to use pay toilets set by a corporation called Urine Good Company (groan).
But some folks are too poor or ornery to pay-as-they-pee.
Public urination becomes a major crime, and violators are trucked off to Urinetown, a mysterious penal colony (double groan) from which no one returns.
Toss in a love story, some stinky corporate stiffs and a strong environmental message and you’ve got a musical unlike many others.
This student production features guest director Eric Stein, of California Cabaret Theatre and Oceano’s Great American Melodrama, and Emmy-winning choreographer Suzy Miller.

“Urinetown: The Musical” continues tonight at 7:30 p.m., Saturday at 2 p.m. and 7:30 p.m., at Nipomo High School, 525 N. Thompson Rd. in Nipomo. Tickets are $ 8 for students and seniors, $10 for adults.
For more information, call the school at 474-3300 or contact theater program director Robin Metchik at 704-5945.