This Ain't No Crazy Cat Lady

Tracy Shedd’s relationship may have leaked into her writing, but she keeps the cat stories to herself

By Arrissia Owen
IE Weekly

Tracy Shedd couldn’t help but follow in her mother’s footsteps. Growing up in Jacksonville, Fla., the country singer’s daughter went on to become a performer as well, cutting her chops crooning along with Patsy Cline songs like “Crazy” on her family’s living room PA system.

It could be because one of Shedd’s most vivid memories from her childhood was seeing her mother performing in Mayport, all decked out in cowboy hat, boots and fringed jacket.

“I remember thinking, ‘I have a cool mom,’” Shedd says, now a touring musician based out of Tucson, Ariz., where she lives with her lead guitarist/husband James Tritten. She visits Palm Springs Friday, Dec. 23, to perform at the Ace Hotel.

That sort of musical influence in Shedd’s life led to an early start on her musical path, starting with classical piano lessons. At age 6, she composed her own takes on Bach and Beethoven.

But while she was in high school, Shedd’s parents divorced. The baby grand piano went to her mother in the divorce, where Shedd lived part-time. The rest of the time she resorted to a cheaper version of keys.

That led to Shedd picking up the guitar, and by her senior year stepping up to share lead vocals in her high school band, Sella. She was able to utilize her skills on the 88s in the ’80s for that band, taking on Moog and analog synths.

“I guess I just stopped because a keyboard never really satisfied me the same as the grand piano,” Shedd says looking back.

After moving to Arizona and embarking on a career as a singer-songwriter-guitar player, Shedd returned to her first love. The local radio station KXCI FM asked Shedd to join its Winter Solstice radio broadcast. But because she is self-taught on guitar, Shedd didn’t feel comfortable reading music for traditional Christmas carols. But she did know how to read music on that other instrument.

“I thought, ‘Why not try and learn the Christmas songs on piano?’” Shedd recalls. She went out and purchased an electric piano and got to jingling. “To my surprise, everything came back pretty quickly and I immediately started writing songs. It has been a treat to have two instruments to write on.” 

With her new instrument at her fingertips, Shedd composed the songs on piano for her most recent release, the aptly titled EP88, the follow up to 2008’s Cigarettes & Smoke Machines. The songs exhibit fuller, admittedly moodier compositions. She combines her folky medium with shoegaze influences, bands like My Bloody Valentine, Cocteau Twins and other ’80s Manchester acts.

“Writing EP88 was definitely by default different than any of my other records being that it was written on piano,” Shedd says. “It’s way more somber. It’s funny, now I’m ready to pop it out again on guitar when we get back to Tucson.”

Joining her on the recordings is her husband, James, who has played on four of Shedd’s albums since 1991, starting out on drums and adding lead guitar for the last three. Inevitably, their relationship finds its way into the songs, too.

“The songs seem to write themselves,” she says. “I definitely pull from personal experience: dreams, life, et cetera. The only thing off limits would be my cat, Kickflip. She has asked me not to include her in my songs. She prefers to keep her personal life out of the public eye.” 

Besides, writing a song about her cat, well, now that would just be crazy. 

Tracy Shedd performs with Young Mothers and JP Houston at the Ace Hotel, Amigo Room, 701 E. Palm Canyon Dr., Palm Springs, (760) 325-9900; www.acehotel.com. Fri, Dec. 23. 9 PM. Free. 21+.

Link to the original story in IE Weekly:

http://www.ieweekly.com/cms/story/detail/this_ain_t_no_crazy_cat_lady/4377/

Murphy's Law

The happiest goth in the world...

"Howdy doody."   

"Hello. May I please speak to Peter Murphy?" 

"This is he." 

Howdy doody? Every ounce of nervousness that built as I prepared to call Murphy melted. Turns out the former Bauhaus frontman isn't as intimidating as I expected. We chatted about the difference between American, European and British fans, and about the Catskill Mountains in New York, He he hopes to buy a home in Woodstock one day,splitting his time between Turkey, where he has lived with wife, Beyhan, since the early ’90s. 

Beyhan, artistic director for Turkey’s National Contemporary Dance Company, is a kindred spirit for the lithe, lyrical lothario, whose music has shown much Middle Eastern influence over the years. An admirer of legendary choreographer Lyndsay Kemp and Ziggy Stardust-era David Bowie, it was no surprise Murphy would fall for a dancer. But still, he insists the whole feel of his show is organic, nothing contrived.

“I am not a corporate Madonna type,” the self-proclaimed rock ‘n roll outsider says. “My performances are all real. It’s not staged, not silly experimental choreography just to make it look good … I love to be on stage and create something out of that with a musical element. ” 

Here is an awesome video from the 2006 Radio Sessions, a version of "Bela Lugosi's Dead" with Trent Reznor and TV On the Radio. It's awesome:

http://www.youtube.com/watch?v=n8W4tslqVSg

Here's the story I wrote for IE Weekly based on the interview:

The Hunger Lives On

Peter Murphy’s career extends well beyond his Bauhaus days

By: Arrissia Owen Turner

Peter Murphy always knew he would live forever. Not in an undead, Twilight sort of way, but through song.

The former Bauhaus frontman’s career spans more than four decades, kicked off with the unlikely hit, 1979’s “Bela Lugosi’s Dead.” The single cemented Murphy’s role as the godfather of Goth subculture. The song is not dying off anytime soon.

“I was completely certain from the moment I started writing songs that it was meant to be,” Murphy says, putting all English humility aside. “I heard Bob Dylan say once that there was no use in working toward anything unless you believed in it. It’s almost like when you have a sense of destiny. It’s a journey where you are discovering that.”

Now in his 50s, Murphy shows no signs of slowing down with a new generation discovering his influential role in the genre. From 2006 through 2009, Murphy toured and recorded with Trent Reznor often. TV on the Radio and others joined Murphy and Reznor to record the cultish 2006 Radio Sessions, reinterpreting one another’s songs as well as those by bands that influenced the superstars.

Murphy’s journey began in Northhampton, England, with Bauhaus bandmates Daniel Ash, David J and Kevin Haskins. The four friends cultivated a new sound that gave life to an inspired gloomy groove.

The band performed “Bela Lugosi’s Dead” during the opening scene of the 1983 vampire film The Hunger, starring David Bowie and Catherine Deneuve, raising the band’s profile exponentially. But that same year, the group imploded due to infighting, launching Murphy’s solo career.

After a brief project with Mick Karn of the band Japan, Murphy recorded a string of albums, including Deep, which produced probably his most recognizable alt-rock solo single, “Cuts You Up.”

But even with an impressive catalog of solo work, fans continually yearned for Bauhaus reunions. The band gave in a few times over the years, most famously at Coachella in 2005 and during a tour with Nine Inch Nails in 2006.

That Bauhaus reunion resulted in the 2008 release Go Away White, but also the band’s second acrimonious demise. On Murphy’s most recent album, Ninth, “I Spit Roses” responds to the kerfuffle.

“The song recognizes an end, but it’s not sad,” Murphy says. “It’s like, ‘Thank God for that.’ I’m free of it.” Murphy says it’s a joyous song, no mourning going on at all about the Bauhaus split. “Why would you mourn something that was such a miserable collective experience after all? It’s my version of the Elton John song ‘I’m Still Standing.’ It’s like saying, ‘I’m fine, darling, come and see me.’”

These days, Murphy is more than OK, fresh off a European tour, skipping around America performing new songs off the David Baron produced album. Murphy recorded solely in the artist-enriched Woodstock, N.Y. area.

While writing and recording Ninth, he made a clear distinction between two types of compositions emerging. Ninth became home to the more radio-friendly single types.

Murphy held onto the others, resulting in the new EP Secret Bees of Ninth. “I wanted them to have a more direct, sledgehammer-like effect,” Murphy says. “For Ninth, I didn’t want to trail off into opus, more esoteric pieces.”

The release harkens back to the baritone’s Bauhaus days, as does an auspicious reminder of the singer’s reach. Murphy had a blink-and-you miss it moment in 2010’s The Twilight Saga: Eclipse as the vampire named The Cold One.

“That was me playing myself really,” Murphy jokes. But the quick cameo didn’t quite catapult him into tween notoriety. “It was really a wry, kind of wink to those who know . . .  It’s sort of a bookend to The Hunger.” As well as proof that Murphy’s career is very much alive.

Peter Murphy with She Wants Revenge and Hussie Club at The Glass House, 200 W. Second St., Pomona, (909) 865-3802. Fri, Dec. 9. 7PM. $25.

http://www.ieweekly.com/cms/story/detail/the_hunger_lives_on/4352/ 

World of Warlocks

This Ain't Grateful Dead or The Velvet Underground 

IE Weekly

The Warlocks, a band unto itself, brings a different brand of psychedelia to the annual Clean Air, Clear Stars fest

By: Arrissia Owen

 

Growing up with a grandfather who owned a radio station and a mother who helped run the place, Bobby Hecksher couldn’t help but soak up the sounds of classic rock bands like The Beatles and The Rolling Stones. Surrounded by little else than alligator marshland, it was a welcome distraction for the Florida youngster.

But it was when Hecksher—who would go on to become frontman for psychedelic rockers The Warlocks—discovered punk rock, that his musical maelstrom began to evolve. He tumbled toward bands like the Butthole Surfers, the Minutemen, The Flaming Lips and Sonic Youth during middle school. Things started to click.

“When I heard those bands, I felt like I finally woke up,” says Hecksher, whose The Warlocks perform at the fifth annual Clean Air, Clear Stars Global Cooling Festival Sept. 23 to 24 at Pappy & Harriett’s near Joshua Tree. “I was gravitating toward that sort of music that had more song structure and was leading toward the psychedelic sound. It was raw and cool.”

Fortuitously, Hecksher’s parents packed up and moved to L.A. by his teen years. It was the 1990s and grunge was de rigueur, but he continually found himself drawn to the more experimental side of West Los Angeles’ music scene. One of his earliest gigs was as bassist on Beck’s Stereopathetic Soulmanure in 1994. That led to his time with performance art-rock ensemble Don Knotts Overdrive before joining the Brian Jonestown Massacre, adding guitar and bass on 2001’s Bravery, Repetition and Noise.

Brian Jonestown Massacre’s singer Anton Newcombe was instrumental in Hecksher’s transition to frontman status. “He was a bit of a maniac,” Hecksher says, reaffirming an already raucous reputation. “But when you got down deep and hung out with him, you realized he was really talented and very encouraging.”

It was Newcombe who helped instill in Hecksher the confidence to do his own thing, which inevitably led to his departure from the band for his own gig. “He was very different from a lot of the people I played with,” Hecksher says. Leaving was bittersweet.

“I had always considered myself a bass player up to then. From there I started writing and The Warlocks started from that.”

Hecksher was blissfully unaware of the little known pedigree that went with his new band’s name. “People think I had this huge thing about it, like I knew it was part of the Grateful Dead and The Velvet Underground’s past,” he says. “But back then, I really didn’t know that these other bands had been called The Warlocks briefly before.” 

The name just sounded cool, he says. It had teeth and grit. “I always liked the way it sounded and the imagery fit what we were doing—it’s gloomy, dark and psychedelic,” Hecksher says.

The Warlocks are five albums deep into a career that has weathered various band members and three labels. The current lineup—Hecksher, guitarists JC Reese and Earl Miller, bassist Chris DiPino and drummer George Serrano—is on San Diego-based label Cargo Records. Its most recent release, 2010’s Rise and Fall: EP and Rarities, is a collection showcasing the band’s decade-strong feedback-fueled noise rock.

The label, which boasts a large roster that includes Brian Jonestown Massacre, The Pains of Being Pure at Heart and more, has a huge presence overseas, building on The Warlocks’ European fan base cemented during its time on Mute Records.

“We’re like The Beatles in France,” Hecksher jokes, as befuddled as anyone. “I asked some French fans to explain it to me once, and they just kind of said that it’s the way the words translate to them.” 

The Warlocks perform with Adam Franklin and Bolts of Melody, the Black Ryder, Icarus Line and more at Pappy and Harriett’s Pioneertown Palace, 53688 Pioneertown Road, Pioneertown, (760) 365-5956; www.cleanairclearstars.com. $20-$30.

For the original link to this story, click here:  http://www.ieweekly.com/cms/story/detail/this_ain_t_grateful_dead_or_the_velvet_underground/4186/

Stephen Tobolowsky's got character

Groundhogged for life

 Big Bear Grizzly

Actor Stephen Tobolowsky will be honored for lifetime achievement at local film fest

September 14, 2011 5:00 am

By ARRISSIA OWEN Reporter

The monsters swayed Stephen Tobolowsky. As a little boy, he dreamed of becoming a professional actor so he could meet Frankenstein, Godzilla and the Wolfman.

“I thought Godzilla would be able to show me how to breathe fire,” says Tobolowsky, now a seasoned character actor with more than 150 films, a Tony award and numerous TV spots to his credit.

As he grew older, Tobolowsky kept the dream alive with a twist. “I thought actors sailed ships across the ocean, got to fight wars,” he says with a slight chuckle. “But, actors have no adventures. We sit in trailers, play Tetris, have lots of down time. The stuntmen see all the action.”

"Deadwood"

Tobolowsky does have plenty of life experience, culminating in 2005’s “Stephen Tobolowsky’s Birthday Party,” a film that shows him recollecting real life while preparing for his own birthday party. The idea since sparked a podcast series and an upcoming book published by Simon & Schuster.

On Sept. 16, the man you may or may not recognize from his character actor CV receives the lifetime achievement award for acting at the Big Bear Lake International Film Festival’s opening night gala.
Tobolowsky has a knack for bringing eccentric everymen to life on the screen—he was Ned Ryerson, Bill Murray’s former classmate turned insurance salesman in “Groundhog Day” and Sammy Jankis in “Memento.” Depending on your demographic, you may know him from recurring roles on “Deadwood,” “Californication,” “Heroes” or “Glee.”

“People often recognize me, but they don’t know who I am,” Tobolowsky says, taking his low-key fame in stride. “Or they think I used to work with their dad.”

As Ned Ryerson

The balding, bespectacled 60-year-old didn’t set out to become a character actor. The designation is assigned at moments that hardly appeal to one’s vanity. For Tobolowsky, it was after finishing a production of Tom Stoppard’s “Jumpers” in 1975.

Tobolowsky was playing an 85-year-old man. His hair, sprayed with streaks of gray, fell out in clumps upon a strenuous wash. “From then on, the romantic lead was pretty much out of the question,” he says.

Determined to stick with his art, Tobolowsky found his niche, taking to small roles and making them memorable. “As a character actor, you often play parts that don’t even have names,” he says. “But at the same time, you need to make them complete.” There is a backstory to every one, he says.
Developing stories comes naturally for Tobolowsky—he won a storytelling contest as a sixth-grader and held a reputation as a “fabulous” liar as a child—which lent itself to the evolution of “Birthday Party.”

Romantic lead days

The film opened to rave reviews at the HBO Comedy Festival in Aspen, South by Southwest and more. That led to a regular series of syndicated podcasts through slashfilm.com, “The Tobolowsky Files.”

Truth is often as entertaining as fiction, Tobolowsky has learned, and you don’t need creative editing for a clever ending, just time. Tobolowsky thought the one about the day he found out he was going to be a father was finished for years.

On location, alone, with no one to share the experience other than the hotel maid and bartender, Tobolowsky ran into an acquaintance, a stuntman, at the hotel restaurant. Over eggs, he shared the exciting news. The man said, “Well, things will never be the same for you ever again.”
Fourteen years later, Tobolowsky and his wife were at a sushi restaurant 2,000 miles away from that hotel when he felt a tap on his shoulder. It was the stuntman, teary eyed.

“I’ve been looking for someone to tell,” the man said to Tobolowsky. “My child just died, my firstborn. I knew I could tell you, because you would understand.”

The truth is as powerful as fiction, Tobolowsky says. “Sometimes it just takes longer to reveal itself fully.” It could even take a lifetime.

Contact reporter Arrissia Owen at 909-866-3456, ext. 142 or by email at aowen.grizzly@gmail.com.

For the original link to this story, click here:  http://www.bigbeargrizzly.net/outlook/arts_and_entertainment/article_cb1cbad4-dda5-11e0-a693-001cc4c03286.html

Swamp Funk Siren

As young music lovers in the early 1970s, Muldaur and friends would find random, scratchy recording and eat them up, hungry for more. When I interviewed her for a recent story, she talked about early 20th-century blues singer Victoria Spivey turning her on to female blues guitarist and singer Memphis Minnie, who Muldaur calls one of the “grandmamas of rock.”

Minnie was one of the first blues musicians to go electric. As Muldaur and Spivey searched for more of Minnie’s hundreds of recordings, it was by random luck that they came across anything. This was pre-Internet, when people relied on dusty record stores and music lovers to salvage the divine. Young people today discovering American roots music have an advantage, she says, which helps the genre persevere and create a resurgence.

“Now with the click of a mouse, you can download everything of hers in five minutes,” Muldaur says. “It’s a revolution.”

In 2008, Maria recorded “Yes We Can!” showcasing the work of some of the most socially conscious songwriters of the past half-century, including Dylan, Marvin Gaye, Allen Toussaint and more. The Women’s Voices for Peace Choir join Maria on the recording, along with Bonnie Raitt, Joan Baez, Jane Fonda, Phoebe Snow and others.

Talking to Muldaur was like opening a roots music history book. Here's a story I wrote for Big Bear Grizzly to promote her performance at the upcoming Blues for the Zoo fundraiser.

Blues for the Zoo featuring the Chicago Blues Guitar Shootout!, Maria Muldaur and her Red Hot Bluesiana Band and Brother Yusef is Aug. 6, 3 to 7:30 p.m. Gates open at 1 p.m. The Swim Beach Outdoor Amphitheater is at 41220 Park Ave., Big Bear Lake. Tickets are $30 in advance, $35 the day of the show. Children 10 and under are admitted free. Parking is $3. For tickets, call 909-866-4607 or visit www.moonridgezoo.org/concert. Food is available on site, no coolers are allowed.

Roots run deep for Maria Muldaur

Maria Muldaur

July 27, 2011

Big Bear Grizzly 

By ARRISSIA OWEN 

Reporter 

Maria Muldaur’s newest New Orleans-inspired album is full of “straight-ahead swamp funk,” the singer says. “It’s funky to the bone.”

Known as the “first lady of American roots music,” Muldaur heads to Big Bear for the Aug. 6 Blues for the Zoo concert. Known for her 1970s hits “Midnight at the Oasis” and her version of Peggy Lee’s “I’m a Woman,” Muldaur debuts songs from her upcoming September release “Steady Love,” with her band Maria Muldaur and her Red Hot Bluesiana Band for the Alpine audience.

Muldaur, nominated for at least six Grammys during her wide-spanning career, grew up in Greenwich Village, N.Y. Muldaur’s interest in music evolved into an affinity for American roots music, which she says was often marginalized back then by “above ground” radio and media, yet has continued to proliferate and grow. “It’s music of the people, by the people, for the people,” she says.

A younger, juggier Maria

As a young woman, Muldaur joined local jam sessions and song swaps. She soon took up with The Friends of Old Timey Music, a group that traveled to the rural South to find legendary artists like Doc Watson, Bukka White, Mississippi John Hurt and others to convince them to travel north to perform. She was part of a new wave of aspiring young musicians including the Lovin’ Spoonful’s John Sebastian, Bob Dylan, John Hammond Jr. and others.

Fiddle took hold of Muldaur, prompting her to leave the bright lights and big city behind for extended trips to North Carolina to study strings. At 19, she spent time with the famed Watson family, soaking up Appalachian music and culture. After returning to New York, Muldaur was asked by Sebastian, David Grisman and others to join the Even Dozen Jug Band.

Muldaur later moved to Boston and joined the Jim Kweskin Jug Band, recording “I’m a Woman,” the feminist anthem she continues to open every show with. Later, she moved to Woodstock, N.Y., where she became part of the thriving music scene that included Dylan, The Band, Paul Butterfield, Janis Joplin’s Full Tilt Boogie Band and more.

Reprise Records courted Muldaur, for which her first solo album went platinum thanks to the single “Midnight at the Oasis.” Her second hit single was a remake of her earlier version of “I’m a Woman,” which was on her second solo release “Waitress in a Donut Shop.” She was joined on the recordings by Dr. John, Ry Cooder, Butterfield, Linda Ronstadt, Stevie Wonder and more.

During the 1980s, Muldaur recorded two critically-acclaimed jazz albums, two gospel albums and one swing album. After recording the album “Sweet and Slow” with Dr. John, Muldaur incorporated the New Orleans sound into her own music along with blues and R&B elements to create what she coined “Bluesiana.”

New Orleans-style music grabbed hold of Muldaur tight. “It’s so earthy, natural,” she says. “That’s my proclivity. I fell in love with that sort of rolling sound—New Orleans puts the roll in rock ’n roll. ... It makes you want to move your body.”

For the original article, click here:
http://www.bigbeargrizzly.net/outlook/arts_and_entertainment/article_387699e6-b714-11e0-9bac-001cc4c03286.html

 

Brotherly Love

Three Words That Became Easy to Say

The Avett Brothers

The Avett Brothers’ major label leap landed the trio unintended fame

IE Weekly

By: Arrissia Owen

 

Bob Crawford longed for one last hurrah. The bassist for roots rockers The Avett Brothers was preparing for the next chapter of his life—grad school—leaving behind his persona as a bar-band musician.

But he couldn’t ignore one nagging urge. Crawford wanted to settle into his years as a teacher or professor without any should-haves or what-ifs. He wanted to go on tour with his band one time, heading past their comfort zone of Charlotte, Greenville and Chapel Hill, North Carolina. It went well.

After returning from that first tour with a little money in their pockets, the band members—then just Crawford and Seth and Scott Avett—gained the confidence to believe they could actually make a run of it. Crawford and Scott scrapped grad school and all three got down to music business.

That was nearly a decade ago. “It extended the life of the band,” Crawford says. “And it extended the reach of the band.” They had people to please, newfound fans but also themselves.

“We’ve never felt any pressure to make anything of this,” Crawford says. They’ve never harbored big dreams of conquering the world, which may just be why they are having such a successful run at it.

“It’s always about, ‘What are we doing today,’” Crawford says. “We’ve never talked about having to make it, or what it means to make it.” The band members are very much in the moment. When you don’t expect too much, you are rarely let down. “Once you define what something should be, it’s ruined,” he says.

Fast forward six years, two EPs and five full lengths later, and the band found themselves in a Malibu recording studio with none other than producer extraordinaire Rick Rubin, mixing their major label debut I and Love and You.

The band was a little intimidated at first. The man on the other side of the soundboard was the same who made the careers of bands they grew up listening to, like the Beastie Boys and the Red Hot Chili Peppers. Rubin even put his indelible touch on Johnny Cash’s chilling codas American III: Solitary Man and American IV: Ain’t No Grave.

Ole!

“All I could think of was, ‘I’m just a schmuck,” Crawford recalls. “‘What am I doing here?’” But after about two to three days of that, the musicians let their guards down. They acclimated themselves to the idea of Rubin as a great audience, period, Crawford says. 

“He was not there to throw around his resume,” Crawford says. “It was about the art. We were living in the moment. It was about creating something that is lasting.”

Rubin was sneakily hands off, Crawford says. For the first time, the band wasn’t in a rush to record. Rubin put them at ease, giving permission to explore every possible idea and even fail a bit in the process. “He taught us that every idea is worth exploring,” Crawford says.

The result was the band’s most polished offering yet, turning The Avett Brothers’ self-coined “punkgrass” into solemn, earnestly-crafted tunes exploring the feelings that go along with commitment, maturity and moving on to the next chapter of life.

The album was named Paste Magazine’s best album of the year for 2009, whisking them into mainstream exposure through live performances like The David Letterman Show. They’ve ruled famed stages like Denver’s Red Rocks Amphitheater, Coachella and toured Europe.

There’s no turning back now to the simple life of a North Carolina trio. Once known for their sloppily-raucous, banjo-fueled live shows that captivated their early audiences, the band hasn’t escaped the laments of some, including some music reviewers. But Crawford isn’t looking back.

“I don’t know where we are going or how long it will last,” Crawford says. “We are accumulating new experiences, new knowledge. It’s just like life.” Life without what-ifs.

The Avett Brothers with the David Mayfield Parade at Pechanga Resort and Casino, 45000 Pechanga Pkwy., Temecula; www.pechanga.com. Sat, July 23. 8PM. $30-$50. 

For the original article, click here: http://www.ieweekly.com/cms/story/detail/three_words_that_became_easy_to_say/4083/

School of Hard Rock Hits Chord

Shred Guitar School Offers Pieces to the Guitar Pick Puzzle

Leigh Williams

Big Bear Grizzly

Wednesday, July 20, 201

By ARRISSIA OWEN Reporter

Leigh Williams experienced an epiphany. As he stood at an Iron Maiden concert as a Welsh 14 year old watching guitarists Dave Murray and Adrian Smith shred through power chords, he saw his future as a guitar hero.

Williams sequestered himself in his room, told his parents to hold all calls, and went to work learning everything he could teach himself about playing electric guitar.

“I thought, ‘What an amazing job,’” recalls Williams, now a Moonridge resident and owner of Shred Guitar School. “You get to travel the world, get paid for it and do something you love.”

Williams soon enrolled at the Musicians Academy of London, with the help of the unemployment office. Upon graduation, the owner of that school recommended Williams head to Los Angeles to study at the Musicians Institute of Technology.

But the aspiring musician had to come up with the pounds to make it happen. He enlisted the help of the local media before turning to the Prince Charles Trust, which awarded him a grant to follow his dreams to the Sunset Strip.

After graduating in the early 1990s, Williams joined some heavy metal bands, recorded albums, toured and lived the life he dreamed of. Then he discovered his true calling—teaching others the technical side of guitar, which he does while continuing to record and perform his own music.

Williams started out an instructor at Sam Ash in Westminster, Calif., before venturing out on his own, opening Orange County School of Music nearby. He had 10 instructors working under him, and plenty of satisfied students.

Right about then, Williams started spending time in Big Bear Lake, camping with his son, Zack. He decided to leave the rat race behind for the serenity of the mountains, buying his home in Moonridge and commuting to Orange County for work.

As technology advanced, he was able to figure out ways to commute less, building a studio at his home and turning to the Internet to teach. With the advances in web cams, two years ago he was able to move his business entirely online.

Shred Guitar School is a comprehensive guitar instruction website that enables Williams to teach students around the world. He uses a high-definition web cam with live and pre-recorded lessons available for subscription-based clients. The music-theory heavy lessons are tailored for beginner, intermediate and advanced players, and he makes himself available for inquiries.

Students start out learning about notes, moving on to major scale formulas and different chord types through popular songs. They can then move on to more complicated scales and speed picking to syncopation and arpeggios.

Williams breaks down lessons in a way so that his students understand why AC/DC’s “Back in Black” is a typical blues progression with a hard rock feel, why that particular song is so darn catchy—not just how to play like Angus Young. Then they can apply that knowledge to writing their own riffs.

“It’s structured,” Williams says. His students need to learn the basics before moving on to fret board mastery and studying solos by guys like Randy Rhodes and Steve Vai. “People can get overwhelmed by jumping the gun.”

Aside from the heavy metal side of shredding, Williams is working on two more sites tailored to different music styles, including rock and blues guitar playing. He tabs favorite songs as requested by students with scales and effects explained, even offering diagrams of favorite guitar players’ gear setups.

“It’s like a jigsaw puzzle,” Williams says. With dedication, his students will realize how all of the technical aspects of guitar playing work together to get to the point they can shred like the masters.

“Knowledge is power,” he says. “It will all fit.”

For more information about Shred Guitar School, visit www.shredguitarschool.com.

Contact reporter Arrissia Owen at 909-866-3456, ext. 142 or by email at aowen.grizzly@gmail.com.

For the original story, click here: http://www.bigbeargrizzly.net/news/business/article_23bba356-b288-11e0-9fd1-001cc4c03286.html

In Stereo

It's A Guy-Girl Thing

Chris Padgett

Sometimes parents are right. When Chris Padgett's mom and dad decided he needed a hobby to stay out of trouble, they stuck a pawn shop guitar in his hands and sent him on his way to his room. The 16-year-old plopped down and tried to figure the thing out, which led to him questioning everything he knew about music up to that point.

Now a touring musician with the North Carolina-based duo The StereoFidelics, that introspection gifted by his parents turned into a full-fledged journey. "I realized that the music I was listening to at the time wasn't all there was," Padgett says. "It was a symbiotic relationship. I had the desire to play and get as good as I could. It was a happy accident."

Padgett threw himself into playing and learning everything he possibly could about the stringed instrument. His obsessive nature is obvious from the first note at a StereoFidelics show. The StereoFidelics are a guy-girl duo (along with drummer/electric violinist Melissa McGinley) with an unusual third member—a Moog Taurus pedal that sort of steals the show. Padgett performs double duty, and both share vocal duties.

Here's a story I wrote about The StereoFidelics for IE Weekly:

James Fletcher rocks, tocks

Ex-Filmstar, Women drummer goes solo, at least for a bit

James Fletcher is one of my favorite Orange County musicians. He is witty, stylish, talented and a gentleman. He's been tapped by Matt Costa and Scott Weiland for his drumming skills, but most recently he's decided to back up his own talent as a frontman, resulting in his first solo CD The Booze & Clocks.

Aside from being paraded around like a piece of meat by OC Weekly last week as part of their OC's Sexiest People issue, he's also holding down the Monday Night Residency at Detroit Bar in Costa Mesa for February.

How was the show last Monday? Was it weird to be the frontman suddenly after so many years backing up others? Did you love it? Was it exhilarating? Excruciating?

It was a lot of fun. I've been fortunate to surround myself with a very strong band. That makes my part somewhat easy. It felt great to play those songs live. The record and rehearsals for the live shows have been quite time consuming. It's been the better part of a year seeing that through from making the record to getting on stage. I had the best night's sleep after I got home from playing that show last week, and it wasn't  just the whiskey.

In your bio on your web page you said that you started hashing out some old songs you had on cassette tapes. These must have been collecting dust for a while since they are on cassettes. Did you always plan to do something on your own?

I started putting the songs together for the record about three months before recording them. I used cassettes because I have a crappy tape recorder, and that was my first stage of getting rough ideas together. I hadn't ever really attempted to write songs of my own from start to finish before, but it seemed a good time. I had a bit of time and a nice, quiet spot in my garage to try it out. I had stopped touring and was getting a bit restless at home. I thought, 'Why not do something else that takes up a lot of my time and makes me no money!!'  I'm great at that.

Considering some of the concepts for these songs were written years ago, was it hard to dive back in and explore the emotions behind the lyrics? Did you end up combining old experiences with new?

The ideas were pretty fresh. I bought those cassettes brand new in Feb. 2010. Yes, they still make 'em.  New song ideas that stemmed from a life time of experiences I guess.

"Wind Whipped" is decidedly different from the rest of the album. Tell me about that song. And "Mother Oh Mother." I'm not sure why but that song made me sad.

"Wind-Whipped" was one of the two songs that came from working with my great pal and legendary troubadour, Pat Visel. He had the chord progression, and I came up with the vocal melodies and words for the tune. The other song we did that way was "Some Summer." They both have a Viselian touch, and it's classic. 

"Mother Oh Mother" was a mixture of something I'd read in a book about WWI and the basic idea of a mother. You know, the fact that if you can stand up, eat, think and wipe your backside, it's most likely thanks to your mother... well, my mother in this case. The WWI book told of how many young men cried out for their mothers while they were dying from gunshots, shrapnel and mustard gas in the trenches along The Western Front. Don't worry, I won't get all heavy and cerebral. It's the only book I've ever read.

Some of these songs sound very smooth seventies. Was that intentional? Does that come from your influences? You seem to have a penchant for low-fi seventies stuff like Bread and Buffalo Springfield. How does a guy growing up in Newport Beach gravitate to stuff like that? Why are you so un-punk rock?

We worked relatively quickly when making the record.  The engineer, Ryan Mall, only had a month to spare, and I had a limited budget. I am very happy with the outcome thanks to the money and time constraints. It's the best way to do it.  It forces you to make decisions and trust your instincts. The sound and feel of the record are what I like and what I know. The music I heard on the radio and at home as a young kid left an impression on me. I'm sure that comes through on this record. As far as punk rock goes, I grew up around it and played it, but I never loved shitty three-chord punk rock. The closest I ever got to punk was XTC,The Jam and Toy Dolls.

Can you tell me about the booze and clocks? Not the CD, but an answer to the same question you ask in the song.

Oh boy......explaining that song will be far to boring for print.   It's a bit of hope and a touch of despair all in about 3 minutes.  The rest is for your ears to decide.

For more about James Fletcher, click here for an article in the OC Weekly published recently:
http://blogs.ocweekly.com/heardmentality/2011/02/james_fletcher.php

Or visit his Facebook page at:
http://www.facebook.com/pages/James-Fletcher-Music/139676419398145

So Sick and Twisted

 

 

 

 

Sick Sense 

IE Weekly

Before cutting-edge cartoons became the norm, Spike & Mike’s Sick and Twisted Festival of Animation blazed the trail

By: Arrissia Owen Turner

Craig “Spike” Decker and Mike Gribble changed animation history by accident. It all started when Gribble showed up to a party in a clown costume. It was the early 1970s, and he and Decker hit things off immediately, sharing an off-kilter, wry sense of humor and an appreciation for anything counterculture.

Gribble moved into Decker’s Victorian crash pad in Riverside, known then as the communal living space Mellow Manor. Decker attended Riverside Community College, making the Dean’s List while studying physics and physical science.

But the two stopped clowning around and embarked on an inadvertent revolution with their festivals of animation shorts that kicked off the careers of luminaries like John Lasseter (Toy Story, A Bug’s Life, Cars), Danny Antonucci (Ed, Edd ‘n Eddy), Craig McCracken (The Powerpuff Girls) and many more. Way before bizarre and politically incorrect animation became mainstream—a la early ’90s Ren & Stimpy and Adult Swim’s programming—animation from the likes of Mike Judge (Beavis and Butthead), Matt Stone & Trey Parker (South Park) and Eric Fogel (Celebrity Deathmatch) were fixtures of the touring festival.

After years in hibernation, the festival is back, with four dates scheduled near Decker and Gribble’s former stomping grounds at the Fox Events Center in Redlands. Sadly, Spike is going at it alone these days with Mike on board only in memory and name.

The Revolution Begins

“He was a genuine character and a funny guy,” Decker says of Gribble, who passed away in August 1994 from cancer. Decker says he still takes a moment to ask himself during decision-making, “What would Mike do?”

In the mid-1970s, Spike was a member of the band Sterno and the Flames. Decker and Gribble started promoting the band’s gigs through their company called Mellow Manor Productions, finding unique ways to get people to the band’s rock shows by including horror, rock and classic movie screenings. 

The band also showed classic cartoons like Popeye, Betty Boop and Superman, and even the newish cult favorite Bambi Meets Godzilla by Marv Newland on a screen behind the band playing. 

The band fizzled, but Decker and Gribble’s fervor for animation presented a new opportunity. The two created 90-minute features out of animated shorts and branded it “Spike and Mike’s Festival of Animation.”

In 1977, the festival (later renamed the “Classic Festival of Animation”) launched, showcasing the short animated films by touring theaters, film festivals and college campuses annually. The festival premiered early works by the aforementioned Lasseter (the Academy Award-winning short Tin Toy), Tim Burton (Vincent), Nick Park (A Grand Day Out, Wallace and Gromit), Bill Plympton (Your Face, Nose Hair) and others.

Decker and Gribble also produced the student works of guys who went on to the big time, including Pixar’s Pete Docter (Monsters, Inc.) and Andrew Stanton (Finding Nemo).

Key Lime Pie by Trevor Jimenez

“It just fit and it worked,” Decker says. “We started getting to know so many of the animators, it just started revolving.”

Animation is Unlimited

The duo had to overcome some stigma at first, with many not won over by the idea of a festival dedicated to what they perceived as childish cartoons. “Each film is a movie in itself, a masterpiece,” Decker says.

Spike & Mike’s Sick & Twisted Festival of Animation started in 1990 and accompanied the original festival showing unrated adult-oriented shorts, eventually completely replacing the Classic Festival.

Sick & Twisted got its start at UC Berkeley’s Wheeler Auditorium at when Decker asked the crowd of co-eds if they wanted to see something a little more mature. “Hells yeah” was the answer in no uncertain terms.

It was meant to offend from the start. Sick & Twisted’s creation was prompted by a few animated shorts that Decker and Gribble saw potential in, but were too high on the gross-out and taboo meter for the regular festival.

To create an entirely new festival, Mellow Manor Productions funded the creation of new shorts by some of their favorite animators, including Mike Judge. Judge went on to launch his Beavis and Butthead empire with Sick & Twisted’s help.

Dog With Electric Collar by Steve Baker, playing during Sick and Twisted

“It was total freedom for them to do these crazy, sick and twisted films using animation as a medium,” Decker says. “It’s a natural application because animation is unlimited with what you can do with it.” 

How to Pick a Winner

Beavis and Butthead’s pre-MTV short Frog Baseball was one result. “The characters and the voice that Mike did were really good,” Decker says looking back. He appreciated Judge’s affinity for parody, something Decker likes for its ability to shine a bright light on hypocrisy and truth. “It’s the backbone of stand-up comedians, even comics in newspapers.”

Decker and Gribble trusted their insight. “We had a brand and a concept,” he says. “We had a good knowledge of what works with audiences and whether a film has merit or not.”

Of the 22 shorts on average shown during an animation festival, whittled down from about 500 submissions, the key commonality is hitting funny bones just right—whether sick and twisted or not. “We had an incredible skill to know when something was a winner,” Decker says.

Still, Decker knows some of the shorts aren’t going to win Oscars.

“Obviously everyone isn’t going to like all of them, but humor is the No. 1 criteria,” Decker says. “It’s like Ben & Jerry’s. You are not going to like every flavor, but there are some damn good flavors in there.”

Electric Roses by Pedram Goshtasbpour

Decker shies away from taking too much credit for the subsequent success of the Pixar animators, Park, Judge and the South Park guys, though it bears noting that Decker and Gribble were the first to screen Parker & Stone’s famous Christmas short (The Spirit of Christmas) that launched Cartman and the crew into superstardom. So we will give him and Gribble credit for that; they were definitely the talent’s biggest cheer squad.

The New Generation

“We believed in them, saw the talent and the value and we stepped up before anyone else and put their stuff out there,” Decker says about the cavalcade of renegade animators. “It’s just built on that.”

Decker and Gribble set out to educate audiences in every town they hit that animation was more than kids’ play. “We wanted to show that these were incredible films and that some were absolute masterpieces,” Decker says.

Still, with Sick & Twisted gaining momentum, it was hard for Decker to continue to produce both festivals. The Classic Animation Festival ended up being phased out. 

“We just didn’t have the infrastructure to do both,” Decker says.

The digital revolution helped bring it all back though.

This year, the “New Generation Animation Festival” has been added to the tour, which is basically the same as the Classic fest, but the name change is meant to emphasize the festival’s core progressive animators.

These days, Decker doesn’t have to comb the globe looking for cutting-edge animators. “People know us now,” Decker says. “We’ve paid enough dues for people to trust us and want to be part of the show. People use it as a résumé now.”

The payoff for Decker and his crew is helping take up-and-coming animators to the next level and finding them an audience. “We believe in someone when no one in the world outside their parents had seen their work and then all of a sudden they have people from another country watching their stuff,” Decker says.

Santa the Facist by Bill Plympton

“Spike and Mike’s Festival of Animation gives audiences the only opportunity to view the wonderful art form of the animated short film,” Lasseter has said about Decker and Gribble. “They also give young animators and filmmakers a chance that they normally never get in the film industry.” 

“We Are Not Mainstream”

Others have said the same, just with more colorful language. “Spike and Mike are to animation what salad dressing is to sex,” according to Stone & Parker.

“It’s like someone who works on violins and knows a great Stradivarius,” Decker says. “It’s just working on these films and being characters outside of the mainstream. Just like someone in the music industry, we notice things that are different because we are not mainstream.”

While Decker remains humble, he can look back at what he and Gribble accomplished and feel proud.

“Part of me is like, ‘We earned it and why not?’” he says. “Part of me is thinking that we don’t get enough recognition for it. And then another part of me, at other times, like when we find ourselves at the Sundance Film Festival or screening at Cannes—that is very exciting and I am very appreciative of that. But I do feel that we’ve earned it.”

The dream would be to have a late-night TV show to showcase the Sick & Twisted talent. “We would like to get some mainstream shots out there,” Decker says.

Looking back at some of the talent he’s worked with, like Park of Wallace and Gromit fame, he’s even taken aback by the amount of genius that has passed through the festivals.

“I can’t think of too many titles that we have ever passed on that we didn’t hit it on the money,” Decker says. “We strive for perfection.”

Spike & Mike’s Sick & Twisted Festival of Animation and New Generation Animation Festival at the Fox Events Center, 123 Cajon St., Redlands, (909) 233-6727; www.spikeandmike.com. Jan. 14-15, 21-22. Tickets $10 for each festival, $18 both shows.

http://www.ieweekly.com/cms/story/detail/sick_sense/3713/ 

White Out!

Shaun White visited Big Bear's Bear Mountain Resort today. I tracked him down to his surprise. I was the Big Bear paparazzi for the day.

Shaun White visits Bear Mountain

Superpipe phenom Shaun White takes time out from boarding Bear Mountain Jan. 6 to take a photo with a fan, 11-year-old Owen Hamer of Moonridge. (ARRISSIA OWEN TURNER/Big Bear Grizzly)

Shaun White hits Bear for respite, runs

By ARRISSIA OWEN TURNER
Reporter

Big Bear Grizzly

Published: Thursday, January 6, 2011 3:29 PM PST

Shaun White, aka Bear Mountain's ginger son, visited Big Bear Thursday, Jan. 6, to hit some jibs and relax incognito sans sponsors, photographers and hoopla. The two-time Olympic gold medal snowboarder who got his start riding the slopes of Bear Mountain returned after six years of jetsetting and taking the mainstream world by storm. "I'm glad to be back," he said at the top of Chair 9 before taking a run. "It's cool."

Here's the link online to today's photo op:

http://bigbeargrizzly.net/articles/2011/01/06/sports/doc4d264f582f90d576168333.txt

There's No Time Like Snow Time

Altitude Adjustment  

IE Weekly

Our review of the region’s chillingest winter sport destinations

By: Arrissia Owen Turner

Now’s the perfect time to wax up and dig into the powdery realms you’ll find at our higher elevations . . .

BEAR MOUNTAIN

The 2009-10 season at Bear Mountain Resort marked 20 years of progressive terrain park development. The resort, once called Goldmine before it merged with the other Big Bear ski resort (Snow Summit), is at the forefront of snowboard culture, allowing park designers carte blanche to build whatever they want to ride on. 

Whether you’re jibbing an old jalopy, sliding across picnic tables or hitting the new $5,000 feature, the Paul Jam, a cascading stair step that looks like a huge Devo hat, you’re sure to have a blast. Bear Mountain offers SoCal’s only superpipe, plus a halfpipe and a beginner pipe to live out your Olympic dreams. 

Chad Blau at Bear (Arrissia Owen Turner for Big Bear Grizzly)

It’s no secret that Bear Mountain was home to über-boarder Shaun White, but these days you can still share the slopes with snowboarding greats like J.P. Walker and Mike Casanova, among others. Most weekends are host to contests and events of every kind.

Once upon a time, Snow Summit was the go-to resort for snowboarders. But once the merger occurred, Bear Mountain Resort became the destination for snowboarders and freestyle twin-tip skiers with its 748 total acreage; with 198 developed and 550 acres undeveloped in Deer, Goldmine and Bow canyons. The more advanced riders can hit the canyons to navigate between the trees when a good dump of natural snowfall occurs. 

Bear Mountain is keeping a tight hold on their reputation as one of the most progressive snowboard parks in the U.S. The mountain is littered with more than 150 jumps and 80 jibs spread out among the 17,000 vertical feet of top-to-bottom terrain.

This season, the resort added the new Skill Builder Park in the beginner area with scaled-down features and DIY signs that spell out exactly how to raise the bar on your riding. 

Bear Mountain boasts 12 lifts, with two high-speed chairs straight to the top. The highest elevation at Bear Mountain is a staggering 8,805 feet at Bear Peak, with about 17 ride-able miles across the resort. The longest run is Geronimo at 1.5 miles. 

After covering the entire mountain, you’ll be ready for a cold one at the Beach Bar, an outdoor bar that overlooks The Scene and Central Park for plenty of entertainment. Why exert yourself when you can watch others from the comfort of the deck? Looking for warmth, Trappers Lounge is just a staircase away.

Bear Mountain Resort, 43101 Goldmine Dr., in the Moonridge area of Big Bear Lake, (909) 866-5766; www.bearmountain.com.

MT. BALDY

Suzy Chafee anyone? Hell yeah.

Skiing Mt. Baldy resort is like jumping in a time machine, sans hot tub. Anyone with fond memories of long, straight skis, Boda bags, Led Zeppelin blaring and foxy babes in blue bibs can certainly appreciate the vibe at Baldy. 

If it’s been decades since you’ve skied here, you’re in for a treat—it’s frozen in time. From the chair lifts to the faces of buildings, you’ll feel a little dazed and confused. Even the snowmobiles look circa 1983, but in the best way possible. 

The resort opened more than half a century ago, starting with a Hudson engine and a bale of rope, developing into a full-service resort boasting six double black diamond runs. It’s no Mammoth, but when there is plenty of snow it’s epic. 

First things first, you take a ski lift from the parking lot to the main part of the ski area. Once you arrive, you’ll find the rental shop, ski lesson sign-ups, the Notch Restaurant and the Mt. Baldy Yacht Club (Stella and Widmer on tap!), basket check, first aid and all the rugged terrain you can handle 25 minutes from Upland. At the end of the day, you can either ride the lift down to the parking lot or just go balls out and hit the moguls the entire way down. 

Aside from the awesome aesthetics, something that makes Baldy special is that it faces south, which can be a real curse when you’re trying to maintain your snowpack. But it also offers one of the most impressive sunsets you’ll ever find. 

The late sun reflects off Long Beach Harbor, magnifying the scene in a rare atmospheric condition. On a good day, you can actually make out the shape of sailboats. Squint past the fog and you can just make out Catalina Island. 

The drive to Mt. Baldy is short and sweet, and with much fewer cliff drops from the side view window of your vehicle, but there are plenty of challenging slopes once you arrive. 

The recent rains washed out part of the road after the mountain area received more than 25 inches of rain and three feet of snow, but county crews worked to keep the fun alive with the road to the resort is reopened with restrictions. 

For the time being, skiers and snowboarders must arrive by 9 a.m. to avoid the uphill road closure, which enables the crews to continue the repairs. To ensure your spot on the mountain, make a reservation and print it out, or go to the resort’s website and print out the home page, which has a message about the road closure. Leave early and stay late. And don’t forget to fuel up. There are no gas stations once you pass Claremont or San Antonio Heights. 

Mt. Baldy Resort is open 8 a.m. to 5 p.m. daily. Chairs 2 and 3 are open with a combined 1,250 vertical feet, with Chair 4 opening weather permitting. There is also a Monster Tubing Park available for those looking for speed without strapping in or clicking in. And if you’re just hanging out for the view, there is a pass available just to ride the first lift up to the main ski area. 

On the way home, stop off at Mt. Baldy Lodge in the Village, a rustic bar and restaurant with plenty of grub and mountain men to chat up. Mt. Baldy Lodge also offers overnight lodging, as does Snow Crest Lodge.

Mt. Baldy Ski Resort is at 6700 Mt. Baldy Road, Mt. Baldy. From the 210 freeway, exit Mountain Avenue and head north. Mountain Avenue turns into Mt. Baldy Road. For more information or to purchase tickets, call (909) 982-0800 or visit www.mtbaldy.com.

SNOW VALLEY SKI RESORT

Snow Valley Ski Resort in Running Springs is sort of the stepchild to Big Bear’s two resorts, but it’s got that whole 30-minutes-closer-than thing going for it—and that’s 30 minutes without chain control, which usually sets up right after Snow Valley. 

The resort is a perfect place for beginner and intermediate level skiers and snowboarders, and there are a few black diamond runs to keep their patient buddies satisfied. The trade off is that the lift ticket prices are much nicer on your wallet. 

But don’t underestimate Snow Valley. The EDGE is a park with a tank jib, small flat rail, table and spine, with more features being added daily as the season kicks off. Once the snow starts dumping, two more terrain parks will open, the Rim Progression Park and Hideout Jib Park. 

There are night sessions until 8 p.m. Lines can be long at lunch time, so consider brown bagging it or hitting up the chalet before or after chow hours. It’s all a bit primitive, but there’s a reason why.

The ski area started in 1924 with a sling lift, then called Fish Camp. By 1941, the ski resort took on the name Snow Valley Ski Resort, and by 1949 the resort installed its first chair lift. Jump to 1994, and snowmaking was added, and by 1996 the resort added an innovative snowboard park that flowed from hit to hit. 

During the past summer, Snow Valley invested nearly a million dollars, upgrading ski and snowboard rental equipment along with a new computerized rental processing system. Chair 8 has been refurbished and will allow easier access from Slide Peak to the front of the mountain. 

Snow Valley is close enough to make for an easy day trip, but for those looking to tuck in after a long day of boarding or skiing, there are lodges and hotels available in Running Springs or nearby Lake Arrowhead. Closest is Giant Oaks Lodge, minutes from the resort. For reservations, call (909) 786-1689. For more information about the area, visit www.runningsprings.com.

Snow Valley Ski Resort, 35100 Highway 18, Running Springs, (909) 867-2751; www.snow-valley.com.

SNOW SUMMIT RESORT

Snow Summit is the most visible ski resort in Big Bear Lake, just a jaunt up from Big Bear Boulevard and closer to the Village area with restaurants and bars. It’s family-friendly and offers myriad intermediate and beginner runs, along with the double diamonds for the more advanced skiers and snowboarders. 

The resort offers 31 trails, 14 chairlifts, a 1.25-mile run and a snowmaking system that can convert up to 6,000 gallons of water per minute into snow when Mother Nature fails SoCal. 

Kenny Milliken at Torchlight (AOT)

The mature crowd can hit Snow Summit to escape the hot doggers that Bear Mountain caters to. The resort touts itself as the “Premier Mountain Resort Experience in Southern California,” with a more refined skiing experience offered. Night skiing is available many nights throughout the season, and New Year’s Eve boasts the annual Torchlight Parade that is always a sight to see. 

At the top of Chair 1, the East Mountain Express, stop for a bit at the View Haus restaurant, which has a stunning view of San Gorgonio and some tasty barbecue grillin‘. Sit out on the oversized deck and order some pulled pork or a half-pound burger, grab a beer and you’re in nirvana. 

For beginners, Snow Summit offers an exceptional ski school, with guaranteed results. If by the end of the lesson you can’t make your way down the beginner slope, you get to keep taking lessons until you can. 

And if it’s your first time at Snow Summit but it’s looking awfully familiar, it might be memories from John Cusack and Chevy Chase flick Hot Tub Time Machine, which was partly filmed at the resort.

Snow Summit, 880 Summit Blvd., Big Bear Lake, (909) 866-5766; www.snowsummit.com. For lodging information in the area, visit www.bigbearinfo.com, www.bigbear.com or call (800)-4-BIGBEAR.

MOUNTAIN HIGH

Just a little ways from the Cajon Pass sits Mountain High Ski Resort in Wrightwood in the Angeles National Forest. More than 80 years ago, construction on the resort kicked off, back then called Big Pines, transforming the winter wonderland into a recreation destination. 

By 1980, Mountain High merged with Holiday Hill and became a single resort, Mountain High Ski Resort. Now the resort offers 46 trails and 11 chair lifts, including the regions first high-speed detachable quad. 

In 1997, the resort underwent a huge transformation, renovating everything from lifts to the grooming equipment. Since 2001, Mountain High has earned the title of most skier visits of all SoCal ski resorts. Most recently the resort remodeled the West Base area. It also increased its snowmaking by 30 percent. 

Aside from the West and East resorts, Mountain High now offers the North Resort, with 70 acres of beginner terrain and the North Pole Tubing Park, SoCal’s largest tubing park. Formerly Ski Sunrise, the North Resort is located directly across from the West Resort and operates weekends through the peak season. 

New for this season is the resort’s longest terrain park yet at 1.6 miles, located at the East Resort. The park will no doubt lure some riders to the east side, easing congestion on the main side of the resort. 

Goldrush run on the east’s gradual pitch is perfect for features and offers better terrain for the park. The park includes banks, hips, jibs and jumps. There is also a second learn-to-ride zone at the top of East Resort perfect for beginners, which also includes a small BoarderCross course to get your speed on. 

The West Resort upped its game, as well, adding a new stair feature in the Playground and a pipe jib designed and sponsored by Skullcandy. The new Skullcandy feature mimics an iPod docking station with built in speakers to rock your world.

Mountain High Winter Resort, 24510 State Highway 2, Wrightwood, (888) 754-7878; www.mthigh.com.