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Whether or not you are a fan of Top 40 radio, it’s pretty remarkable that in today’s digital culture, we still have radio stations that the majority of people tune in to on a regular basis. Yes, many of us stream our favorite stations on the Internet now, but the concept of the radio station still seems to be the same.
Your favorite actor or actress is in New Year's Eve. I promise.
Anyone who is an avid musical theater-goer knows the routine: House lights down a little past the time it says on your ticket, grandiose overture representing the music to come over the next 2 to 3 hours, curtain up and the show begins. Right?Wrong.Let's rewind. I entered the theater amid swarms of people of all interests and backgrounds while hawkers wearing cooler bags around their necks sold beer and handed out LED concert lighters. As I approached my seat, I was greeted by a cloud of concert haze filling the welcoming interior of The Bourbon Room, surrounded by the exterior of the 1980s Sunset Strip. People scrambled to get to their seats as the band (which looks more like an AC/DC tribute band than any pit orchestra I've ever seen) took the stage. Lights and lasers flashed to a few chords before a rock legend was projected onto an LED screen, proceeding to satirically lecture the audience about theater etiquette.Already, I knew that this was going to be unlike any other show I'd ever seen, and I was right.Rock of Ages is not your typical Broadway show. Nor does it strive to be. In fact, what makes Rock of Ages such an enjoyable experience is that it, much like its audience, does not take itself too seriously. Rock of Ages begins with Lonny (Patrick Lewallen), the sound engineer for The Bourbon Room and narrator of the show, addressing the audience, who, he assumes, has arrived to see a traditional theatrical story. So what better way to tell one of the oldest musical theater stories of all time than to do it the way he knows best-through rock.Drew (American Idol's Constantine Maroulis) is a busboy at The Bourbon Room who dreams of one day becoming a rock star. Sherrie (Rebecca Faulkenberry) is a poor girl from the Midwest who has traveled out to the Sunset Strip in hopes of becoming a big-time actress. When the two meet, it is love at first sight, though each is too shy to tell the other.What ensues is a series of ridiculous antics by the cast to telling this traditional story using arena rock songs. The show features classic hits such as Journey's "Any Way You Want It" and Twisted Sister's "I Wanna Rock," along with other songs from Bon Jovi, Poison, Slade, Foreigner, Whitesnake, Styx, Survivor, Jefferson Starship and many, many others.I will be the first to say that I am not a fan of jukebox musicals. But rather than trying to squeeze a series of songs into a fairly weak plot, Rock of Ages acknowledges how ridiculous this process is and, instead, makes the audience laugh every time a new song is sung or musical reference is made. The show even takes it a step further, making meta references to its existence as merely a story within a theatrical show and constantly breaking the fourth wall.What made the evening even more enjoyable was the vast talent pool that made up the show's cast. Maroulis's voice outshone his abilities as an actor and made the character of shy-guy Drew genuinely loveable. Faulkenberry was able to handle everything asked of her character, Sherrie, from the intense, more metallic songs to sweet ballads with very little effort, truly shone during her dance numbers. The man who deserves most mention, however, is Lewallen, whose sense of comic timing for Lonny was impeccable and in many ways carried the show. His interactions with the audience and cast made everyone roar with laughter.Rock of Ages is not a concert, and it is not a Broadway musical (not like you've seen in the past, anyway). So what is it?Rock of Ages is an experience unlike anything you have ever experienced before. Its combination of beautifully simple, yet detailed set and concert aspects (cue LED screen, grid full of moving lights and a half-dozen haze and fog machines)-along with a very funny storyline and some of the most famous rock pieces ever written-has created something that can be enjoyed by all, whether you like musical theater, like the music or just lived through the '80s. So grab your jean jacket and lighter, leave your mullet at home, and see this show at Boston's Colonial Theatre before it closes on Oct. 17.
Brooklyn-based, genre-defying duo Sleigh Bells rocked the walls of Cholmondeley's last Saturday night. Pitchfork Media has said of them, "Sleigh Bells sound like hip-hop, pop, hardcore, metal, dance-but above all else the Brooklyn duo sounds like now." While Pitchfork certainly got that right, anyone who has had the pleasure of seeing the two musicians perform would add that, live in concert, they literally sound like fun. The band has been growing rapidly in popularity since their breakout performance last October at the CMJ Music Marathon in New York City almost one year ago. After opening for Yeasayer on the band's tour last spring and playing to thousands of fans at notable music festivals such as Coachella last April and Pitchfork this past July, Sleigh Bells found their way to the cozy little coffeehouse known as Chum's.Singer Alexis Krauss and guitarist Derek Miller met in a restaurant in Brooklyn where Miller worked as a server when Krauss came in one day with her mother. From a brief exchange in which Miller mentioned that he was looking for a female vocalist to form a band with, and Krauss' mother suggested that her daughter might be the woman for the job, Sleigh Bells was formed. Both Krauss and Miller had experience in the music industry and the performance world before forming Sleigh Bells. Krauss was a member of the now all-but-forgotten teen pop group Rubyblue, while Miller was a guitarist in the Florida-based hardcore outfit Poison the Well. If you have ever wondered what a female pop singer would sound like singing over metal breakdowns and riffs, Sleigh Bells is the answer to your questions and more.Chum's was packed as Brandeis' own DJ Marcos opened the night around 9:30 p.m. after Sleigh Bells finished its sound check later than expected. WBRS Co-Music Director Jake Blair '13 estimates that there were about 100 people waiting outside by 8:45 p.m. DJ Marcos started off his set with a selection from the ever-popular French electro house duo Justice. Marcos demonstrated a good mastery of Serato Audio Research's Scratch Live, a DJ software similar to the well-known VirtualDJ. His music selection was well- rounded and pleased the crowd, ranging from an English version of the popular song "Alors on Danse" by the Belgian hip-hop/electro-house artist Stromae to the Brandeis-appropriate "I Can't Dance" by Dirty Nasty featuring LMFAO. Using a new dance mix of an old standby, Bon Jovi's "Livin' on a Prayer," Marcos demonstrated that he knows how to get a crowd to dance and sing along by cutting the music in and out during the chorus, though his cutting was not quite in rhythm. All in all, Marcos was good, but he clearly has more potential-one would hope that he'll begin to do more complex, original and live mixing instead of relying on previously made remixes and the simpler functions of his DJ software and hardware. It was also an interesting choice for Marcos to set up at the back of Chum's. Though it allowed Sleigh Bells to set up quickly, it took some time for some students to realize that a live DJ was performing, not a preset playlist. Nonetheless, Marcos did gain the attention and dancing support of his audience. Blair remarked, "after deciding we'd get a DJ [as an opener], Marcos seemed like the obvious choice. He's very easy to work with and can read the crowd at an impressive level." As DJ Marcos' set came to a close, Sleigh Bells took the stage to blaring metal, replete with distorted guitar, blast-beat drums and numbingly powerful bass-an appropriate prelude to its own performance. The new subwoofers in Chum's certainly got a workout with Sleigh Bells' set from start to finish. Chum's itself was at capacity, with 150 people inside. Sleigh Bells opened with "Tell 'Em," the first track off of its debut album, Treats. The song was as effective an opener live as it was on recording, and immediately the crowd was captivated, as they discovered the peculiar but enjoyable half-dancing, half-moshing movements inspired by the music. "No one should dance to something so heavy, but I saw everything between grinding and headbanging happening in Chum's that night, which was interesting," said WBRS' Michael Zonenashvili '13, who interviewed the band after the concert. Sleigh Bells continued with "Infinity Guitars," a song that superbly encapsulates its style: the interplay of heavy, distorted guitar riffs from Miller and clear, light, yet commanding vocals from Krauss. "Infinity Guitars" was never finished due to sound problems, most likely induced by the insane volumes at which Sleigh Bells likes to perform and the use of computer-generated beats and background synth lines written by Miller. Krauss, quick to think on her feet and experienced with killing time during technical difficulties, taught the audience a line from "Crown on the Ground," which came later in the set. Zonenashvili commented, "[because] Krauss is a second grade teacher . she taught the crowd all cheerfully like a second grade teacher would, and it was awesome thinking on her feet." "Riot Rhythm," which has been featured in a Honda television commercial, was next, followed by "Treats," the last song and title track off the album, and "Holly," the only song performed that night that cannot be found on "Treats." "Rill Rill," one of their most popular songs, which features a distinct sample from Funkadelic's "Can You Get to That," was next, followed by the incredibly heavy, minute-and-a-half-long "Straight A's," and finally the closer, "Crown on the Ground."As members of the audience joined Sleigh Bells onstage for its final song, everyone in Chum's felt the full force of their music and performance: the special camaraderie of people picking each other up mixed with the undying energy of pop and dance music-and the simple fun of being a part of an intimate yet powerful concert. Chum's proved to be quite a good venue for Sleigh Bells despite its small size. The intimacy allowed the band to interact with and energize the audience and vice versa. Zonenashvili said, "Brandeis students who attend shows are pretty phenomenal hipsters with hearts of gold," which added to the intimacy and energy of the show and allowed everyone to enjoy the music even though Krauss' vocals were not always perfectly on pitch and Miller's guitar work was slightly sloppier than on the recordings. Blair and Zonenashvili agreed that the concert was a success for WBRS. As Blair put it, "It was just a cool experience, and definitely the biggest concert WBRS has done (excluding Springfest) in recent memory." The fact is this: whether or not you like the over-the-top wall of distorted danceable sound that is Sleigh Bells, you missed out on a fun concert if you were not in Chum's last Saturday night.
The Borat movie made just under $25 million this weekend, $10 of which came from my wallet. That's right-I got to see the most-hyped film since Snakes on a Plane when it opened nationwide Friday night and, for the record, it was just as hilarious as advertised. If you've been out of the loop with the entire Ali G/Borat phenomenon, the movie follows the hilariously idiotic fictional Kazakh journalist as he makes his way across the United States, offending just about everyone on the journey. Borat is one of three characters created by British comedic genius Sacha Baron Cohen and featured on his HBO series Da Ali G Show.Yet with Borat's opening-weekend success, longtime fans must now come to terms with the inevitable throng of high school-age punkasses who will soon fill the streets and annoy us all with their painful attempts to imitate the hilariously incompetent character. Sure, it was funny when only a handful of your friends had heard of Borat or Ali G, but after the 15th person yells out a random and once-funny Borat quote in the middle of class, it just gets old. Can someone please explain to me what David Spade is doing dating the hottie of all hotties, Heather Locklear? Have times really gotten so tough that the blonde bombshell, whose list of ex-husbands includes both Tommy Lee and Bon Jovi guitarist Richie Sambora, has no choice but to date Joe Dirt? I mean, I'm sure Spade gained a lot of sex appeal after his poignant performance in that Dickie Roberts movie a few years ago, but is there really no one else willing to date Ms. Locklear? Did she suddenly contract a contagious disease that no one outside of Hollywood is aware of? Even so, I'd stop writing this column right now if she'd have me. Don't get me wrong. My shock at Locklear's choice of boyfriend is not to be taken as an attack on Spade. It should be obvious that the former star of NBC's Just Shoot Me has my and every other man in the world's admiration. Regardless of how confusing their relationship may be, Spade's ability to land Locklear as his potential bride gives hope to just about every American male who's never going to be a rock star or professional athlete. But such a surprising pairing naturally leads men to question everything they've been taught about dating and opens the door to a whole new way of thinking when it comes to women. Maybe I don't have to learn how to throw a football to get a hot girlfriend. Would Angelina Jolie consider adopting me? Maybe Jessica Alba secretly has a thing for college newspaper writers. Okay, so that last one might be a long shot, but the point is anything seems possible when one of Hollywood's hottest blondes says yes to a date with an actor whose most recent role was playing opposite Rob Schneider on a Little League baseball team.
As the Shapiro Theater's screen began its infuriatingly slow descent, the audience buzzed in anticipation for Boris' Kitchen second day of the annual two-day sketch comedy festival. The first group to perform was Bard College's Olde English. When the screen was, finally, fully stretched and ready to role, a simple message appeared: "Olde English hates epileptics." The message was followed by a convulsion-inducing sequence of lines dancing about, followed by the words "Die, epileptics, die!" flashing on the screen. This video summed up the mood of the evening to come-a wacky and original mix of skits that, even at their most controversial, got the audience to laugh.And controversial it was. More than in their second video, which offered homosexuality as a solution to avoiding unplanned pregnancy, Olde English pushed the audience's comedic limit with a skit in which a young man attempts to penetrate the world of children's television by offering a show titled "The Swasticats," a program depicting crime-fighting cats from outer space brandishing the swastika as their official symbol. Other groups did not shy away from controversial topics like sex and even erotic dancing in the Dinosaur Club.The second group to perform was Grand Lodge, a representative from Vassar College in New York. The highlight of its performance was a video about awkward encounters. At one point, they suggested that, to avoid speaking to a person you do not like, pretend to be speaking on a cell phone-even if that means talking directly into your hand. Another suggestion to eliminate the awkwardness of a conversation is to simply punch the person in front of you and run.Following Grand Lodge was Syracuse University's Penguins Without Pants, a relatively new comedy troop that started their performance with a talking penguin. Being one of the bigger groups in the festival, Penguins Without Pants worked well when all members performed together. The best example was a skit in which a bunch of friends secretly usher another friend into what is believed to a surprise party, but what turns out to be a "we don't want to be your friends anymore" party. Continuing the successful teamwork was Vassar College's second group, Happily Ever Laughter. Their sketches were wildly original, ranging from a "legendary heroes" therapy session group in which a cocaine addict pretends to be Achilles with an Austrian accent to an overly aggressive dinosaur club to real people involuntarily becoming Mortal Kombat characters. Happily Ever Laughter was followed by Elephant Larry, the only professional sketch comedy group of the night. This group received an especially warm welcome and repaid the audience with wildly original skits. Elephant Larry's performance stood out for its energy and comedic timing, and especially its originality. The sketches included police officers playing charades with a criminal, a toned-down skit about what one could do with eighteen billion staples, a video about a baby doll being sent down to fix a fuse box by an unsympathetic father, and even a rendition of Jon Bon Jovi's "Living on a Prayer" turned into "Sitting on a Bear." Closing out the festival was Brandeis' own Boris' Kitchen. The group began its show with a pseudo-religious prayer, wishing for a good show and even unabashedly praying for a good review from the Justice. The skits themselves were creative and had themes that Brandeis students could relate to, such as the Red Sox-Yankees rivalry and problems with a TA (granted that in this skit the TA was a medieval calculus poet played with gusto by Elliott Veloso '05). Boris' Kitchen had its share of wackiness, as when a Spanish soap opera is interrupted by an appropriately dressed belly-dancer dancing to the "Chiquita Banana." Overall, Boris' Kitchen provided a wacky and entertaining end to what had become a wacky and entertaining evening.
I would warn pseudo-rockers to start working on their next irresistible hit records, because as Canadian rock quartet Dakona enters the mainstream, they may take on dangerous levels of speed. After two indie releases and six years together, it is no wonder that Dakona's new "Perfect Change" sounds polished and mature even though it is their first major label debut. Maverick Records swiped up this Vancouver based band after they spent the last several years bouncing between gigs from clubs to parking lots.Overall, the group has the typical "four young guys"-guitars/bass/vocals-"we are still growing as a band" feel. But what sets Dakona apart from the other bubble-wrapped rock groups out there is their polished and cohesive sound. This is what will make them competitive in the pop rock market - they are new and fresh (to outsiders of the Canadian indie rock scene; namely us) while still managing a mature finished album. The group's first album, "Good Enough For Me," was released to rave reviews in 1998. It was followed up two years later with "Ordinary Heroes," which became the number one selling album in Vancouver, receiving radio play and major recording industry nods. Cousins Ryan McAllister (vocals/guitar) and John Biondolillo (drums) teamed up with friends Brook Winstanely (guitars) and Shane Dueck (bass) to make up this rock quartet that just completed a national tour with Michelle Branch.Their sound is evocative of the radio friendly Lifehouse or Fuel. You could even go as far as to say Dakona is Avril meets Creed. Until I listened to "In Gods Name" and did a little online CD shopping, I had no idea they were a Christian based rock band -- which is not something I would normally be attracted to, as I tend to gravitate more towards non-denominational music. Nevertheless, I encourage those who generally tend to practice separation between church and CD to give this a chance. Dakona embraces a sweet rock beat that provokes both head bobbing and singing along. Lead singer Ryan McAllister's guttural voice roughs up the edges a bit, giving it a more legitimate rock feel. Featured track "Good (I've Got A Lot To Learn)" has a powerful back beat and hot guitar chords that I imagine could provoke me, with enough caffeine in my system, to pull a little grab the microphone (a.k.a - my hairbrush), head-bang -jump-on-the-bed demonstration. I had a similar feeling itch at me when listening to "Soul for Sale," which strangely reminded me of Bon Jovi's "Wanted Dead or Alive." This connection either means I am pining for Bon Jovi, and my unconscious desires are reflected in all the music I hear, or that Dakona has produced one of those poppy rock tunes that has classic potential. I am going to go with the latter option, not only because I want to reaffirm my own self respect but also in the name of legitimate musical critique. The thumping lyrics, "Joyride in a hot car baby/Got room for one and a suitcase maybe," have that cheesy appeal that I personally can't resist. If I had a car, I would put this song on my driving mix. "Revolving" is a sad, jagged account of the frustration of being caught in one of those circular relationships that never seem to be resolved. "I'm caught in an orbit around your sun/Revolving, revolving again/Each time I turn more damage is done." The metaphor is not too shoddy. McAllister's angst ridden voice and the repetition of the word "revolving" emphasize more the feeling of frustration that he is trying to express. "Richest Man" is another radio friendly track preaching, "I gotta be free from the chains that bind me." It is a noble cry against materialism that, given my "poor college student" status and my infallible hope for fame and fortune, I cannot without resistance relate to. "Steal my gold, take my pearls/I am the richest man in the world." This is a catchy tune, with great drum use, but the message I feel will lose its absoluteness once Dakona actually falls into some fame and fortune themselves.Yet regardless of how they deal with it, I predict that with a solid album like this one, Dakona actually does have a chance of coming across some "gold" and "pearls."Listen to the music; see if it can find a place on your driving mix. Yet, please note my refusal to call this band rock. Do not be misled. I have dubbed this genre of pop rock "pseudo" partly because I can not legitimately call any band touring with Michelle Branch serious "rock." Call it an issue of integrity.
I would warn pseudo-rockers to start working on their next irresistible hit records, because as Canadian rock quartet Dakona enters the mainstream, they may take on dangerous levels of speed. After two indie releases and six years together, it is no wonder that Dakona's new "Perfect Change" sounds polished and mature even though it is their first major label debut. Maverick Records swiped up this Vancouver based band after they spent the last several years bouncing between gigs from clubs to parking lots.Overall, the group has the typical "four young guys"-guitars/bass/vocals-"we are still growing as a band" feel. But what sets Dakona apart from the other bubble-wrapped rock groups out there is their polished and cohesive sound. This is what will make them competitive in the pop rock market - they are new and fresh (to outsiders of the Canadian indie rock scene; namely us) while still managing a mature finished album. The group's first album, "Good Enough For Me," was released to rave reviews in 1998. It was followed up two years later with "Ordinary Heroes," which became the number one selling album in Vancouver, receiving radio play and major recording industry nods. Cousins Ryan McAllister (vocals/guitar) and John Biondolillo (drums) teamed up with friends Brook Winstanely (guitars) and Shane Dueck (bass) to make up this rock quartet that just completed a national tour with Michelle Branch.Their sound is evocative of the radio friendly Lifehouse or Fuel. You could even go as far as to say Dakona is Avril meets Creed. Until I listened to "In Gods Name" and did a little online CD shopping, I had no idea they were a Christian based rock band -- which is not something I would normally be attracted to, as I tend to gravitate more towards non-denominational music. Nevertheless, I encourage those who generally tend to practice separation between church and CD to give this a chance. Dakona embraces a sweet rock beat that provokes both head bobbing and singing along. Lead singer Ryan McAllister's guttural voice roughs up the edges a bit, giving it a more legitimate rock feel. Featured track "Good (I've Got A Lot To Learn)" has a powerful back beat and hot guitar chords that I imagine could provoke me, with enough caffeine in my system, to pull a little grab the microphone (a.k.a - my hairbrush), head-bang -jump-on-the-bed demonstration. I had a similar feeling itch at me when listening to "Soul for Sale," which strangely reminded me of Bon Jovi's "Wanted Dead or Alive." This connection either means I am pining for Bon Jovi, and my unconscious desires are reflected in all the music I hear, or that Dakona has produced one of those poppy rock tunes that has classic potential. I am going to go with the latter option, not only because I want to reaffirm my own self respect but also in the name of legitimate musical critique. The thumping lyrics, "Joyride in a hot car baby/Got room for one and a suitcase maybe," have that cheesy appeal that I personally can't resist. If I had a car, I would put this song on my driving mix. "Revolving" is a sad, jagged account of the frustration of being caught in one of those circular relationships that never seem to be resolved. "I'm caught in an orbit around your sun/Revolving, revolving again/Each time I turn more damage is done." The metaphor is not too shoddy. McAllister's angst ridden voice and the repetition of the word "revolving" emphasize more the feeling of frustration that he is trying to express. "Richest Man" is another radio friendly track preaching, "I gotta be free from the chains that bind me." It is a noble cry against materialism that, given my "poor college student" status and my infallible hope for fame and fortune, I cannot without resistance relate to. "Steal my gold, take my pearls/I am the richest man in the world." This is a catchy tune, with great drum use, but the message I feel will lose its absoluteness once Dakona actually falls into some fame and fortune themselves.Yet regardless of how they deal with it, I predict that with a solid album like this one, Dakona actually does have a chance of coming across some "gold" and "pearls."Listen to the music; see if it can find a place on your driving mix. Yet, please note my refusal to call this band rock. Do not be misled. I have dubbed this genre of pop rock "pseudo" partly because I can not legitimately call any band touring with Michelle Branch serious "rock." Call it an issue of integrity.
Beulah"Yoko"Velocette RecordsGrade: ABottom Line:A work of emotionally destroyed art, Beulah will break your heart and soothe your ears at onceIf the recent releases of Bob Dylan's "Time Out of Mind" and Neil Young's "Are You Passionate?" were any indication of marital trouble in America, then the emergence of Beulah's "Yoko" is another nail in that coffin. This is the breakup album of the year; and this is Beulah at their most pessimistic. Yet they keep it beautiful, filled with the bitter but sweet harmonies and slight, poignant horns that are always in the background and never in the way. What has happened to everyone's favorite indie popsters? A whole lot, actually. So what would cause songs like "Fooled with the Wrong Guy," "A Man Like Me," and "Landslide Baby'" to be written? How about a divorce? How about three? Now you're beginning to understand the album title, which is also an acronym for 'You're Only King Once,' another song about divorce. Reflecting irreconcilable differences, lead singer and main songwriter Miles Kurowsky split with his girlfriend of over two years. This isn't very good at all for the band members, but it just may be great for the music and the fans. "Yoko," is the shot through the heart that Bon Jovi promised but never quite delivered. To like this album, one does not need to know prior Beulah material. First is "A Man Like Me." This is the perfect way to start an album dealing with the big issuesconcerning love. First you hear a rotary-phone beat that could have been on Wilco's "Yankee Foxtrot Hotel," accompanied by a descending piano line and the soft, sweet voice of Kurowsky. Soon, the words will take you to a place of self-doubt and hurt, and the guitars will help transcend the moment to an almost triumphant point. Almost. Despite what it sounds like, this is a love song-not of pure love but of the realistic kind. He's not perfect, love him anyway. "Try, try wasting all your days on a man, a man like me."Second, "Landslide Baby." After the first song, this one, with its background harmonies and upbeat tempo, will fool you into believing that it's happier. Anything but the truth. "A Man Like Me" was Miles' plea to his ex, and "Landslide Baby" is her reply, complete with all of the criticisms that come with a bad breakup. "You're scared and you're weak and you don't give a fuck about me...and I do believe that you hate yourself."Third, "Your Mother Loves You Son." This has got the Ramones' vocal drone, the ample distortion, and, of course, the attitude to stand as the song with the most propulsion. It just grabs you and pulls for three minutes, the Beulah version of the two-minute song. For anyone who doubts the band's desire to balance the darkened skies and the sweet sun underneath, this song is strong, strong proof. "Last night's a loaded gun, you better hope that the world won't end tonight/ All the mothers love you son, you better hope the world don't end cause..."Now, I could go on for all ten songs, but I won't. I don't need to. The other seven contain the same levels of quality as these three, employing a banjo-like guitar melody on "Fooled Around with the Wrong Guy," lush harmonies mixed well with horns on "Don't Forget to Breathe," and a seven and a half minute "Wipe Those Prints and Run" that is as Floyd as Beulah will probably get without sacrificing their own musical values. And much like Dylan and Young, Beulah has succeeded in making a great album, as opposed to a good batch of incoherent songs, without falling into the trap of repetition and banality. For the Beulah fan, they already know to expect such quality. For the newbie, it will be a fitting introduction to a band that knows how to do its job, does it well, and makes it seem so easy.
How many times has this happened to you?You're watching your favorite band live from the lawn seats when suddenly some crazed hippie in front of you starts dancing around like a dirty snow pigeon. Arms are flailing, legs are kicking and eyes are closed in what one might refer to as spiritual rapture. You try to move a little, but the psycho dancer just can't help but convulse directly in your line of sight. Even when the set ends, Sir Grooves-a-Lot keeps on grooving. By the end of the night, your neck hurts more than usual and you want to throw a brick at that stupid hippie's face.Concert etiquette may be one area of respect that Miss Manners neglected to inform her curious public about over the years. Although mind-numbingly obvious to some concert-goers, others have less trouble understanding the concept of "ruining it for everyone else." Some of these sad individuals are novices, while others have been bringing down concert experiences for years. Some of them might even be you, faithful readers, so read carefully.Maybe we should start with something very small but highly consequential: Do not, under any circumstances, wear a shirt that bares any association to the band you are seeing. If you are going to see the Foo Fighters, don't wear a Foo Fighters shirt, and don't wear a Nirvana shirt. Don't embarrass yourself by wearing a day-glo tie-dye shirt from the mid-80s either.Comfortable shoes are a must. Ladies, stay away from heels, and gentlemen, stay away from anything remotely loafer-esque. While some people are hard-pressed to wear anything but closed toed shoes, I think your favorite, durable pair of sandals will work well in warm weather. Birkenstocks aren't mandatory, but certainly make the overall experience better for your feet, at least.Don't wander around the parking lot smiling at the lovely ticket holders while holding up your index finger and expecting people to know you want "one miracle." If you wanted a ticket, you should have bought a ticket like everyone else. While we're on the parking lot, frisbee is not always a good idea when you're tailgating. Many a headlight has been broken during a poor attempt at Ultimate during the pre-concert extravaganza.When feasting behind your car, pack a wide variety of beverages and snacks. Be prepared to share, and always bring plastic cups to pour your drinks in. Parking lot police enjoy giving out tickets to underage drinkers, so be on the look out for the patrolling scooters or have your ID handy. Be sure not to get too trashed before you get inside the actual concert. Blacking out is a drag-you won't remember much, and your friends will have to drag your sorry butt out of the venue when it's over.If you plan on doing drugs, bring your own. No one likes a scavenger who smells the cheebah and shuffles through seats to get in on the cypher. Sometimes it's actually polite to pass on grass.Don't overcharge people for that knotted piece of string some regard as hemp jewelry. It's cheap string and a few beads, let's not go crazy, OK? And please, please please, pleeeeeeeeease shower. Please. Deodorant is also a nice touch.I don't care if Bon Jovi is playing your favorite power ballad. Put your lighter away. No one does that anymore. It's of poor taste and only results in charred hair and lawsuits. Keep your cigarettes at an appropriate position, as well. Most people want a T-shirt as a keepsake from a concert, not a burn on their arm because you couldn't resist waving around your half lit Marlboro.If you're tall, don't even bother showing up to a concert at all. Or, if you really must, go stand in the back with the rest of the social misfits.Shut up. We all know the lyrics, and we're didn't come to hear you sing them. If you feel compelled to sing along, for God's sake do it quietly. Unless the singer has the microphone turned to the audience and everyone's shouting along with the music, keep it to yourself.Last, but certainly not least, keep awkward dancing to a minimum. It's beyond embarrassing. It's annoying, distracting and a good way to ruin a show for everyone else. I don't care if you're "floating with the music" or "feelin' the rhythm go through your soul." If you're going to dance, at least do it in front of the tall people, because that's what they get for being tall.Concerts are a lot of money and a lot of fun-if you do them right. Be sure to follow the guidelines to careful concert etiquette, and don't ever bring earplugs. Earplugs are for losers.
Everyone's favorite 80's band is back in town this month, as Bon Jovi rocks sold-out stadiums across North America, promoting their newest CD, "Bounce." Fans of all ages crowded into the Fleet Center in Boston Tuesday, March 4 for what Jon Bon Jovi himself promised to be a night to remember. "When you go home all sweaty and tired, you're going to say you got quite a workout with Jon Bon Jovi," he shouted to a sold-out venue. And he kept his word.From the first chords of "Bounce" to his trademark "Twist and Shout" ending to every concert, Bon Jovi took his fans on a nonstop trip through the last two decades of his music. His older fans danced to the sounds of his first hit single "Runaway" and the familiar tunes of "You Give Love a Bad Name" and "Livin on a Prayer," while his younger fans were able to mouth the words to "It's My Life" and his most recent single, "Misunderstood." The majority of the crowd was female, screaming and sighing every time he raced around the stage in his patented tight pants. "I look good for a 50-year-old, don't I?" Bon Jovi asked. One fan sure thought so, as she raced on stage during "Livin on a Prayer" and tried to embrace Jon in a bear hug. Although caught off guard in the moments before security dragged her off stage, Jon never missed a beat and continued rocking non-stop for the next three hours. One fan was much luckier, as she was formally invited on stage to dance with the sexy New Jersey boy during "Bed of Roses." As Jon gently kissed her and the crowd went wild, he shyly added "Some things never change: I'm still a crummy dancer." "Bounce," which was recorded soon after 9/11, focuses a lot on the healing and uniting that our country had to go through in the following months. Bon Jovi's most moving performance of the night came during "Undivided," a song dedicated to the families of those lost on Sept. 11, 2001. As Bon Jovi sang the words "That was my brother lost in the rubble / That was my sister lost in the crush / That was our mothers, those were our children / That was our fathers that was each of us," he couldn't help but fight back tears. The three large satellite dishes, the symbols of the "Bounce" album that had previously been displaying video of the band now showed images of promise and hope for America. Jon also took a step out of the spotlight and highlighted the other talented members of his band. Richie Sambora, the lead guitarist and backup vocals sang "I'll Be There For You," and drummer Tico Torres and keyboardist Dave Bryan performed solos as well. Bon Jovi also delivered a nice eulogy and dedicated the entire show to Bryan's dad, who supported the band in its early days and who had recently died. The Goo Goo Dolls, probably one of the biggest names to open for a band, began the show, but did not live up to expectations. Lead singer Johnny Rzeznik admitted to having a hangover, and it showed. However, the disappointment was short lived and soon forgotten as soon as Bon Jovi entered the spotlight. Bon Jovi has been around for multiple generations, and proved tonight that they will be around for a lot longer. This concert tour ends on Aug. 8 back in Jon Bon Jovi's home state of New Jersey at Giants Stadium in East Brunswick, where he promised during the final concert of his One Wild Night tour that he would "Never Say Goodbye.
Last Wednesday night, the Class of 2003 hosted the Senior Spirit coffeehouse at Cholmondeley's. Gregg Leppo '03, president of the Senior Spirit club, and Aziz Nekoukar '03, vice president and treasurer, emceed of the event. The night began with the unknown, but slowly rising group, the Barbershop Quartet, made up of Adam Perlin '03, Michael Zoosman '03, Lawrence Szenes-Strauss '03 and Nick Barouche '06. The quartet started out with some lovely songs including "Strolling Through the Park One Day," "Auld Lang Syne" and "Coney Island Baby." Their mature sound and great harmony stood out. Their set ended with an incredibly sped up version of "Coney Island Baby" in which they all raised their voices a couple of keys and sounded like an amusing group of chipmunks. This group has a lot of talent, and it was a shame that not many people came early enough to see them.Next up was Rebecca Katz '05. Claiming that she had just come from an a cappella rehearsal, she still gave a very strong performance. Her set included John Mellencamp's "Jack and Diane," Dar Williams' "Wilder Than Her" and Green Day's "Time of Your Life." Her set also had some originals, including older songs that were requested by the audience. These were "Juliet," "Walking Song" and "Storming the Castle." More people began to arrive as her set went on.After Rebecca was done, Ana Yoselin Bugallo '03 and Marci Surkes '03 jumped onto the stage to perform. Their original piece, starting at the beginning, was the "Song for the Seniors" which talked about waking up the morning after a party and having no idea what happened that night. Next, they went through several covers in which Bugallo sang and Surkes played an acoustic guitar. They played Melissa Etheridge's "Come to My Window," Shakira's "Donde Estas Corazon," Bon Jovi's "Living On a Prayer," Deep Blue Something's "Breakfast at Tiffany's," Aretha Franklin's "Respect" and Amanda Marshall's "If I Didn't Have You." As their set progressed, more and more people began to fill the space at Chum's. Bugallo's pretty voice was complimented very well by Surkes's guitar, and their set ended on a very positive note, with everyone singing along to "Breakfast at Tiffany's."Last but not least, was False -- or "True" -- Advertising. The group was obviously on that night, because every one of their skits elicited a thundering laugh from the gigantic group.Their act began with three boys dealing with childhood traumas -- peeing their pants in public. A few other games they did included the always popular 186 in which they get a word from the audience -- my favorite that night had been eyebrows -- that would become the punchline of a joke, and a soap opera in which every character had a secret -- again provided by the audience -- that had to be brought out into the open by the end of the skit. False Advertising certainly proved themselves once again, whether they dealt with dolphins or pee dreams.
Bon Jovi'Bounce'Island RecordsGrade: B+Still basking in the glowing success of their multi-platinum album, "Crush," Bon Jovi, the band of Jon Bon Jovi, released their eighth album with Island Records, "Bounce" last week.One of the few surviving bands of the '80s, Bon Jovi continues to entertain with newly inspired material. As told on their website, www.bonjovi.com, "Bounce" is a journal kept by the band of where they have been this past year, a diary of what they have witnessed and what they have felt.Partially written during the gloomy aftermath of Sept. 11, the title of the album represents the resiliency of the city of New York and the American people as they "bounce" back from the tragedy and continue to lead their lives with newfound determination. Containing a mix of guitar driven tracks and ballads, "Bounce" conveys a sense of frustration mixed with ever-present optimism in its prolific lyrical content. The first two tracks, "Undivided" and "Everyday," are inspired by the events of Sept. 11. Utilizing hard-hitting guitar and up-tempo drum beats, the songs express feelings of anger, as well as a determination to remain strong in spite of disaster. In "Undivided," Bon Jovi refer directly to the spirit of the American people after Sept. 11 as he declares, "Once we were divided / Now we stand united / We stand as one ... undivided." "Everyday," the first single off the album, proclaims rebirth and renewed strength in a more personal sense as the band resolves to" ... touch the sky / spread these wings and fly." The title track off the album, "Bounce," contains powerful rock beats. The song has the defiant mentality of another popular Bon Jovi song, "It's My Life." Although the band originally aimed to make "Bounce" a sports-themed anthem, the lyrics gain a more meaningful dimension from its connection to Sept. 11. In contrast to the fast, forceful rock anthems, "Bounce'" contains several more mellow ballads. On the fourth track, "Joey," Bon Jovi makes use of his crooning, raspy voice as he reassures Joey that things "Will be alright /we're gonna find a better life." Instead of focusing on the guitars, this song and others rely on the melancholic harmonies of the piano to convey the tenderly optimistic tone. The equally piano heavy "Right Side of Wrong," sounds like a hybrid of Bruce Springsteen and Billy Joel. In addition, the album contains many love songs. "The Distance," a song about conquering obstacles for love uses toned-down guitars to convey its resolute, hopeful message. "All About Lovin' You," is another love song. Despite Bon Jovi's heartfelt crooning, the lyrics can't help being vaguely reminiscent of a generic boy band tune. "You Had Me From Hello," suggestive of a famous line from "Jerry Maguire" is another emotive love song that employs piano and string instrumentals. The album engages the listener with its catchy, upbeat tunes and memorable lyrics. Bon Jovi manages to stay true to its rock-pop roots, while evolving musically and lyrically at the same time. Containing a well-rounded mix of love ballads and head-banging anthems, the album will please fans both young and old.
If you're into swooning over attractive male guitarists who reminisce about lost loves, in-between eliciting laughs like stand up acts and cursing like sailors, then the patio of Usdan on Wednesday night was the place to be. It was a pleasant surprise to find out that Stephen Kellogg was opening the evening of music, since I had enjoyed seeing him this past summer at the Gathering of the Vibes. This performance was much mellower, as he displayed his songwriting talents while still maintaining his personable, smile-inducing edge.Kellogg's mini-set consisted mainly of "story 'bout a girl" songs that exhibited enjoyable chord progressions, plus an added bonus of a little harmonica in the first song. His songs had messages along the lines of "you have the choice to change, but it's a difficult process." For instance, the lines "She's got a sun kissed smile that the winter won't go near," and "She takes my heart away," showed Kellogg's ability to bring out universal emotions in his lyrics. He peaked in his penultimate song where he would send his voice rocketing falsetto as he added an extra syllable to "beautiful." Kellogg capped his performance with a ballad style cover of the Spin Doctors' "Two Princes" that included an audience sing-a-long of the chorus while he crooned reworked lyrics that meshed wonderfully. At setbreak it dawned on me that this is the most packed acoustic caf I had ever attended. The patio was crammed as far as the eye could see, and there were even a bunch of crafty ones who had made their way up to the second floor patio for the showcase, Matt Nathanson. Nathanson, even more than Kellogg, knew how to work the ladies. And, he was not afraid to show it, to the point where I think he just liked to hear himself talk. The way he made out with the microphone and was continually deep-thrusting (from his toes all the way to his eyes) complemented his self-proclaimed theme of the evening, which was music as a sexual journey.Nathanson possessed a set of full, slightly raspy, very sexy vocals. He put them to use right away, and added intricate chord progression and eye-opening lyrics to create "Pretty The World." On "More Than This" Nathanson played brilliantly, as though he were playing two guitars simultaneously in harmony. This same style would follow, but even more melodically, later on with "Wings." Then came, according to Nathanson, the "nipple hardening part of the evening," which he introduced with a pretty enjoyable, albeit mocking, impersonation of BBMak. After a couple more woe-is-me, why-can't-she-be-mine, can't-get-her-out-of-my-head type songs, Nathanson orchestrated a fun sing-a-long to Prince's "Starfish and Coffee." As he did all night long, Nathanson stopped midsong to make a wisecrack; this one was directed at a pretty girl not joining in the singing who shall remain nameless. "Chickentastick" allowed for some isolated, hard strumming and "Continue Dreaming" was the vehicle for some higher than normal vocals by Nathanson. It was at this point of the show that I felt it dragging on a little too much. Maybe he was spurred on by the hordes of females in the audience to keep playing slow ballads or maybe that's all he has in his repertoire, but either way the set was in need of a boost of some sort at this point. Nathanson picked up on this vibe three or four songs later than I would have liked, and then got just plain silly. He did a very raw version of Journey's "Faithfully" and stood on an amp in his crowning glory. Kellogg joined him on the amp stage left and the rest of the song played out more as a comedy routine than a musical performance, considering Kellogg's fear of heights and their lack of the necessary soloing to fit the song. Regardless, it was good entertainment. A farcical Bon Jovi medley of "Livin' on a Prayer" and "Every Rose Has Its Thorn" followed, and they even added a Guns N' Roses "Paradise City" tease. Back to the real music. "Answering Machine" again showed how the audience can actively help to create touching music, as Nathanson wove his flowing lyrics through the crowd's chorus. He closed the set with a whisperingly warm first verse of Simon and Garfunkel's "The Boxer" that segued into his largely requested "Little Victories." The night ended on a soft smiling note that represented well the two plus hours of sweet melodies and reflective lyrics that filled the cool, end of summer, New England night air.