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(10/07/03 12:00pm)
As an English major, it's fair to say I read a lot of books. Most have been in the literary canon for as long as there has been a literary canon, but that's not to say there's no room for improvement. That's where contemporary writers come in and attempt to fill that space. While most will fade into obscurity by the time our kids are in college, James Frey's stunning new memoir, "A Million Little Pieces," is something that should be read for generations to come.
Frey's heartbreakingly honest look at drug and alcohol abuse and the rehabilitation process explores hard to examine truths on the same level as Dostoyevsky and Tim O'Brien.
Frey, a recovering alcoholic/crackhead who's tried everything in-between, and beyond, tells of his experiences as an addict and the painful, grotesque, angry aspects of conquering addiction.
The most poignant moments in Frey's story are when he is forced to interact with people close to him, including his parents and a suicidal addict who becomes his girlfriend inside the clinic. Frey's revelation of how he's hurt people will strike a chord with anyone who has a heart.
Frey also experiments with language and structure in the book, exploring dialogue, punctuation and the accepted rules of grammar much like Cormac McCarthy, Jack Kerouac and Hunter S. Thompson. Frey uses no quotation marks and his sentences tend to blend into ranting mobs of words desperate for communication. This, however, does not result in the alienation of the audience. It instead allows them further access into Frey's thoughts as he's walking the delicate line of sanity and sobriety after years of abuse.
"A Million Little Pieces" is not for the faint of heart - it is sometimes disgusting, furious, offensive and always honest. The book exists in a constant counterpoint between the morally reprehensible aspects of the characters' pasts and their sorrowful hope and need to recover.
Frey tells a different story of treatment because he was hostile and unresponsive to the typical Alcoholics Anonymous tactics and decided that he needed to kick his habits on his own terms. This is a story of will and determination, personal demons and public angels. It is about the strength of friendship and the fragility of the human spirit.
Frey's schooling was in film, not literature, but claims to come from the Norman Mailer school of "I can kick your ass" writers. There is the influence of Bukowski and Hemmingway in his tough, gritty style but also a sensitivity that is usually lacking in such machismo-driven writers.
Frey's personal life isn't quite what one might expect from someone who critics claim has just written the "War and Peace" of addiction. He grew up in a well-adjusted upper middle class family, is well educated, but then got progressively more involved with drugs and, eventually, got on the wrong side of the law.
The importance of Frey's memoir is not its subject matter, but instead the integrity of his voice and storytelling. The originality of his writing and the singularity of his artistic vision is what will keep Frey ahead of his peers and contemporaries.
(10/07/03 12:00pm)
"Anna in the Tropics," a new play by Nilo Cruz that recently won the Pulitzer Prize, opened at the new Berlind Theater in Princeton.
Cruz's play tells the story of a Cuban-American cigar factory in the early 20th century. Family, love, literature and betrayal collide in this beautifully lyric explosion of passion and sensitivity.
Juan Jualian (Jimmy Smits) is a lector - someone paid by the factory workers to read to them while they work. Jualian reads Tolstoy's "Anna Karenina," which incites hidden yearnings in the turbulent souls of the workers.
Cruz's writing is accessible, humorous and seductive. The actors of this ensemble play are constantly brining subtle subtext to the surface through nonverbal acting and their sharp skills.
The sincerity of Cruz's writing is apparent in many scenes throughout the play, especially when Santiago, a gambler-drinker and owner of the factory, talks with his wife about Tolstoy's novel. He describes how he relates to the character of a young, driven man who only loves one woman. It's Cruz's juxtaposition with Tolstoy's novel that makes the tragedy and the comedy of these characters much more poignant when cast in relief to their counterparts.
Cruz's characters speak with a childlike wisdom. Marlena, the youngest female character in the play, says, "Everything in life dreams. A bicycle dreams of becoming a boy, an umbrella dreams of becoming the rain, a pearl dreams of becoming a woman and a chair dreams of becoming a gazelle and running back to the forest." This simple, yet magical imagery gives the play its most human and touching aspect - and it was this kind of writing that earned the Pulitzer Prize.
The set is brilliantly simple and all-purpose, consisting of a large back wall, several chairs, two tables and a washtub - space is carefully used, never to excess. Director Emily Mann's choice of set, movement and blocking comes across as stylish and inevitable.
The play is sold out for the rest of its run at the Berlind, but will move to Broadway in November.
The Berlind is a new stage that just opened as part of McCarter Theater. A 350-seat space with a standing room section located in the back, the theater also contains two rehearsal halls and classrooms for Princeton University's dance and theater programs. The construction of the theater was a joint effort between McCarter Theater and Princeton University.
Later in the year, the Berlind Theater will host performances of "Fraulein Else" and "My Fair Lady." McCarter Theater will feature songwriter Randy Newman, neo-folk singer Dar Williams, the Suzanne Farrell Ballet, jazz legends the George Shearing Quintet and the Herbie Hancock Quartet, Drummers of West Africa and the annual Richard Thompson Fall concert. More information is available at mccarter.org.
(09/23/03 12:00pm)
The late Johnny Cash embodied the spirit of American music. Cash's rebellious attitude and individual style challenged the limits applied to country music and helped define a new generation of artists.
The clearest example of this was his style of dress. While everyone else at the Grand Ole Opry was decked out in gaudy, bright, rhinestone suits, Cash wore all black, earning him the nickname "The Man in Black." His most successful album was "Johnny Cash at Folsom Prison," but he may be better known to our generation for songs like "A Boy Named Sue" and "Ring of Fire."
Cash's most recent album, "American IV: The Man Comes Around" garnered critical and commercial success for its blend of original material and unconventional covers such as Nine Inch Nails' "Hurt," for which Cash received a nomination for Video of the Year at the 2002 MTV Video Music Awards.
Cash's influence appears in almost all genres of music today from punk's Social Distortion to rap's Jay-Z. His strongest followers, of course, come from those who walk the thin line between rock and country, a border that Cash may not have founded, but certainly explored. This tradition is reflected today in the recent works of country rockers like Steve Earle, M. Ward and Emmylou Harris.
Steve Earle
"Jerusalem"
Earle has always been a rabble-rouser musically and personally, much like Cash. They both challenged the labels placed on them as artists and fought personal battles with drugs and alcohol. With his latest album, Earle also assumed Cash's mantel as an interpreter of the American psyche. "Jerusalem" examines life in post-Sept. 11 America, what it means to be a patriot and the differences between the ideals of the founding fathers and those of contemporary American society. Earle's songwriting is as poetic and honest as ever on songs like "America v. 6.0 (The Best We Can Do)" and "John Walker's Blues." But, not all of the songs are political. "Go Amanda," "Ashes to Ashes," and "What's a Simple Man to Do?" portray some of the hallmarks of country/blues/rock writing - "Love, God, and Murder," as Cash titled one of his albums.
M. Ward
"The Transfiguration of Vincent"
M. Ward's music is based in the same tradition of Americana as Cash's, but Ward subtly incorporates a more modern sensibility into his work. His guitar work seems like something you'd hear in the backwoods of Tennessee, but his studio production brings to mind elements of Ed Harcourt and Crooked Fingers. This album is stunning original material except for an amazing folky reworking of David Bowie's "Let's Dance," in which Ward's hands lose their energetic, dance feel and assume a tone of honest, love-wrenched yearning. Ward's voice is his own. While the influence of musical forefathers like Cash can be seen in Ward's work, ultimately it is Ward's particular take on country-folk that makes the album so interesting.
Emmylou Harris
"Stumble into Grace"
If there's one part of Johnny Cash's work that should live on for all eternity, it is the honesty of his voice. Emmylou Harris, a contemporary of Cash's, also possesses that same purity of voice that is so hard to find these days. Harris' latest album, due out Sept. 23, is another example of her elegance. While Cash's truths were hard-hitting and powerful, Harris takes a tender route to the heart, playing with ethereal, often ambient sounds intricately layered through her folk-country sound. Beth Orton's "Daybreaker" owes much to the airy country first developed by Harris. With "Stumble into Grace," Harris - of country's leading ladies - proves why she's still on top of the heap.
Mars Volta
"De-Loused in the Comatorium"
HHH 1/2
Former members of At The Drive-In, best known for their hit "One Armed Scissor," Cedric Bixler and Omar Rodriguez have come together as Mars Volta and juiced up the college alternative world with their progressive and psychedelic blend of emo and hardcore. More symphonic and sprawling than their past work, the duo have created an album of so many layers and mixing styles it's hard not to find something that you'll like. Fans from such various backgrounds as Radiohead, Ill Nino, John Lennon and Sigur Ros will all see elements of their favorites in De-Loused's melting pot of modern music.
Madlib
"Shades of Blue: Madlib Invades Blue Note"
HHH
West Coast Underground Hip-Hop genius Madlib has raided the archives of the legendary Blue Note jazz label and remixed jazz classics like "Stepping into Tomorrow" and "Dolphin Dance" with his own distinct brand of beat. Madlib has been known as a producer since the early 90's and produced an LP of jazz with his group Yesterday's New Quintet, but this is his first major label solo release. If you like other jazz influenced rap like Jurassic 5 and Tribe Called Quest, other West Coast rappers like Aceyalone and Del The Funky Homosapian, or even progressive jazz. Madlib just provides the beat - don't expect any rapping. The album makes for great party music, driving music, relaxing music or just for your listening pleasure.
Eels
"Shootenanny!"
HHH
Alternative singer-songwriter Mark Oliver Everett has taken all the directionless potential of Pete Yorn, and the whole adult-alternative sound, and coupled it with the weirdness and striking humanity of Beck's "Sea Change" to make "Shootenanny!" Eels also incorporates aspects of blues and bluegrass along the lines of Crooked Fingers to mix into his pop-sensitive, but smart, new album. This is Eels' fifth album, and while he's received critical success, the general public hasn't been paying much attention.
(09/16/03 12:00pm)
Looking for something a little more offbeat, hard to find, or just plain cheap? Tried Barnes & Noble and Borders but to no avail? Maybe a retail giant isn't what you need. You'll find more personal attention at Princeton's Micawber Books, right in the heart of the downtown area.
Micawber offers a wide selection of books in almost any subject from history to conceptual mathematics, and textbooks to comic books.
The store is split into two parts - used books and new books. Micawber is the largest used bookstore in the area and boasts a selection of used books as extensive as their new books. They offer used books in a bargain bin outside for only a dollar apiece. They sell bestsellers as well as lesser-known titles. Run by mostly college students and a few locals, the staff is more than willing to help you find the books you're looking for or to make recommendations.
Micawber is also the place to go catch up on the newest literature with its large stock of literary magazines and contemporary picks if you want to keep up with what's going on right now in the literary world.
Like the bigger chains, Micawber does have a discount club, only you don't have to pay $25 to join. Instead they use a punch card system - one punch for every book you buy. On your 10th punch you get 10 percent off.
Micawber's atmosphere is cozy and intimate. Perhaps you'll bump hands with a stranger while reaching for a used copy of "Boethius." The store's location makes for an easy trip for a cup of joe at New World Coffee just down the street.
Conveniently located on Nassau Street, Micawber is close to all the major landmarks - Princeton University, PJ's Pancake House, the Princeton Record Exchange and Triumph Brewery.
The store regularly hosts readings by local and national authors of every genre, including children's literature.
Micawber has been a Princeton stronghold for 22 years. They now serve the whole world thanks to their Internet site, micawber.com, which has the latest news on author events as well as ordering information.
Don't go at the beginning of a semester because most Princeton students order their books through Micawber.
At any other time, though, Micawber Books makes for a great place to relax, read and even find a deal or two.
(09/16/03 12:00pm)
Welcome to the edge of the envelope. This is where new ideas are being pushed forward and explored. This is where the future of art and music is being born. This is where most musicians and artists are made or broken. This is where you'll find everything that you've been waiting for, but never expected.
Mars Volta
"De-Loused in the Comatorium"
HHH 1/2
Former members of At The Drive-In, best known for their hit "One Armed Scissor," Cedric Bixler and Omar Rodriguez have come together as Mars Volta and juiced up the college alternative world with their progressive and psychedelic blend of emo and hardcore. More symphonic and sprawling than their past work, the duo have created an album of so many layers and mixing styles it's hard not to find something that you'll like. Fans from such various backgrounds as Radiohead, Ill Nino, John Lennon and Sigur Ros will all see elements of their favorites in De-Loused's melting pot of modern music.
Madlib
"Shades of Blue: Madlib Invades Blue Note"
HHH
West Coast Underground Hip-Hop genius Madlib has raided the archives of the legendary Blue Note jazz label and remixed jazz classics like "Stepping into Tomorrow" and "Dolphin Dance" with his own distinct brand of beat. Madlib has been known as a producer since the early 90's and produced an LP of jazz with his group Yesterday's New Quintet, but this is his first major label solo release. If you like other jazz influenced rap like Jurassic 5 and Tribe Called Quest, other West Coast rappers like Aceyalone and Del The Funky Homosapian, or even progressive jazz. Madlib just provides the beat - don't expect any rapping. The album makes for great party music, driving music, relaxing music or just for your listening pleasure.
Eels
"Shootenanny!"
HHH
Alternative singer-songwriter Mark Oliver Everett has taken all the directionless potential of Pete Yorn, and the whole adult-alternative sound, and coupled it with the weirdness and striking humanity of Beck's "Sea Change" to make "Shootenanny!" Eels also incorporates aspects of blues and bluegrass along the lines of Crooked Fingers to mix into his pop-sensitive, but smart, new album. This is Eels' fifth album, and while he's received critical success, the general public hasn't been paying much attention.
(08/25/03 12:00pm)
Summer in the music industry is normally dominated by tours and music festivals like Lollapalooza, Bonnero and this year's doomed Field Day. While most bands are busy on tour, some spend some time in the studio and squeak out a gem or two when no one's looking. Here are some of the CDs that came out this summer that you may have missed.
Electric Six
"Fire"
Combine the lyrical comedy of the Bloodhound Gang and the gnashing guitar of the new Detroit garage rock revival and you've got the Electric Six. Humor and Rock n Roll together again. The band made up of Disco, M., Surge Joebot, Dick Valentine and The Rock-N-Roll Indian, rip through songs like "Naked Pictures (Of Your Mother)," "She's White," "Gay Bar," "I'm the Bomb" and "Danger! High Voltage" featuring Jack White of the White Stripes. The songs are all rough, raunchy, danceable and fun. You can listen to the entire album for its rock value without even realizing how funny it is too. The Electric Six will appeal to both your taste in hard rock and dirty jokes. You can't lose.
Led Zeppelin
"How the West Was Won"
A must have for any Zephead. The first live Led Zeppelin album since The Song Remains the Same far exceeds its predecessor. This is the band at their peak with Plant's screaming blues cries, Page's dark guitar, Jones' irresistibly walking bass, and, of course, John Bonham's legendary pounding on the drums. The CD features extended jams on "Dazed and Confused," "Moby Dick," and "Whole Lotta Love," as well as some of the best live rock material to come out of the 70s. If you don't know much about Led Zeppelin, this makes a fine introduction for the rookie and a great keystone for the veteran's collection. Forget the summer concert series, the best live music from this summer comes right on this disc even if it was recorded back in 1972.
Hem
"Rabbit Songs"
On the softer side of the summer comes the debut from Hem. Rabbit Songs is a beautiful album mixing traditional folk music with the songwriting talent of Dan Messe and the quiet, powerful voice of Sally Ellyson. If you like Bob Dylan, Dar Williams, Ryan Adams or any of the other more popular folkie artists, you'll want to get in on Hem. Acoustic guitar, piano, mandolin and loads of harmony drive the album right to the heart. Great for late night listening, a romantic dinner, or just to relax and think, Rabbit Songs is an album of such subtlety, if you're not careful, you may just miss it.
The Distillers
"Sing Sing Death House"
The album was released in 2002, but The Distillers have been getting a lot of press this summer for their impressive live shows. This is old school punk made new again. Screaming vocals and guitar that can make your ears bleed if you're doing it right. Brody Armstrong leads the band through 12 songs that probably average three minutes each packed with raw, fueling energy. Forget those wannabe jokester punks that have been dominating the charts the past few years, this is the real thing. Watch out, you might inadvertently cause a mosh pit in your room listening to this.
The Faint
"Danse Macabre"
In case you haven't heard, Rock is the new Dance, as evidenced by bands like the Electric Six, The Music and now, The Faint. Combine the darkness of AFI with 80s pop-New Wave like Blondie and The Cure's early work and you'll get rock that makes you really move. Not for the faint of heart with songs like "Agenda Suicide" and "Let the Poison Spill," The Faint makes people feel good despite all the sadness and death-talk. This is the kind of music that is meant to rock out to in the car or when you're all alone. This is music that you can dance anyway you want to. If these guys from Nebraska take off the way it looks like they will, then we'll soon all be sporting Flock of Seagulls hairdos.
Damien Rice
"O"
A scruffy Irishman who writes heartbreaking songs of love and loss, Damien Rice is the new Millennium's acoustic answer to Van Morrison. Much like David Gray, Rice has taken all the murky, foggy sadness of the other side of the pond and plucked it out in notes on his guitar. Working with vocalist Lisa Hanningan on songs such as "Volcano" and "The Blower's Daughter," Rice creates a mood of pensive uncertainty and sensitive tension. If you like acoustic music of any kind, Rice will appeal to you. He's no one trick pony though, - his song "Eskimo" transforms itself into anopera as the CD's final track.
Feeder
"Comfort in Sound"
Feeder's song "Come Back Around" was recently featured in American Wedding. They've had a sizable following in their home of England for quite some time but are just starting to break in the states now. Comfort in Sound made Q Magazine's Best Albums of 2002 list when it was released in the UK, and now that it's been released here, it will no doubt have equal success. Somewhere between Foo Fighters and Live, Feeder is good, straightforward, radio-friendly rock. As long as they like solid guitar, melody and attitude, mainstreamers and aloof music aficionados alike will find something in this emerging British band.
(08/25/03 12:00pm)
College radio station WTSR ran special programming during Welcome Week including live broadcasts from remote locations and contests with giveaway prizes.
Music Director Sean Wilson said WTSR management viewed Welcome Week as an opportunity to be a part of the College community and to expose the freshmen to a unique music experience. WTSR distributed information on how to get involved with the station at all of their events and plan on holding an organizational meeting a few weeks into the new semester. Wilson hopes to find the people who are really interested before they get lost in the shuffle of the starting semester. Wilson is a DJ himself as Bastard #3 of "Destiny's Bastard Children" on Tuesday nights from 9 p.m. to midnight.
From 8 a.m. to noon everyday, WTSR played "FM in the AM," a program that featured alternative College music. WTSR correspondents ran live interviews and sponsored trivia games for freshman and their parents during move-in day. The station was also present at Thursday night's Late Nighter and lunch at Eickoff Hall on Friday. DJs brought out the equipment to provide music at Saturday's Volleyball Tournament and the Wiffleball Tournament on Sunday.
WTSR will return to its regular schedule after Labor Day and will feature new DJs and programming. Some old favorites will return, such as Monday's "'80s night," "Metal Fridays," and other specialty genre shows such as folk, blues, and electronica. The WTSR programming schedule has not been finalized yet, but it will be posted on their Website, www.tcnj.edu/~wtsr, when it is completed.
The station generally runs with a staff of about 100 people including a 13-person board of directors, volunteers, newsreaders and licensed DJs. WTSR has a track record of being just ahead of the cutting edge,playing artists like Jason Mraz, The Strokes, and Queens of the Stone Age months before they hit the mainstream. Bands currently in rotation at WTSR include Fountains of Wayne, Super Furry Animals, and the emo-punk band Fair Weather.
"We are truly the music alternative," Wilson said. He said WTSR aims to expose people to new music and not "shovel the same garbage down America's collective throat."
WTSR can be found on your radio dials at 91.3 and will continue to DJ around campus at events and at lunch-time at Eickoff Hall. The station is also be sponsoring the annual poster sale, held in the student center.
(04/29/03 12:00pm)
All year I've been trying to provide an interesting cross-section of music and perhaps raise awareness about some bands that are starting to break but haven't quite gone top 10 yet. I hope I've raised a few eyebrows in my choices of what to review and maybe changed a few minds.
So here we go, the last album reviews of the year and it's back to the broadest grouping possible again. These are some of the best albums to come out recently in Alt-Country/Folk, Pop-Rock, Rap and Jazz. Maybe you'll finally find something that you'll like. It only took a year's worth of trying.
The Jayhawks
"Rainy Day Music"
The Jayhawks have recently been creating a lot of buzz among fans of Ryan Adams, Wilco, Tom Petty and the like with their latest album, "Rainy Day Music." Combining folk-country guitar and an almost Motown sense of melody, The Jayhawks have crafted an album full of sweet, down home music.
The music seems timeless in a way, because it would fit comfortably in your collection squeezed somewhere between Hank Williams, The Byrds, Uncle Tupelo and The Temptations. Along the lines of a more mellow Wallflowers, The Jayhawks aren't soft but they're somewhat of a throwback to the folk-rock revolution that kicked off the 60s. Rainy Day Music is good music for just that, or a drive through the country, the beginning of a road trip or just hanging around on a summer day.
Stand-out tracks: "All the Right Reasons," "Save It for a Rainy Day," "One Man's Problem," "Angelyne" and "Will I See You In Heaven."
Linkin Park
"Meteora"
The boys of Linkin Park are back with their special scratch-backed rap rock. With the epic choruses in place along side the heavy guitars, Linkin Park continues their massive success with the release of Meteora which promises much more of the same that the public has seen from them in the past. This is music to stomp and scream to. The band seemed to focus more on their beats on this album than in the past, perhaps influenced by work with the X-ecutioners and by the success of their Reanimation album. Their focus on beats did not take away from their hard rock sound, however, which is still probably one of the best sounds out there right now.
Pushing things toward the electronic when the instincts of most rockers is to pull back right now, Linkin Park stand on their own musically right now at the cutting edge of rock. This album continues to push things forward and will only gain greater success for an already overwhelmingly popular band.
Stand-out tracks: "Don't Stay," "Somewhere I Belong," "Lying from You," "Faint" and "From the Inside."
Common
"Electric Circus"
Mixing psychedelia with rap somehow always produces some great music, just look at Outkast and Cee-Lo to name a few. Now double that up with strong influences of African rhythms and a sense of intelligence and pride, found in The Roots and A Tribe Called Quest and maybe you'll come somewhere close to Common. There's nothing better than soul with a conscious. Common's originality and inventiveness come like a breath of fresh air in the face of formula hit makers like P. Diddy and Nelly. Common also takes the level of production to a higher level with some interesting and complex sample choices and great beat effects that will keep you moving and thinking. Common talks about issues of everyday life and street wisdom, rather than 50 Cent's gangsta style. Like Gang Starr and Brand Nubian, Common is tough while keeping his integrity. Common is anything but common in today's rap arena.
Stand-out tracks: "Soul Power," "The Hustle," "Come Close," "I Am Music" and "Heaven Somewhere."
The Bad Plus
"These are the Vistas"
This three-piece combo marks an interesting evolution in jazz. Stretching the limits of what a piano, bass and drum can do, The Bad Plus explore the creative bounds of their own originality and push the limits of pop revision by covering "Smells Like Teen Spirit," "Flim" and "Heart of Glass." The band's deconstruction and reconstruction of these hits makes for more than just novelty listening. They actually take these modern-day standards and make them their own. Hearing Nirvana's biggest hit redone seems almost blasphemous at first, but it seems to right to wrong.
The band might has well have been describing themselves when they described their song "Boo-Wah" as "hectic, humorous, heroic, harrowing." The Bad Plus take risks that many artists would never dare take and they reap the benefits of the chances they've taken. Their reward comes in the form of a great jazz album.
Stand-out tracks: "Keep the Bugs Off Your Glass and the Bears Off Your Ass," "Smells like Teen Spirit," "Guilty," "Boo-Wah" and "Heart of Glass."
(04/15/03 12:00pm)
Pulitzer Prize-winning poet Paul Muldoon gave a reading as the keynote poet at last Thursday's writer's conference. Muldoon read from all periods of his work including newer, unpublished material.
"Paul Muldoon displays a versatility, which is extraordinary," Jim Brazell, associate professor of English, said as he introduced Muldoon.
Muldoon's most recent work "Moy Sand and Gravel" displays this versatility in its variety of poetic forms, from the haiku-esque series of poems "News Headlines from Homer Noble Farm," to the more standard but still astonishing lyrical poetry.
Muldoon's joking and easy-going nature, combined with his sense of sound kept the readinglight. "Have no fear, I've been to poetry readings, too," he said.
His playful use of words spilled off the page and into the audience at times, eliciting laughs and smiles. His use of short, aphoristic lines combined with extensive use of rhyme made Muldoon's writing a refreshing oddity in the climate of modern poetry.
While retaining the precepts of traditional poetry, Muldoon's subject matter was contemporary. This counterpoint in itself made for interesting commentary on modern society as exemplified in his poem "To Thanos." The poem was about hearing various digital ringing noises only to find that they are not coming from a fax machine or cell phone but from a simple cricket.
Perhaps the most impressive testament to Muldoon's mastery of poetic form was his poem "The Last Time I Saw Chris." The poem was a sestina, a 39-line poem in which six end words are repeated throughout the poem in a complex shifting of lines within a strict, fixed pattern.
What was so impressive about the poem was that it was a sestina that didn't appear to be one. The end words were so subtly integrated in with the enjambment of his lines that the intense repetition was subconscious and barely noticeable.
Muldoon's advice for the writers and poets at the conference was to stay focused and place faith in yourself and your writing.
"To focus is important," he said. "Focus on the details, which will see you through. Observe and don't write poems. Don't feel you have to translate the world into poetry."
He also emphasized the importance of self-expression and self-awareness in writing, saying that if your writing does not have an effect on you as the author, then it is not likely to have an effect on anyone else. "If it changes me, maybe it will change someone else," he said.
Muldoon read at the conference in 1998 and was impressed with the way it has grown in the past four years.
"It seems like a very lively conference," he said.
The conference crowd enjoyed Muldoon's reading for its great quality of sound as well as the brilliance of his written word.
"Terrific, the wit, the humor, the erudition," Donna Ruggiero, a teacher at Stewart Country Day School and conference attendee, said, summing up the audience response.
Muldoon was born in Northern Ireland in 1951. He has lived in the United States since 1987 and is a Howard G. B. Clark professor of humanities at Princeton University. He is also an elected professor of poetry at the University of Oxford. He has published nine books of poetry and is widely regarded as one of the leading living poets of the English language.
(04/15/03 12:00pm)
Security was on high alert during Salman Rushdie's keynote speech last Thursday, but students were not tense as Rushdie closed out the Writer's Conference.
All the tension only led up to a Y2K- style anticlimax, as Rushdie's speech went off without a hitch, addressing a full crowd of writers and students who welcomed his presence with open ears.
Rushie's controversial book "The Satanic Verses" caused riots and book burning when it first came out in 1988. The book was considered blasphemous by many Muslim faithfuls for its outrageous and extravagant retellings of stories of Muhammed and the roots of Islam. Iran's Ayatollah Khomeini declared a fatwa on Rushdie, sentencing him to death and offering a place in heaven and a substantial financial reward to the person who killed Rushdie.
The Iranian government in 1998 recalled the fatwa, and since then Rushdie has been making more public appearances. However, his safety and the safety of his audiences is still an issue.
There was still some concern from the Muslim community questioning Rushdie's presence on campus and the school's decision to bring him here.
"I don't think that the university should be paying people to propagate hate," Hoda Rifai, sophomore law and justice major, said.
"It contradicts the whole safe zone, no hate policy," Rashidah Khalifa, senior women's and gender studies major, said.
Rushdie strongly espoused the idea of separating the author from his characters in his speech. He also supported the radical stances in his novels saying, "If you stay in the middle ground, you may as well not do it."
These arguments won over most of the crowd.
"People start judging the writer by the artificial," Muzammil Razvi, president of the Islamic Society, said.
"If you read the novel, it's really difficult to see what the fuss is about," Irfan Khawaja, adjunct professor of philosophy, said. He added that, in his opinion, most practicing Muslims find the controversy silly, and if the reader is not a practicing Muslim then it's even sillier.
Many people present found Rushdie to be funny, charming and informative on the writing process and the world of literature, topics that Rushdie tried to stick to instead of re-hashing old issues.
"I was pleasantly surprised," Eric Menda, freshman journalism major. said. "Every answer started with a joke."
"I was impressed," Arjun Majithia, freshman biology major, said. "I think he made a lot of valid points about how reading and writing are not an automatic process."
Majithia was also impressed with Rushdie's bravery of speech and his conviction to stand by his work.
"He doesn't hide behind any shield," Majithia said. She also said that the criticism "hasn't made him a timid writer."
Whatever judgments the audience may have had going into Rushdie's speech were immediately erased and replaced by a kinder, gentler view of a man of letters standing up for his craft.
(04/15/03 12:00pm)
It's been a while now since the days of the Spice Girls and girl power (thank God, some might say, myself included). But, just because Baby Spice is more like Old Spice now, doesn't mean that the idea of Girl Power has relinquished its place as a powerful influence on the music industry.
Women rockers have received a big push lately with the success of The Donnas, Sahara Hotnights and even Avril Lavigne. J. Lo, Missy Eliot and Lil' Kim are holding it down in the R&B department. Even Norah Jones and Diana Krall are starting to get some widespread recognition for jazz. Here are some more rockin' women who have put out some great tunes in the past month or so. Go, girl power!
The White Stripes
"Elephant"
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I think it's fairly safe to say that Meg White is one of the coolest women in music right now. Her power drumming has been a large part of the driving force behind the success of The White Stripes in the past two years. On "Elephant," she continues to pound and crash her way into rock 'n' roll history, but she also comes out from behind the kit and sings in two songs.
In "In the Cold, Cold Night" and in "Well It's True that We Love One Another," Meg White's ghostly haunting Patsy Cline-meets-Nico voice gently overlays her brother/ ex-husband Jack White's guitar. "Well It's True that We Love One Another" features vocals split three ways in a conversation between Meg, Jack and Brit folkie Miss Holly Golightly, whose country-tinged vocals keep this track playful and fun. Jack White's work on the album is impeccable as always, especially with Meg adding the harsher edge to his perpetually adolescent voice and nocturne-esque, eerie, heavily distorted guitar work. While not nearly as commercially friendly as "White Blood Cells," The White Stripes are surely due some recognition for this great rock album.
Stand-out tracks: "Seven Nation Army," "In the Cold, Cold Night," "I Want to be the Boy to Warm Your Mother's Heart" and "Well, It's True that We Love One Another."
Cat Power
"You Are Free"
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Multi-instrumentalist Chan Marshall, aka Cat Power, pumps out original, interesting, smart and carefully produced songs on her latest venture, "You Are Free." With guitars out of the early 90s, drums out of the eighties and timeless vocals, Cat Power is something altogether contemporary and new.
In the same vein as Bright Eyes and Ed Harcourt, Cat Power represents Indie rock that revisits roots music but looks ahead of its own time. Marshall's voice is throaty and sultry along the lines of Sarah McLachlan, making almost everything she sings seem like the truth in that sad, aching sort of way. With simple but deeply cutting lyrics critiquing relationships, society and self-perception, Cat Power is a tour-de-force of mental anguish. If you're an emo-kid, singer-songwriter fan, ex-indie rocker or just looking for some good, meaningful music, look into Cat Power.
Stand-out tracks: "I Don't Blame You," "Good Woman," "He War" and "Keep on Runnin'.'"
Boomkat
"Boomkatalogue One"
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After having their song "Wastin' My Time" featured on the "Eight Mile" soundtrack, the brother-sister team of Kellin and Taryn Manning have just released their first full-length album. Mixing dance, hip-hop and R&B, Boomkat is part Christina Aguilera, part Lemon Jelly. Try to imagine Daniel Bedingfield's sound in a woman. Some of Kellin Manning's rhythms and effects are markedly original, giving the album the needed complexity to make such a dance record stand out. Taryn Manning's voice is a little familiar-sounding, but still works well for this kind of album. Boomkat has a lot of potential for the future - that much is evident in their debut offering - but there is still some shallowness that leaves something to be desired.
Stand-out tracks: "The Wreckoning," "Wastin' My Time" and "B4 It's 2 L8"
(04/08/03 12:00pm)
All College Theater (ACT) brought Lillian Hellman's "The Children's Hour" to life in Kendall's Black Box Theater for a five-day run. The play addresses issues of love, friendship, homosexuality, class, adolescence and gossip.
ACT's performance was wrought with subtle yet powerful acting and gripping tension. Honor Friberg and Kim Cox starred as two teachers at an all-girls' school during the 1930s in New England, who are accused of being lesbians. Friberg's portrayal of Karen Wright displays the stern compassion of a good teacher, while maintaining an underlying love for education and life.
Friberg is particularly adept at switching emotional modes quickly as the plot demands. One minute she's fully in love with her fianc? Joe, played by Kevin Bailey. The next, she's indignant with anger and bewilderment.
Cox's character, the fiery Martha Dobie, walks the fine line between bitter sarcasm and sympathetic frustration. Cox's portrayal of the no-holds-barred, speak-your-mind Martha was dead on, allowing her full-body acting to shine.
The non-verbal acting from all the members of the cast was amazing. In a show that's just as much about what can't be said openly as it is about what's pushed into one's face, the cast did an incredible job of communicating inner turmoil. From facial expressions to hand gestures to body language, their physical acting was on key.
Bailey did a particularly excellent job with the character of Joe, the classic American icon of the sweet country doctor. Augmenting his walk to fit the part and adding what seemed to be an extra sparkle in his eye, Bailey referenced a feeling from another time.
Jessica Job, as the devilish Mary Tilford - who starts the lesbian rumor and uses her powerful grandmother to wreak havoc on Martha and Karen's lives - did a spectacular job with interpreting the conniving, intimidating, two-faced Mary. The internal conflict conveyed in Job's face as she harassed and extorted the other girls in the school presented a stark contrast to the sweet, childlike innocence of her grandmother (Melissa Silver). This portrayal perfectly countered Rosalie Wells (Jessica Laynor), another of Mary's helpless victims.
While most of the play was verbal and situational, there was one scene of physical violence in which Mary fights with Peggy Rodgers (Lauren Cugliotta), pulling her hair and slamming her head into a chair.
Mary also slaps Evelyn Munn (Angela Sytko) who tries to break up the fight. The rising tension in the scene building up to the attack was well interpreted and well paced by the actresses. It left the audience feeling like it was about to watch a train wreck.
The scene, which ended Act I, left the audience in shock at Mary's violent nature and the vulnerability of the other characters, who were bewildered at the sudden outburst.
In a play where there are so many seemingly similar characters - three teachers and a school full of young girls, - the ensemble cast did a spectacular job of differentiating one character from another. Each girl's personality developed individually, which is a real accomplishment and credit to ACT's impressive talent pool.
After the success of "The Children's Hour," ACT will be hosting a murder mystery later on this month to close out their season.
(04/08/03 12:00pm)
Something magical happens when a bunch of N.J. boys play a great N.J. song in a N.J. bar. This was a homecoming. Brian O'Neil and the boys of Casual Blue returned to the Rat this past Tuesday night to play to a standing-room-only crowd of fans and friends.
An almost spiritual feeling washed over the crowd towards the end of the show when the band launched into a cover of Bon Jovi's "Living on a Prayer." The crowd sang along as O'Neil and the band shouted the words to the ceiling in their best guitar-god, rock star poses.
The show consisted of mostly original material that the crowd seemed to be familiar with such as "Blur," which was featured in an episode of "Dawson's Creek." Others were "Strings," "Congratulations" and "Everyone." The set also featured some new and live debut songs for the band including "Settle This" and a song tentatively titled "Start All Over Again."
Casual Blue consists of O'Neil, class of '02, on lead vocals and guitar, Neal Austria on lead guitar and vocals, Mark Treimel on bass and Chris Badami on drums. The band has released three albums and is currently touring on the N.Y. club scene.
Austria's guitar work was sensitive and searing at the same time with solos that varied in melody and took the songs to some place new. Treimel's bass was right on target and held each of the songs together with its precision. Much like John Bonham of Led Zeppelin, Badami was all over his drum kit, exploding with power on every hit of the skins. His impressive cymbal work added unique accents and minor solos to almost every song.
The band covered REM's "Losing My Religion," U2's "Where the Streets Have No Name," and Bon Jovi's "Living on a Prayer." Their sound amounted to optimism with edge. The newer material, written after the band broke in New York, has a much more fun punk edge to it, similar to Blink 182.
Casual Blue has grown in a lot of ways since O'Neil was a student at the College. Their sound has matured past the heartbreak lyrics of college rock into a more sophisticated realm. While O'Neil's voice still has the nasal whine of an adolescent - much like Jack White's - his stage presence and attitude are much more professional now. Still, at times, you could tell that he felt like just a kid playing for all his friends at the Rat again.
Casual Blue has played at the Rat on one other occasion since O'Neil's graduation and was a staple of the local music scene while O'Neil was a student here. After playing at N.Y. clubs like The Elbow Room and The Lion's Den, O'Neil was happy to be back among friends. "In New York, it's more fans for the music. Here it's more friends and fans, which is the best part of coming back," O'Neil said.
O'Neil graduated with a degree in finance and had been working up until two weeks ago when he "resigned," as he likes to say. Casual Blue has just finished up writing a new album and are looking for a debut on a major label. O'Neil's leaving his job was "a step towards music. I can't ignore it," he said.
The crowd only encouraged more steps towards music for Casual Blue.
"It's always good when Casual Blue comes back," Christina Puglia, junior English and sociology major, said.
"We all love Brian O'Neil," she added.
It's safe to say that Casual Blue is on their way to their college dream of success. Both talent for songwriting and performance are strong in the band. It's only a matter of time before someone a little higher up in the record industry ranks starts to notice, but for now, we'll always welcome them back here.
(04/01/03 12:00pm)
With the passing of Joe Strummer at the end of last year, one has to at least consider the monumental achievement and influence of his work on the modern rock scene. With The Clash and later as Joe Strummer and the Mescaleros, Strummer pushed the envelope of rock - a genre-bender from the day he picked up a guitar. Blending rock, reggae, punk, traditional English and Irish elements, Caribbean and jazz, Strummer revalorized rock music, helping to spark the evolution of modern rock. Strummer also made political rock cool again, which is something that may soon witness a reemergence.
Today, musicians are always trying to push the limits in everything that they do, expanding in a thousand directions at one time. They are always in search of something new. If they ever run out of inspiration or need a blueprint for how to be all the things that make a rock star more than a rock star - precisely, how to be an artist - they have to look no further than the work of Joe Strummer. The following artists integrate Strummer's influence into their work, proving that the spirit of this rock legend lives on as rock rolls on.
Ted Leo/ The Pharmacists
"Hearts of Oak"
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In a fashion reminiscent of The Clash, Ted Leo / The Pharmacists use crashing guitars and spoken/sung lyrics with melodic hooks. The band is a throwback to 80s new-wave punk, but with a more urban twist.
A great art band coming out of the exploding Brooklyn scene, Ted Leo/ The Pharmacists have a legitimacy that is lacking in many of the pre-packaged commercial rock bands that you find getting the major pushes by record companies and MTV. Leo, a 15-year veteran of the New York and D.C. rock scenes in various settings from hardcore to punk, combines all of his former styles on his latest album. "Hearts of Oak" sees a real growth in Leo's performance and complexity, which was already sophisticated on his older albums.
Leo's emotionally wrought and gripping lyrics backed by passionate guitars make this an album to keep around for when you want to think and rock out at the same time. Standout tracks: "The High Party," "Hearts of Oak," "The Ballad of the Sin Eater," "Bridges, Squares," "2nd Ave, 11 AM" and "First to Finish, Last to Start."
Hot Hot Heat
"Make Up the Breakdown"
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Just as The Clash made punk marketable and accessible, Hot Hot Heat makes rock fun again. Mixing the sounds of the Clash, the Strokes and The Buggles, Hot Hot Heat is what happens when a bunk of dorks form a cool band with a great sound. With the same kind of Weezer "I'm a dork, you're a dork" attitude but with a little more subtlety, Hot Hot Heat creates great pop-rock that makes you feel like you're on the inside of something special and sophisticated while still having the enthusiasms of a little kid. The catchy and simple lyrics make for great sing-along material. The guitars and keyboard are mixed with synthesized effects for a distinctively 80s sound, but with the stripped-down attitude of contemporary rock. The childlike joy on this album is inescapable. Pounding drums and bass make it easy to get into and once you're in, you'll want to dance. In times when the music world is lashing out against the pure pop sound that flooded the market in the late 90s, Hot Hot Heat is trekking ahead in that same genre and moving things forward.
Standout tracks: "Naked in the City Again," "Get In or Get Out," "Oh, Goddamnit," "This Town," "Talk to Me, Dance with Me" and "Save Us, SOS."
The Libertines
"Up the Bracket"
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Coming out of the London underground with the same streetwise spirit of early Clash, The Libertines pick up the torch of great, grubby London rock bands. Unfairly marked as an English version of The Strokes, The Libertines show a little more punk edge while still being appealing to the kiddies. The English influence can't be underestimated in their sound, which is clearly reminiscent of The Clash and The Sex Pistols, but unlike the New York sound of those like The Ramones. Lead Singer Carl Bar?t rambles his lyrics with a mixture of screams, spoken phrases and sung choruses. Bringing back the solo, which has long been gone from rock, The Libertines actually have expansive, meaningful solos that deviate from melody. Their return to a more classic punk style is a welcome, refreshing change of pace from most modern rock of late. If you like any of the "The" bands, or if you like 70s style punk or 80s new-wave, then The Libertines are probably what you've been waiting for.
Standout tracks: "Vertigo," "Horrorshow," "Boys in the Band," Tell the King," "Begging," "The Good Old Days" and "I Get Along."
(03/25/03 12:00pm)
Black 47 tore through a 90-minute set of their signature mix of punk, ska, reggae, rock and traditional music last Thursday at the Rat. The event, co-sponsored by CUB and the Irish American Club, included spontaneous Irish dancing, extended improvised jams and, of course, green beer.
Singer and guitarist Larry Kirwan led the band of drums, bass, sax, trombone and bagpipes through classic Black 47 material like "Green Suede Shoes," "Fire of Freedom" and the politically charged "Big Fellah."
Black 47 is a veteran band based in New York City that has released several albums and have a worldwide following. They have played almost every bar in New York City (they are current regulars at Connolly's), but have also played in arenas such as Shea Stadium.
Black 47 will be touring Ireland this fall, which the Irish American Club is already trying to plan a trip around. They have played the Rat once before (three years ago) and were well-received then, too.
You didn't have to be Irish to appreciate the music, as evidenced by the fairly diverse crowd that gathered to enjoy the Irish-rap-ska-punk.
Reminiscent of both The Clash and Bob Marley musically as well as ideologically, Black 47's unique sound has something that will appeal to almost anyone with a heartbeat.
Crowd reaction was overwhelming positive.
"They played like they were a circus," Ali Burch, sophomore finance major, said.
"It was hot," Shark Michaud, senior law and justice major, said. "This is one of the better shows I've been at. I love the band."
One of the highlights of the night was the Irish dancing performed by sophomore graphic design major Aoife Connolly and senior math education major Claire McGuire. The two improvised with Irish American Club President Robert Hedden in front of the stage as the band jammed out on jigs and reels.
A politically driven band, the show contained some subtle protests against America's conflict with Iraq. During "Fire of Freedom," bassist Andrew Goodsight chanted, "Stop this war." Drummer Thomas Hamlin wore the New York City T-shirt that peace icon and rock legend John Lennon was famously photographed in.
Goodsight added after the show, in reference to the war, "I'm totally against it. It's preposterous. If you want to deal with terrorism, you have to deal with the cause."
Politics didn't overwhelm a good time, however, and the overall tone of the show was lighthearted and fun.
The show was scheduled to start at 5 p.m. but did not begin until 6:30 because the crew member with all of the band's instruments had a dentist appointment. This didn't hurt the crowd who stayed around and drank casually with the band while waiting for the instruments to arrive. Black 47 had to cram their two sets into one played without a break, but as always, they gave the crowd everything they had.
Freshman communication studies major Justine Cetinich summed up the night best when she said, "They did their damn thing! God Bless the Irish!"
(03/18/03 12:00pm)
There's something about a man with an acoustic guitar who's had his heart broken, lost his job and suffered tragedy, but can still sing about it that is a classic part of the musical tradition. Sometimes I wonder if the first song ever written was one of joy or sadness. There's no way to ever know. Both ends of the emotional spectrum of songwriting have stayed with us right up to today, but somehow, the sad ones are always a little more believable and heartfelt than the happy ones.
David Gray
"A New Day At Midnight"
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The current king of acoustic sadness in my book, David Gray, released "A New Day At Midnight" in large part as reaction to the death of his father. Needless to say, the album is full of loss, grief, hope and recovery. Gray's signature mix of acoustic guitar and piano, backed by techno-style bass and drum, is as present on this album as it was on "White Ladder," giving even the saddest songs a seemingly happy beat. There are also plenty of love songs on the album that are just as sensitive as the sadder material. Gray's ability to capture emotion in his voice is just as good as it has been in the past, but on this album his voice is more subtly intonated. A good album to watch the sunrise to, the major themes are putting the past behind you and preparing for a new day. As with many albums that start off as being concerned with death, in the end, the focus becomes life. Gray's album is full of life and hope as he comes to realize that there is always a new day at midnight and he learns how to avoid the pitfalls of being stuck in the past.
Stand-out tracks: "Dead in the Water," "Caroline," "Freedom," "Kangaroo," "Real Love," "Easy Way to Cry" and "The Other Side."
Jesse Malin
"The Fine Art of Self Destruction"
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Jesse Malin's debut album comes courtesy of his association with Ryan Adams, who has taken Malin under his wing as somewhat of a prot?g?. Malin falls into the same vague category as Adams as an "Alt-Country" singer, whatever that means. While Malin does have his own voice and a fairly distinct sound, the influence of Adams is still pretty strong. Malin's voice is nasal and whiny which works to his advantage in his late-night songs of depression, hope, sex, drugs and loneliness. The instrumentals on Malin's album are full of bright, high-toned guitars and pounding piano. Its hummable bass lines are equally suited for watching the sun rise after a rough night out or blasting through your speakers as you fly down the Parkway for a day at the beach. Whereas Cash has an inherent sense of doom, Malin seems to inject even the most dejected lyrics with some sense of hope. In classic blues style, no matter how bad things get, he'll always try to come out on top. A mix between early Tom Petty, Pete Yorn, Ryan Adams and his own unique style, Jesse Malin is someone to watch for the future and you can get in on the ground floor of his career with "The Fine Art of Self Destruction."
Stand-out tracks: "Queen of the Underground," "Wendy," "Brooklyn," "The Fine Art of Self Destruction," "Solitaire," "Almost Grown" and "Cigarettes and Violets."
Johnny Cash
"American IV: The Man Comes Around"
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The Man in Black is back and in classic Cash fashion. The deep, strong voice of the darker side of country is still singing about doom and pain. The title track comes from lines of scripture in the Book of Revelation. While Cash's songwriting skills haven't dulled over the ages of his career, the most interesting tracks on his newest CD are covers of songs from some unexpected sources: Trent Reznor of Nine Inch Nails, Glen Frey and Don Henley of the Eagles, Paul Simon and even the Beatles. Cash's cover of NIN's "Hurt" is strikingly poignant and slow with Cash's down-home vocals, exuding sadness in every note. Reportedly Trent Reznor cried when he heard Cash's version of the song. Some of the other covers seem more in Cash's natural repertoire such as "Desperado," "Bridge Over Troubled Water," and Hank Williams' "I'm so Lonesome I Could Cry."
It's the surprise covers that make this album something special. Cash's reworking's of "Personal Jesus," "In My Life," and even "Danny Boy" are emotionally wrought and powerful. There are also several Cash originals that are excellent on the CD such as "Give My Love to Rose," and "Tear Stained Letter." Add to these great selections numerous guest appearances by excellent artists in their own right such as Nick Cave, Fiona Apple, John Frusciante and Mike Campbell and this album becomes a vertible cross-section of traditional and modern American music.
Stand-out tracks: "The Man Comes Around," "Hurt," "Personal Jesus," "I'm So Lonesome I Could Cry," "Streets of Laredo" and "We'll Meet Again."
(03/04/03 12:00pm)
Student soloists strutted and strummed their stuff to the standing room-only crowd at the Rat on Friday night. Ishi, Chris Cantalupo, Mike Heitmann, Dave Salge and Jesse Szuch all played acoustic sets that ranged in material from homespun, heartfelt originals to classic Beatles covers to a reworking of Incubus.
Szuch, junior communication studies major, played the longest set to close out the night. The highlights of Szuch's performance were originals like "Dance with Me" and "Waves Crash Over Me," which were emotionally wrought love songs featuring energetic and inventive guitar work. Szuch's sincere voice resembles Nick Drake and Ben Harper, whom he covered later in the night. This was Szuch's first time playing at the Rat and judging by the crowd's reaction, it won't be his last.
Returning from last semester's Soloist Night was the duo of Dave Salge and Mike Heitmann, who were both unfortunately suffering from sore throats. In spite of illness, Salge and Heitmann still put on a good show. Their scratchy voices even adding an extra twist to their cover of Van Morrison's "Brown-Eyed Girl." Their set provided the most diverse song selection and the most upbeat feel of the night with bright songs like the Barenaked Ladies' "Brian Wilson" and "Mr. Jones" by Counting Crows. Heitmann's original song, "This Tonight," reflected his lyrical sophistication and songwriting talent. Salge covered the acoustic Beatles classic "Blackbird," showing off his finger-picking skills.
The shining moment of Cantalupo's performance was his cover of Mayer's "Quiet," which gave him the chance to show off some of his soloing skills on guitar and the depth of his vocal integrity. He followed this up with Mayer's crowd-pleasing "Your Body Is a Wonderland," which had most of the Rat singing along and swaying to Cantalupo's staccato precision.
Ishi, a graduate student here at the College, set the trends for the night as he jammed out to extended and rearranged versions of the Beatles' "Too Much," Al Stewart's "The Eyes of Nostradamus" and his original composition "Let the Skies Open Up."
(03/04/03 12:00pm)
It's a rare thing when something genuinely new comes along in the world of commercial music. Recently, the trends in music have been swinging away from the sugar-coated pop of the early 90s to a more sophisticated, stripped-down blues rock exemplified by the recent success of bands like The White Stripes, The Hives, The Vines and even Dashboard Confessional. While these bands have taken us back to the realness of early rock's roots, for the most part, they have failed to add the new twist that rock is aching for. But now, like a musical Phoenix rising from the smoldering ashes of rap-rock, industrial, electronica, blues, and pop comes The Music.
Imagine Led Zeppelin on acid. The Music blends the boundaries of rock, funk, electronica, dance and blues into one beautiful, ambient, in-your-face amalgamation of them all. With heavy driving drum and bass and a walking wa wa pedal, they pump out danceable rock 'n' roll with a psychedelic jam band twist not often found in hard rock. This band would be equally at home in a dance club as in a down home drive bar.
The screaming melodies of lead singer Robert Harvey are reminiscent of a transformed Robert Plant, with added technology and effects. Adam Nutter's guitar is intricately interwoven with the drummer Phil Jordan and bassist Stuart Coleman's rhythm. Nutter's guitar gives each piece the feeling of a symphony movement, in that he's constantly changing and challenging the rhyme and mood of the songs to make them more complex, though still engaging. Jordan's drum stylings cover the gamut from civil war staccato and rapid fire snare to multi-rhythm solos that you can't help but rock out to.
The band's debut album kicks off with "The Dance." The track lives up to its title, with a rhythm that makes you want to shake it's so fast. Throughout the album, Harvey's lyrics are hard to understand because of his screaming vocals and heavy English accent, but the emotion is raw and hypnotizing. Ravers and rockers can unite over this album and this track particularly, which is meant to be danced to - but you can still pump your fist in the air if you're so inclined.
The single from the album that you may hear on the radio or even see the video on MTV is "Take the Long Road and Walk It." This is the album's most commercial track, blending rock riffs and stop-start production effects with a catchy melody. It has a Jane's Addiction airiness to it while still maintaining its hard drive. Harvey launches into a scat of vocals that would make Cab Calloway proud, while Nutter's guitar busts out a blues slide.
If you like Phish, Led Zeppelin, early hip hop, Kid Rock, Brian Eno, Sigur Ros or AC/DC, then The Music is probably right up your alley.
Their show at the Bowery Ballroom in New York on Feb. 21 had everyone there dancing and moshing at the same time. Harvey is an excellent front man - his dance style is rather unique, and by itself makes the price of admission worth it. He does what he calls "The Octopus Dance," named so because he flails his legs and arms in a fashion that seems like he has more than two of each and that they're boneless because they twist and contort in almost every direction. The Music will be playing at Roseland Ballroom in N.Y. City with The Vines on April 12 and have an unconfirmed date in Old Bridge, N.J. sometime in March or April, so mark your calendars.
You can sample some of The Music at www.themusicuk.com.
Stand-out tracks: "The Dance," "Take the Long Road and Walk It," "The Truth is No Words," "Turn Out the Light," "The People," "Disco" and "Too High."
(02/25/03 12:00pm)
Some of the best college acts in the greater Trenton area came to Conduit on South Broad Street in downtown Trenton to show what they're made of. Two of the groups performing at Conduit/WTSR's Ultimate College Band Showcase were from the College. Megan Burtnick, junior communication studies major, performed solo and the band Higherline closed out the evening's events. Also featured was the Princeton University band Fabled and from Mercer County College (MCC), Here Tomorrow.
Burtnick opened up the show with just an electric guitar and her beautiful voice. Mixing the sounds of grrl rock and the sophisticated voice of a singer-songwriter, Burtnick performed seven original songs. Burtnick showed great stage presence bringing a sense of personality to her songs, including "Examining My Sanity," in which rich, dark guitar work was overlaid with the sighing asperities of schizoid desperation. An echo effect on her voice highlighted this lamenting quality. Burtnick's style is reminiscent of Jeff Buckley, in that harsh guitar and attitude-filled lyrics are contrasted with beautiful melodies. Burtnick closed her set with "Hobag," saying, "A friend told me I can't just do bitter jerk guy songs so this one's about jerk girls." "Hobag" works as a poignant social commentary about college life while keeping the subtle punk-rock attitude in Burtnick's songs. Sophisticated irony and attitude combined with a disarmingly pleasing voice are what made Burtnick's set.
MCC's Here Tomorrow brought a harder edge to the night as they tore through high energy metal. Probably the most visually involved band of the night, Here Tomorrow's members, especially singer J. Mattaliano, constantly moved around the stage and engaged the audience. Mattaliano consistently encouraged members of the crowd to join him on stage and even hoisted some people up himself toward the end of the set. Unfortunately, this sparked an on-stage fight between audience members and two people were ejected from the concert.
The violence was part of the excitement of Here Tomorrow. Mattaliano fought with bassist Mike Law early in the show, which resulted in Law bleeding through most of the set, but there was no major damage and the band kept on playing. With a vocal style somewhat like Incubus, Mattaliano was a mix of thrash screams and floating melodies. Jeff LaCour's guitar work, backed by Jason Wilson, was stellar. Drummer Nick Tazza took off his shirt mid-set after much prodding by Mattaliano. Here Tomorrow's chemistry and musical integrity are their strongest points. Their sense of fun and excitement, not to mention great music, translated directly from the band into the audience. Despite, or because, of the occasional outbreak of violence, Here Tomorrow was constantly entertaining and kept the audience wondering what was going to happen next.
Princeton's Fabled filled the third slot on the bill. They brought a more emo-oriented sound to the event, similar to Dashboard Confessional, but a little bit harder. This was a change of pace from the other more attitude-filled acts of the night. Playing heartfelt songs like "Skylar" and "The Opposite of Reason," Fabled won over much of the crowd, though those who were there for some hard rock'n' roll had a differing opinion. The band put on a good show with excellent musicianship, especially by lead guitarist Tim Skerpon. Yet, Fabled seemed somewhat disjointed at times with Skerpon kneeling and facing his amp during solos while bassist Aaron Ellerby remained aloof, standing off to the side, alienating the audience a bit. Overall, the band put on a good show filled with emotion and some impressive music.
Closing out the night was the College's own Higherline featuring Jay Sinclair, junior biology major, on bass, senior business major Derek Dilberian on guitar and percussion major Mike Mastropierro on drums. Higherline combines elements of Staind and old school Metallica to create an evocative new form of speed metal. Everything is fast, hard and intense but with an emotional edge. Even with their lead singer suffering from a cold that wiped him of his usual stage antics, the vocals and energy were still powerful. Mastropierro's drumming ability was astonishing at times, reminiscent of John Dolmayan of System of a Down. Despite Higherline's late spot on the bill, the remaining crowd loved them. Their intensity and musicianship made them stand out among the bands of the night.
WTSR promotes shows at Conduit twice a semester, which feature college artists and sometimes pulls in bigger acts, such as Virginia Coalition. Conduit is a music club in downtown Trenton that offers musical entertainment almost every night of the week, depending on bookings. Though this event admitted all ages, most shows only admit those 21 and older. For more information about upcoming shows, visit www.conduitmusic.com.
Burtnick occasionally plays at the Rat and Higherline plays many of the local clubs. Here Tomorrow has a two-song demo out and Fabled has mp3s available on their Web site.
(02/25/03 12:00pm)
So you've just gotten back from a party or the bar, it's 3 a.m., you're drunk, you're cooking old hot dogs on your Foreman Grill because there's nothing else to eat and you're still feeling the buzz from the action of the night. It's time to come down and, as everyone knows, you've got to have good music to come down to. Here are some recommendations for those blue morning hours of pre-dawn when you're reflecting on the night's mistakes and triumphs.
Nada Surf
"Let Go"
HHH
Known best for their mid-90s sarcastic indie-rock hit "Popular," Nada Surf has just released a mellower, more mature album of heartfelt, reflective songs. With introspective songs like "Happy Kid" and "Neither Heaven Nor Space," the album is a great compliment to the end of a good night. It's nostalgic for old times and lost loves, but also looks to the future with hope. Lead singer Matthew Caws' vocals sound like a melancholy lullaby, with gentle guitar-backing. "Inside of Love" reflects the classic thoughts of late-night reverie and hope for better nights to come: "making out with people/ I hardly know or like/ I can't believe what I do/ late at night/ I wanna know what its like/ on the inside of love."
The simplicity of a good rock band lays underneath the band's newfound mature attitude with guitar, bass, drums and nothing else, churning out emotion in three-chord brilliance. The band has progressed from dark, sarcastic pop-rock filled with teen angst to more sophisticated, self-analyzing pop-rock focusing on regret and hope.
Stand-out tracks: "Blizzard of '77,'" "Inside of Love," "Blonde on Blonde," "Killian's Red" and "L? Pour ?a."
Sigur ROs
"( )"
HHHH
What can you say about a band that speaks in a made-up language and doesn't title their songs or albums? They're amazing, for starters. Who needs a real language when you can just make up words for the beauty of the way they sound? This Icelandic band's members are masters of synth, strings and soothing vocals. Perhaps this is the ultimate comedown album because it's so relaxing and mellow that it's almost ephemeral. Anyone who liked the softer tracks on Radiohead's "Kid A or Amnesiac" will appreciate the symphonic electronic amalgamation of this album. The ambient nature of this music conjures up thoughts of the music of the spheres.
If you just need to space out for a while, this album will take you to where you need to be, especially after a long night.
Stand-out tracks: "Untitled 1," "Untitled 3," "Untitled 6," "Untitled 7" and "Untitled 8."
Nick Cave and the Bad Seeds
"Nocturama"
HHH
Though Nick Cave is known for his dark voice and usually dark lyrics, this album is surprisingly uplifting. Cave's voice, reminiscent of Tom Waits and Leonard Cohen, is rich, deep and soulful - bringing out the emotion of every word he sings. The album's name, "Nocturama," comes from Cave's love of "nocturnes," or dark, nighttime music.The album lives up to its billing.
Cave is piano-backed with Martyn P. Casey on bass create the light night atmosphere of a dive piano bar where you'd go to cry tears into your beer. Cave's evocative singing on "Wonderful Life" leaves you questioning whether he's telling you it's a wonderful life, or trying to convince himself of it.
On other tracks, like the near-15 minute "Babe, I'm on Fire," Cave and his band play with the passion of a man filled with the desperation of love. Most of the album is concerned with the extremes of emotion - be it joy or sadness - both of which Cave handles with equal care and craftsmanship. Nick Cave and the Bad Seeds provide a great soundtrack for your twilight-hour thought.
Stand-out tracks: "He Wants You," "Dead in My Bed," "Still in Love," "She Passed by My Window" and "Babe, I'm on Fire."
Jason Mraz
"Waiting for My Rocket to Come"
HH
Maybe you just want to rock out for a little while before bed and think about that person you just met. In that case, forget all that mellow, self-reflective stuff, and check out Jason Mraz.
Mraz's fun, laidback rock will sustain your buzz, while allowing for a little relaxation at the same time. His carefree lyrics and upbeat guitar work make for the perfect nightcap after a good time out. While some more serious songs wouldn't hurt his repertoire, Mraz's debut album is full of good tunes and a good attitude.
Stand out tracks: "You and I Both," "Who Needs Shelter."