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(04/16/08 4:13pm)
____simple_html_dom__voku__html_wrapper____>When explaining music to others, I have always found it difficult trying to decide how to define a band that’s just a few degrees left of normal. Mahjongg has not made this task any easier.With a variety of eclectic influences such as dub-reggae, ’80s dance, indie rock and everything but the kitchen sink, these guys make a lot of noise. And they do it all with a modest setup of a keyboard, bass, guitar, a sampler and two drum sets. Kontpab, released in January, is a trip through a jungle of sound, weaving radio dials, ray guns, teenage drug use and the mid-to-late ’80s into its dense, diverse auditory experience.“Tell the Police the Truth” is a head-bopping, heavy dance song with hard-to-identify percussion/static noise in the background. The polyrhythmic structure behind the beat itself sounds as if it comes from a toy space gun. A far cry from “Police” is “Those Birds Are Bats.” This track sounds a lot like, I hate to say it, but, The Strokes. The distorted vocals and a drumbeat that a 6-year-old could play are what gave it away. It’s an oversimplified version of the overall project Mahjongg seeks to complete on this record, but it’s still pretty catchy.Songs like “Pontiac” and “Wipe Out” are some of the most interesting tracks Mahjongg offers up. Mahjongg’s vastness and eclectic tastes arise in earnest here. Both tracks are laden with heavy percussion use, polyrhythms and syncopation. If indie kids from Congo and Jamaica went 20 years back in time and drank a lot of cheap wine, these tracks would probably be the final product.Doing this record justice is a pretty hefty task. If you’re a music fan at all, I suggest you get your hands on this record. It’s good to know that people still dare to step outside of convention and make the leap of faith to wherever the hell Mahjongg went.
(03/26/08 7:32pm)
____simple_html_dom__voku__html_wrapper____>Since 1987, the Swedish band Meshuggah has been inducting their listeners into some of the most intense, surreal and brash soundscapes to be concocted from a standard five-piece-band line-up. Their new album Obzen is no exception to the attributes that diehard fans have come to admire in this prestigious band.Drummer Thomas Haake said he wanted this album to be a return to the band’s roots, which means heavier, faster, louder and somewhat more straightforward than their previous album Catch Thirty Three. But don’t worry; the distinctive polyrhythms and intense syncopations are still here.A return to Meshuggah’s past can be found in the song “Bleed.” It’s reminiscent of a lot of speed metal and thrash metal. The chug-a-lug guitars and double-bass drumming are in sync for the majority of the song, making this one of the most intense Meshuggah songs to date.The album’s opener “Combustion” sounds like a track off the band’s 1998 album Chaosphere. “Combustion” proceeds in a straightforward fashion, as far as Meshuggah tunes go, and the meter of the entire song is in four.“Pravus” sounds a little like what Dillinger Escape Plan would sound like if you slowed them down to half-speed. Actually, it’s similar to what instrumental band Behold...The Arctopus would sound like with a lead singer. Don’t try deciphering this song, though. Side effects would include head-splitting migraines, bleeding ears and feelings of musical incompetence.The coup de grace “Dancers to a Discordant System” is a 10-minute-long epic with all the confections of a typical Meshuggah song. The intro begins with a moaning guitar and is eventually overtaken by a spastic, machine-like riff which becomes a main theme throughout the entire piece.The title of this album and the concept behind it sum up exactly what Meshuggah seems to aim for with their music. Haake said that the title comes from “mankind finding calm and inner peace and peace of mind through the obscene.”
(03/03/08 3:57pm)
____simple_html_dom__voku__html_wrapper____>John Darnielle’s project The Mountain Goats has been around since the early ’90s and has churned out a constant flow of records since its beginning. Heretic Pride marks its 15th release, and it’s not a far departure from what they do best: simplistic folk-rock that’s lo-fi but high quality, with emotionally driven, smart lyrics.Heretic Pride is a solid acoustic rock album, but one of the biggest faux pas an artist could do is create the same work of art twice. Unfortunately, that’s just the case here; many songs on this album repeat themselves, messages repeat themselves and guitar riffs repeat themselves. Listen to the first five seconds of “Sax Rohmer #1,” “Autoclave,” “In the Craters on the Moon” and “How To Embrace a Swamp Creature,” and you’ll hear the exact same guitar rhythm that continues through the majority of the song. One of these four would’ve sufficed. “Sax” is still a darn good song. The lyrics are outright picturesque and create vivid scenes, while the music serves as the score for a movie.“San Bernadino” is a step removed from “Sax.” Its guitar, violin and vocals all blended into a cheery mix. This song accomplishes exactly what it needs to, giving a descriptive account of travel. From early morning to late at night, the lyrics describe the emotions and motions of traveling. The guitar even lends itself to sounding like all the little yellow lines in the middle of the road passing by.“Lovecraft in Brooklyn,” sort of like sub-par poetry set to music, is descriptive but somewhat unoriginal. It’s also one of the more rocking songs on the album and at a little more than the mid-point, there’s some interesting guitar work and violin swells.“Marduk T-Shirt Men’s Room Incident” is a little more introspective and melancholy than any of the other songs on Heretic Pride. Female voices provide backup vocals in the chorus, which mix well with the mood. The chorus itself says to “stay weightless, formless, blameless and nameless” which is something The Mountain Goats won’t do.
(02/20/08 9:17pm)
____simple_html_dom__voku__html_wrapper____>Jazz veteran Herbie Hancock thanked the Academy for, "courageously breaking the mold,” a little more than a week ago as he blocked the undeserving Amy Winehouse from getting her greasy, cocaine-covered fingers on the Album of the Year award. Aging jazz artists such as Hancock are often swept under the rug and struggle to stay afloat in the changing tide of music, while untalented, contemporary musicians receive constant radio airplay.But, as with any endeavor, one must humbly start somewhere. In 1960, when Hancock was a mere 20 years old, jazz-trumpet pioneer Donald Byrd recruited Hancock to join his group. Through this hook-up, Hancock met Blue Note Records co-founder Alfred Lion and in 1963, released his first solo album Takin’ Off. Subsequently, that same year, Hancock received a call from the already well-respected band leader/trumpeter Miles Davis. This endeavor furthered Hancock’s career and was probably what many would consider the event that led him to his throne among exalted jazz greats such as Davis, John Coltrane, Chick Corea, Thelonious Monk and others.Hancock quit the group in 1968 but continued to make appearances on Davis’ albums. In 1973, Hancock founded his new group The Headhunters, and together, they recorded a milestone of jazz-fusion music Head Hunters. The album included a remake of “Watermelon Man” from Hancock’s Takin’ Off, which wasn’t too well-received by jazz critics since it was such a far cry from the original, traditional jazz tune. Despite its nontraditional sound, Head Hunters was the first jazz album ever to go platinum. This album was Hancock’s statement to the jazz world that crossing boundaries and mixing genres was not only perfectly acceptable, but also necessary in order for jazz to survive. He appeared on what is considered the first fusion album ever, Miles Davis’ Bitches Brew, which he recorded with Davis in 1969.Head Hunters hints at Hancock’s early interest in electronic music. He uses synthesizers and the distinctive clavinet – a hybrid between a keyboard and an electric guitar. All of this interest in fusion and electronic music can be traced back to the time Hancock spent in college, when he double-majored in music and electronic engineering.The all-too-familiar bass lines of “Chameleon,” the first track on Head Hunters, provide me with some of the most intoxicating feelings of groove and downright funk ever available. Drummer Harvey Mason lays down one of the most solid drum tracks of the era, which makes me – a drummer for more than a decade now – wish I had the immense amount of groove that lies in his pinky toe. Hancock unleashes on the clavinet, playing staccato rhythms and wailing solos so awe-inspiring that inattentiveness isn’t conceivable. Good things come to those who wait, or at least, those who wait until about the eight-minute mark of the track when Hancock uses the synthesizer to create some ethereal sounds for him to solo over. At the same time, the bass line changes, and the drums get a little more syncopated. If your head isn’t bobbing, you’d better have a neck brace on.The third song “Sly” is a tribute to funk-man Sly Stone. The cycles of syncopated rhythms and hits in this song hold the listener’s attention for about the first two minutes before the song explodes into a spaced-out swell of noises for a few bars. This breakdown is immediately followed by a fast-paced and a quite funky section of solos. Bennie Maupin plays an amazing, frantic-sounding solo, which tends not to stray far from the upper register of his saxophone. Hancock rips through his solo with the level of mastery that can only be expected of him. It’s long, but never redundant or boring. This man should write a book on how to solo in fusion music. Herbie Hancock should not be forgotten by anyone who considers themselves a fan of music. Making Head Hunters, a milestone in fusion jazz, would be enough to canonize him, but he’s played it all, from jazz to R&B to blues to rock to electronic to drum ’n’ bass, and he’s won 12 Grammy awards total. He has done everything under the sun a musician would want to accomplish in a lifetime. Come on, give it up for Mr. Hancock.
(02/14/08 5:00am)
The power of Thriller is undeniable, and the album only gets better with age. The music, given that it's now 25 years old, sounds somewhat dated. Thick with synthesizers, drum machines and cheesy samples, it's always evident while listening what era this music is from, but the quality music, along with the work of master producer Quincy Jones still shines through.\nNov. 30, 2007, marked the 25th anniversary of the release of Thriller, Michael Jackson's album that became the best-selling album of all time. To commemorate this milestone, Sony has re-released the album with seven bonus tracks, which includes remixes from Fergie, will.i.am, Kanye West and Akon. Also included is a track from the original recording sessions that wasn't included on the 1982 record.\nFor many, including myself, the title track is the most recognizable song on the album. It's perfect down to every detail. When it opens, you hear the creak of a door, footsteps, the crack of thunder and a wolf howl before the music kicks in. Then epic synthesizers build up tension again, before the explosive chorus reignites.\nAnd what about the lyrics? They're as sexual and terrifying as pop music gets. Jackson sings that he can thrill you more than any ghost would dare to try because, girl, this is thriller night. Suave, Michael. \nAlthough the epic title track is great, it's not my favorite track on the album. In my opinion, the hyper-masculine and uber-macho "Beat It" kills as the best track. Eddie Van Halen's killer guitar solo performance on this track sways me toward naming this song as the album's best.\nSolo aside, these lyrics are also worth noting. Jackson is writing about a boy torn between living up to a preconceived notion of masculinity: that all men are supposed to stand up for themselves at risk of physical harm. Jackson demands nonviolence with a dance beat.\n"Billie Jean" is another great work of pop-music mastery. But, on some levels, the lyrics are quite racy, dealing with sex out of wedlock, promiscuity and unwanted pregnancy. \nThere's a lot of implications that can be drawn from these lyrics. One line is frequently mentioned: "Dance on the floor in the round." It's hard not to read sexual tensions into this, as men in the room with Billie compete to be the one to "dance" with her. Also, after Jackson's night with her, she comes back to him to tell him that he is now a father. Seeing as how the song is about an unwanted child Jackson is denying is his, the sex theory could fit. He also offers some advice to listeners, "So, take my strong advice, just remember to always think twice" -- advice that rings true on a carefully crafted album.\nThriller also has low-key ballads such as "Human Nature," "The Girl is Mine" and "Baby Be Mine." I must admit, though, "The Girl is Mine" is one of the cheesiest songs I've ever heard. The "argument" between Jackson and Paul McCartney at the end of the song about who has the girl is laughable to say the least. The remaining ballads are staples of pop music, but definitely not the best songs on the album. \nAlas, the remixed and previously unreleased material is not worth the extra money if you already have a copy of Thriller. The will.i.am remixes -- "Pretty Young Thing" and "The Girl Is Mine,"-- pretty much ruined the songs. Will.i.am offers some meager rhymes over his equally meager beats. Akon's remix of "Wanna be Starting Something" isn't too bad, actually staying pretty true to the original version. It's catchy and modernized but nothing special. One of the biggest pieces of trash on the "extras" is Fergie's awful attempt to remake "Beat It." These frivolous remixes only emphasize the colossal feat that Thriller really was.\nThriller is a milestone in pop music, and although this 25th anniversary re-release offers some unreleased tracks and remixes, don't be persuaded to buy it just for those. If you don't yet own a copy, though, get off your couch, buy the album immediately, put on your red leather jacket and moonwalk your way through Thriller.
(02/07/08 5:00am)
The oft-overlooked morbid and intensely beautiful angst-rock weirdos Xiu Xiu (pronounced shoo shoo) have created yet another album worth adding to your record collection. "Women as Lovers" offers up a piping-hot plate of tunes sure to take you on a taboo roller-coaster ride of utter despair and empowerment.\nFirst off, you need to know that this album includes a fairly reverent cover of the David Bowie/Queen collaboration "Under pressure," which definitely pays homage to the Starman and Mr. Mercury.\nWomen as Lovers could have been cut in half, though; only about half the songs on it are really worth listening to. "Child at arms" sounds like it took about 10 minutes to write. "The leash" just feels rhythmically awkward because the vocals are not quite aligned with the music. \nOn the positive end of the spectrum, Xiu Xiu has created some solid songs.\nThe opening track "I do what I want, when I want" sounds a lot like what Tortoise might sound like if the addition of vocals were ever made. The marimba in this song along with the strange synth lines and freak-out sax solos take Xiu Xiu into new territory.\nThe dynamics of "In lust you can hear the axe fall" are great. The band added a string section to this song that helps propel it to epic levels. Lyrics with overtones of angst and sexual taboos -- the standard Xiu Xiu fare -- are still to be found here.\n"You are pregnant you, you are dead" is filled with the overdriven drums and guitar, with surprisingly mild lyrics for this band. It might be going too far to say this, but the lyrics sound almost like something on a folk-rock album -- not that folk-rock suits Xiu Xiu poorly.\nThis album would serve well as a good introduction to Xiu Xiu's music or as just another addition to a Xiu Xiu collection. The band has touched on some new territory but hasn't strayed too far from what we expect.
(02/07/08 5:00am)
The Mars Volta has always been a no-holds-barred band and has never taken the "less is more" approach. Only the band itself determines where its music goes, and it has made this clear through the music it writes. Its new album The Bedlam in Goliath is no exception to this ideological approach to music.\nLike its previous albums, The Mars Volta has made a concept album, inspired this time by a Ouija board the band's guitarist Omar Rodriguez-Lopez bought in Jerusalem. \nThrough this board came many of the album's track titles, such as "Goliath," "Soothsayer" and "Tourniquet Man" -- all entities it found residing in the board. Shortly after the Goliath spirit cursed them, equipment disappeared while on tour, lead singer Cedric Bixler-Zavala broke his foot, drummers were replaced, Rodriguez-Lopez's studio flooded and the album's engineer lost his mind and dropped off the project.\nDespite the many setbacks, it has produced its most ambitious work to date.\nThe album needs no introduction, and The Mars Volta comes through the gates with all guns blazing on "Aberinkula." The new drummer Thomas Pridgen has plenty of room to show off his amazing chops on this track, and he gives an impressive display of his talent. \n"Ilyena" pays homage to the Volta's funk and Latin-music influences. The syncopated guitar rhythms, percussion and drums all line up perfectly in the breakdown of the song in a way George Clinton might even appreciate.\n"Tourniquet Man" offers listeners a chance to take a breath while listening to the album. It's soft, melodic and calming. Zavala's vocals are quite pleasing to the ear until effects are added that make them harsh.\n"Cavalettas" draws some of its inspiration from King Crimson's Larks Tongue In Aspic. It's fast-paced, but changes come quick. What might be called the chorus in this song is surreal. Meanwhile, "Soothsayer" takes the listener on a strange trip to the Middle East that only the Volta could provide.\nThis album is The Mars Volta's most ambitious work by far. It sounds fuller, and it's evident The Mars Volta has matured and come into its own. This is easily one of the best albums to be heard in quite some time.
(01/18/08 3:38am)
Many might find it difficult to imagine being caught in a situation where using winter survival skills would be absolutely essential.\nBut Bloomington’s Parks and Recreation Department is holding a program from 9 to 11 a.m. Saturday at Winslow Woods Park to teach people those exact skills. Called “You versus Wild,” the program will go through hands-on winter survival techniques.\nAngie Smith, natural resources coordinator for the department, said the program will focus on the necessary components of survival, such as making a fire and building a shelter.\n“Survival is a state of mind,” Smith said.\nSmith added that a survival situation could arise if one is stranded on the road during a snowstorm.\nSmith said 17 have signed up for the program so far, and although the deadline was Jan. 14, she still might take some late applicants. The program is mainly geared toward children, but Smith said four adults have registered for the program.\n“You versus Wild” costs $5 for residents within city limits and $6 for those outside the limits.
(01/17/08 5:15am)
With more than 15 art galleries in the downtown area, literally thousands of works of art are waiting to be seen or purchased by connoisseurs, consumers, fans or the average Joe. \nThe Wandering Turtle Art Gallery, located at 224 N. College Ave., focuses on all things local. Ryan Dagley, general manager of the gallery, said it’s just as much a gift shop as an art gallery.\nMany of the works inside the shop are for sale. It showcases numerous paintings and three-dimensional sculptures, as well as jewelry.\n“Our pieces range in price from one of the more popular $200 framed watercolor pictures, or one of the more expensive pieces is about $10,000,” Dagley said.\nThe Wandering Turtle has been in business for five years. Dagley said the community has been supportive of the gallery and the shop has many loyal customers already.\nThe gallery’s winter hours are 10 a.m. to 7 p.m. Monday through Thursday, 9:45 a.m. to 8 p.m. Friday and Saturday, and 11 a.m. to 5 p.m. Sunday.\nThe By Hand Gallery, owned by nine artists, is also focused on selling local work. Manager Richard Hatch said 90 percent of the work in the gallery is produced in Southern Indiana. Located at 101 W. Kirkwood Ave., the By Hand Gallery has been operating for 32 years.\nIt has everything from small, handmade gifts to paintings, jewelry, fabric, pottery, glass, baskets and just about any other kind of crafty item imaginable. And every piece of it is for sale, Hatch said.\n“It’s not a ‘Oh, that’s pretty’ and walk out kind of gallery,” he said. “It’s a ‘come in and buy it’ gallery. Otherwise the artists would really be starving.”\nHatch said some of the most expensive pieces of art on display are some of the jewelry pieces, which are priced between $3,000 and $4,000. But, most of its pieces, he said, are between $35 and $100.\n“We don’t have any $10,000 pieces from an artist in New York here,” Hatch said jokingly. \nThe By Hand Gallery’s hours are 10 a.m. to 5:30 p.m. Monday through Saturday.\nThe John Waldron Arts Center, in existence since 1993, is an art gallery as well as a classroom, theater and performance space. It is located at 122 S. Walnut St.\n“Our mission is to promote the arts in a five-county area,” said Pamela Keech, executive director of the center. “(Our gallery) is a community gallery. People from wherever can send in their works and we’ll jury them.”\nMost of the artwork in the center’s art gallery is for sale unless the artists instruct otherwise. \nThe John Waldron Arts Center’s hours are 11 a.m. to 5 p.m. Monday through Friday, and 11 a.m. to 3 p.m. Saturday.\nOne of the older galleries in the area, The Prima Gallery, has been in business for 35 years. When it first opened, it was one of the only galleries in town, said Gallery Director Marcy Neiditz.\nShe said the gallery is traditional because it still hangs its art on the walls in the manner that older art galleries used to do.\nThe Prima Gallery, 109 E. Sixth St., has paintings, functional ceramics and jewelry, and like all the other galleries, all the artwork is for sale.\n“(Our price range) is huge,” Neiditz said. “If you were interested in buying an inexpensive coffee mug for $10, you could. We have paintings from $2,000 to $3,000. We have anything that’s affordable as a gift to great examples of expensive art.”\nThe artists on display are mainly local. Some of the art the gallery shows is from out of town, but comes from artists who attended IU at one point and still want their art shown in the gallery.\nNeiditz is proud of The Prima Gallery and takes pride in the art it shows.\n“I think we have a wonderful space that shows off our talent,” she said. “We have, I think, some of the best artists in Bloomington and some of their best work.”\nAll of these galleries can be toured on Bloomington’s Downtown Gallery Walks. These walks happen four times a year on the first Friday of April, July, October and December. The art galleries are all within walking distance of each other and all galleries will have a reception. The walks are completely free and open to the public.\nBut when chilly students are looking for something to do now, most of the galleries will warmly welcome any who choose to come visit.
(01/16/08 5:14am)
Students of the Master of Fine Arts art program displayed their artwork to a crowd of more than 300 students, professors and art connoisseurs Friday in a show at the School of Fine Arts Gallery. Mediums ranged from oil paintings to graphic design to ceramics. \nBetsy Stirratt, director of the SoFA Gallery since 1987, said the show improves every year. \n“The shows are starting to look more professional in terms of presentation and the students’ art,” she said. “It’s starting to look more like a professional art show.”\nUpon entering the gallery, the first pieces visible were the graphic design pieces. Digital prints were strewn across the wall along with inkjet prints and letterpresses, which are pieces created with an old-fashioned printing press with moveable type. \nOne piece, printed on a letterpress by graduate student Lacy Kelly boasted a graphic design slogan on its front.\n“Art is the concept of the visual mind. It is concerned with images and not ideas,” it read. \nInkjet-printed advertisements for the American Civil Liberties Union and American Professional Society on the Abuse of Children were also among the designs.\nThe area with the ceramic pieces had the highest traffic. Everything from vases and cups to ceramic heads on top of drawers were on display. \nAnnie Campbell’s ceramic piece, titled “Meltdown,” resembled twisted and gnarled wood mixed with rusted chains.\nSenior Brian Stutsman had two pieces on display in the show. Both of them were cups but with a strange shape and look to them.\n“I was looking for a different way to make art suitable for an art gallery but that also had a use,” Stutsman said.\nThe painting portion of the gallery was the biggest and had the most number of pieces in it. Sophomore Nick Stange said the painting section was the most inspiring part of the gallery. \n“It was definitely a great show and a fine environment,” he said.\nStirratt said the show attracted a crowd. \n“When a diverse array of artists are showing their work at a show such as this, different crowds of people come out to view them,” \nStirratt said. \nThe pieces from the show will remain on display through Jan. 19 in the SoFA Gallery.
(12/10/07 3:24am)
This Thursday, admission into The Bluebird will cost you a toy. That’s right, a toy.\nThe Bluebird, in conjunction with Indianapolis radio station WTTS 92.3, is holding it’s 10th annual Toys For Tots benefit show. Headlining is the Louisville-based band VHS or BETA, and also AutoVaughn and American Bang.\nThe Bluebird will accept unwrapped toys that range in price from a couple of dollars up to any amount. \n“Bloomington is a really giving city,” said Aaron Estabrook, director of promotions at The Bluebird. “We would really like to see people spend at least a couple of bucks.”\nEstabrook said he estimates that last year the donations people gave added up to more than the cost of the regular admission price.\nEstabrook said they are looking for toys appropriate for children between 2 and 10 years of age.\nPlaying this show means these bands take a pay cut. Exactly how much, Estabrook would not say, but he said the bands had no objections.\n“The impression I get is that a lot of bands are doing things like this right now because of the holidays,” Estabrook said. “I don’t want to say it’s expected, but it adds a little more to the show than just get your check, play and leave.”\nBrian Long, tour manager for VHS or BETA, said the band had no reservations about the show.\n“When the record label approached them with the idea, they thought it was awesome,” Long said. “It’s for a good cause. It’s kind of like good karma.”\nVHS or BETA has been creating a lot of buzz for itself across the country. The band was listed in Rolling Stone as an “Artist to Watch,” and Blender called it “one of rock’s best new bands.”\n“People love VHS or BETA,” Estabrook said. “They’re on the college radio scene all over the country.”\nVHS or BETA has been on tour for the past six months, and Long said the band has only two more shows after its Bloomington stop.\nAmerican Bang, formerly called Bang, Bang, Bang, will open the show. Estabrook said American Bang has opened for the Black Crowes in the past.\nAutoVaughn will follow American Bang on stage. AutoVaughn recently signed to a major record label and has been touring with the band Rooney, Estabrook said.\n“AutoVaughn is like a hometown favorite here in Bloomington,” Estabrook said. “AutoVaughn is a high-energy, fun, college-rock band. They’re making a name for themselves.”\nDoors for the show open at 9 p.m. Thursday at The Bluebird. Admission is one unwrapped toy appropriate for a child between the ages of 2 and 10.
(12/10/07 2:44am)
The boisterous crowd Thursday night at The Bluebird, filled with IU professor Andy Hollinden’s former students, helped his live performance go off without a hitch.\n“Performing live now is better than it’s ever been,” \nHollinden said.\nThe Benders opened the show at 10 p.m. and played about 10 cover songs by Elvis Costello, The Band, Neil Young, The Bee Gees and several others.\nWhen The Benders finished, the crowd was packed shoulder-to-shoulder, generating much anticipation in hopes of catching a glimpse of Hollinden.\nAs he made his way out of the back room, cheers filled the building, but Hollinden raised his finger to his lips, trying to silence the crowd. He made his way to the microphone after strapping on his guitar and made sure his band was ready.\n“I get the impression many of you have taken the History of Rock class,” Hollinden said to \nthe crowd.\nThe room filled with even louder cheers, and Hollinden immediately started playing his first song. Hollinden played a set of songs consisting of all original compositions, and only paused to make a few clever remarks.\n“When you do what I do for a living, you read a lot about what rock stars say,” Hollinden said. “They say they like to play live because they feed off of the energy (of the crowd). So feed me!”\nThe crowd began feeding Hollinden and his band for the rest of the first set and on to the \nsecond set.\nBefore Hollinden came out of the back room to start his second set, the crowd began shouting, “Andy, Andy, Andy!”\nHollinden’s second set consisted of all cover songs ranging from Black Sabbath, Pink Floyd and Cheap Trick.\n“We’re going to play a lot of the songs I try to cover in the History of Rock class,” Hollinden said.\nUpon hearing the first notes of the guitar introduction for Pink Floyd’s “Wish You Were Here,” the crowd cheered loud enough to cover the sounds of the band. All around, people were holding up lighters, cell phones and beer glasses, and, with their eyes closed, singing every lyric to the song.\nHe began playing more upbeat songs like the Ramones’ “Blitzkrieg Bop” and the Velvet Underground’s “Rock and Roll.” Members of the crowd were brave enough to attempt crowd-surfing under the Bluebird’s low ceiling, and one crowd member even ran on stage and sang some of the lyrics to “Rock and Roll” before jumping off the stage and surfing the crowd.\nEven though the crowd consisted mostly of former students, Hollinden said he said doesn’t feel that it affected the way he played.\n“It’s not really weird at all to play to them,” Hollinden said. “I’m glad to say it feels like they already know me. It’s kind of like I’m preaching to the choir.”\nAndrew Landau of The Bluebird said the show went even better than expected.\n“We’re glad to have (Hollinden) here,” Landau said. “It’s been my dream to have him back and it’s been his dream as well. We really did this for the students.”\nHollinden said leading up to the show, he didn’t feel nervous, but was consumed with the idea of playing the show.\n“I felt that I was really keyed up to the idea,” Hollinden said. “It’s kind of like I was strapped to a rocket before it was taking off; it could blow up or everything could go alright.”
(12/06/07 5:14am)
For decades, the Buskirk-Chumley Theater has\nremained one of the most recognizable buildings on Kirkwood with its bright red and white marquee and the iconic “Indiana” sign. But this landmark, which is celebrating its 85th anniversary this month, has not always been the place Bloomington residents know today.\nTo capture all of this history, and to also celebrate the anniversary, the Buskirk is featuring an exhibit at the Textillery Gallery that showcases the theater’s rich and eventful history. \n“There will be lots of newspaper articles, archival photos, photos of before and after the renovations, and an old film reel left over from prior to when Kerasotes bought it,” said David Pruett, the theater’s marketing director .\nThe Buskirk had its humble beginnings as one of the many theaters in downtown Bloomington. Built in 1922 by Harry Vonderschmitt, the Buskirk-Chumley, originally called the Indiana, was an addition to the collection of six other theaters Vonderschmitt owned and operated, Pruett said. The Indiana was built as a silent movie house, and on its opening night, Dec. 11, 1922, about 1,300 people lined the streets in hopes of entering.\nThe Buskirk is listed in the National Register of Historic Places, but little is known about the appearance of the interior when it opened, Pruett said.\n“There’s not a whole lot of evidence of what the theater looked like say, even 50 years ago,” Pruett said.\nA small number of existing photographs date back from the 1930s, and Pruett said by looking at these, it’s evident that on the sides of the stage there were castle facades, which were quite popular around that time.\nDuring the first years the theater was open, famous jazz musician and Bloomington native Hoagy Carmichael performed on a regular basis. Well-known as the writer of one of the most recorded songs of all time, “Stardust,” Carmichael started playing between movie showings at the Indiana, McClelland said. \n“Although Hoagy was originally a jazz performer, he had many films,” said Danielle McClelland, the theater’s executive director. “A lot of his film premieres were held (at the Indiana).” \nMcClelland said that not long after the grand opening of the theater, a movement to unionize all film projectionists around the country started. But the projectionists at the Indiana were all loyal to the Vonderschmitt family and they refused to join. It is rumored that in hopes of intimidating the projectionists at the Indiana, union agitators started a fire in 1933, McClelland said. Eventually the agitators won, and the projectionists at the Indiana joined their union.\nMcClelland said after the fire, the theater lost a lot of its original charm, but remodeling efforts restored the Indiana, and it was soon drawing in crowds again. Pruett said this restoration is what brought the “dog-bone” marquee that is now synonymous with the Buskirk.\nThe theater changed hands in 1955 when Harry Vonderschmitt died. Pruett said Vonderschmitt’s wife, Nova, took over the business and ran it for another 20 years. In 1975, when she felt she was no longer capable of running the theater, she sold it to Kerasotes Theaters Incorporated, which made many changes to the interior of the Indiana. In 1995, Kerasotes decided to donate the theater to the Bloomington Area Arts Council. Pruett said this might have been because the theater wasn’t making much money, and it was in need of many repairs.\nAfter receiving the gift, the Council organized fundraising efforts in hopes of attaining enough money to do major renovations. In 1999, the Council received the money, finished renovations and the former Indiana became known as the Buskirk-Chumley Theater.\nIn hopes of sustaining interest in the exhibit, Pruett said that it will be changed frequently and that they are looking for people with their own stories or photographs of the Buskirk to be added to the exhibit.\n“There’s not a whole lot of information about the theater,” Pruett said. “One of the things we’re trying to do is recapture the history. If we wait too much longer, a lot of things will probably be lost.”\nThe exhibit at the Buskirk-Chumley Theater opens at 6:30 p.m. Dec. 20 at the Textillery Gallery. For more information about the theater and its upcoming events go to www.buskirkchumley.org.
(12/03/07 3:53am)
Charitable hunters in Lawrence County and surrounding areas are being offered the chance to do their good deed for the day by donating deer to a new program to feed the hungry.\nAbout two weeks ago, Lawrence County started its own chapter of the national program Farmers and Hunters Helping Feed the Hungry. Hunters who do not care to eat their quarry can donate the animals to Lawrence County meat processing shops free of charge and can rest assured their gift will feed many hungry mouths through area food banks. But unless the program gets additional funding, it might not be around very long. \nThe program reimburses two processing shops $50 for each animal to dress the meat. However, due to a lack of funding, the program in Lawrence County can only process so many deer free of charge, local coordinator of the program Ryan Jahn said. The program is looking for monetary donations to help defray these costs, he said. \n“We’ve processed about 10 deer so far and only have the funds for 20,” he said. “So, after that, we have to close the doors unless we get more (monetary) donations.”\nHunters willing to donate their deer must first field dress the animal and have it tagged, said Kenny Robertson, owner of The Deer Shop on Porter Burton Road. They can then take the animal to one of the two participating processing shops in Lawrence County, either Robertson’s shop or Drew’s Deer Processing on U.S. 50 West. Hunters will only be asked to fill out a small amount of paperwork, Jahn said.\n“I just joined the program about a week ago,” Robertson said. “So far I’ve had about eight deer and I expect next year will be better.”\nRobertson processes all his donated meat into ground venison and donates it to the food bank at his church, Mitchell Wesleyan Church. Robertson said the deer meat has been leaving the shelves quicker than ground beef.\nDrew Perkins of Drew’s Deer Processing said he had his own program similar to Farmers and Hunters Feeding the Hungry in years past, processing and donating about 100 deer over the years. He joined the program this year, and said the difference between his program and this one is that now hunters donating meat to Perkins no longer have to pay the processing fees. Perkins said he also prepares his meat differently from Robertson.\n“I’ll do back straps, spare ribs, shoulder steaks, hind steaks, neck roast and ground venison,” he said.\nJahn said all the venison is kept in Lawrence county and given to the various food banks in the area. He also said that if anyone is in need of meat, they can personally contact him at 812-583-7598.
(12/03/07 1:14am)
On Friday, hundreds of people crowded shoulder-to-shoulder inside of an unfinished building to gaze at photographs and artwork.\nThe event was the BFA Photography Alternative Show. Despite the cold weather and the rather modest location, the crowd of about 700 to 800, according to Fine Arts Professor Osamu Nakagawa, was all smiles as they observed the artwork.\nThe unfinished drywall of the entryway was adorned with hundreds of photos taken by students. The photos were of various Bloomington residents and were labeled with the person’s name and how long he or she has resided here. This collective project was what seemed to be drawing the most attention according to senior Mia Beach.\n“People came to the show just to see their picture or others would recognize someone,” Beach said.\nOther eye-catching displays were x-rays of the abdomens of people who had swallowed items ranging from a knife to blades of grass, and pictures of bones.\nA large crowd gathered around a makeshift table of cinder blocks and plywood covered with about 100 tea light candles. A box of matches lay next to them. All stood watching the candles melt to liquid in anticipation of the reward: a photograph that lay at the bottom. They were family photos belonging to senior Julie McLenachen.\n“A lot of people have been saying they can relate to my photos,” McLenachen said. “I’ve had a great reaction to them.”\nAlso on display were close-up, cropped photos of album covers from artists such as Pink Floyd. \nPhotographs were not the only thing on display, though. There was a large box with cut out pictures of sheep playing violins. These sheep were situated on a picture of grass, and a string attached to a hidden, robotic arm made these sheep appear to play their instruments.\nThe air was filled with music and chatter, and by about 10 p.m., the table holding the complimentary food provided by Siam House was strewn with empty bowls, plates and cups.\nThe building itself smelled of cut wood and the unfinished concrete floors were gritty. Plywood lay in corners and measurements were scribbled in multiple places along the halls. Chandeliers and the occasional floodlight provided light for all. \nThe crowd seemed impressed with all the student works on display. Beach said this year’s turnout was much better than last year’s.\nThis is the 10th annual exhibition of the BFA Photography Alternative Show.
(11/29/07 5:00am)
After more than three years of waiting, The Dillinger Escape Plan is back with its new studio album Ire Works. It can go without saying that this album is well worth the long wait.\nDillinger always seems aware of what it is trying to accomplish. Its previous release Miss Machine presented listeners with the standard repertoire of polyrhythms, intense guitar lines and shrill vocals, but also included more straightforward, hard-core songs. Ire Works presents the same idea.\nFor the straightforward tunes, "Black Bubblegum" lacks the complexity that usually belongs in Dillinger's songs but is admittedly catchy. The vocal melodies and background glockenspiel are performed with perfection and are well-written, proving to any naysayers or dissenters that the members of Dillinger are learned artisans and can actually write music. "Milk Lizard," on the other hand, sounds like collaboration with Avenged Sevenfold and, once again, is simplistic in design.\nThe album is sprinkled with multiple instances of electronic and even drum-'n'-bass-sounding sections. The song "Dead As History" has electronic ambience in the background for the entirety of the song. "Sick on Sunday" offers an example of Dillinger's superb production skills and opens with its interpretation of drum 'n' bass music. The closing track "Mouth of Ghosts" is absolutely amazing, simply because it doesn't sound at all like a song Dillinger would have written. It seems like the kind of song that would be on a record by Bad Plus or some other rockin' jazz group. The song becomes complete with piano accompaniment, clave, shakers and excellent drumming. \nThat brings up a very important facet of Ire Works -- Dillinger has a new drummer, Gil Sharone. Former drummer Chris Pennie allegedly quit because of monetary issues that he felt Coheed and Cambria could ease. Ire Works quickly eliminates any doubt about Sharone's inability to live up to Pennie's legend. Sharone brings more groove to Dillinger, making the music flow better and seem less stiff.\nIre Works is worth every second of the three-year wait for its release. It offers many unexpected twists and turns and takes the listener through multiple music genres. It's astonishing, brilliant, complex and beautiful. That's right, The Dillinger Escape Plan is beautiful.
(11/29/07 3:29am)
Hundreds of photographs taken by students will be on exhibit. this Friday as part of the annual BFA Photography Alternative Show hosted by the IU Photography Department.\nSenior Mia Beach said 14 students in the program will have about 10 to 15 of their own pictures on display. The photographs, which will include portraits, landscapes and still life, will accommodate a variety of styles and subject matter. A collaborative photography project and a few pieces of abstract art will also be on display.\nThe alternative show is now in its 10th year, and as in years past, participants had to find a building in town willing to host the exhibit. This year, the show will be held in a warehouse at 300 E. Third St. Though the building is currently still under construction, senior Mia Dalglish said she is looking forward to the upcoming exhibit.\n“We find a building that’s not being used for anything and we turn it into a gallery for a night,” she said. “It’s really exciting in that sense because it’s not your traditional gallery show.”\nDalglish said with this show, they tried to push the envelope as far as art shows are concerned. \n“Photos and other works of art aren’t just framed and put on the wall,” she said. “We try to utilize the unexpected qualities of the space we’re in.”\nAlong with taking their own photographs, the students in the program collaborated with their professors all semester to form a group project. Beach said the project this year is a collection of about 250 photos of Bloomington residents, including professors, recent and long-time residents, workers, and students, among others.\nAs part of the show, 30 portraits of former photography students will hang on the wall, along with 10 photographs that show the spaces the department has used in years past. A film documenting how the exhibit is put on will play for attendees. In addition, abstract art pieces will be placed around the space.\n“I’ve been working with found objects and light boxes,” Beach said. “Another girl has been working with plastics and candles and another person is basically doing sculpture.”\nDalglish said some of the students combined their abstract work with their photography.\n“There are people who are incorporating their photos into glass structures and even some robotics,” she said.\nThis exhibit should offer many surprises to viewers.\n“I think (this exhibit) is really sort of exploring all the possibilities of photography,” Beach said. “I think such an approach to what photography can be is really exciting to see because it’s a relatively new medium and there’s still room for exploration and creativity.”\nThe 10th annual BFA Photography Alternative Show will be from 7 to 11 p.m. at 300 E. Third St. Admission is free and the event is open to the public.
(11/28/07 2:33am)
Graduate student Nikolas Jeleniauskas not only sings, dances and plays music, but he can also compose award-winning pieces.\nAustin Peay State University recently awarded Jeleniauskas second place and a $400 prize in the 21st Annual Young Composer’s Competition for his original composition, “Abstractions.”\nJeleniauskas, currently a second-year graduate student pursuing a master’s degree in composition, works closely with his composition instructor, Claude Baker. \n“He’s a wonderful student,” Baker said. “He’s diligent and conscientious. His work displays imagination and a great depth of feeling. ... It’s a great honor and certainly deserved.”\nJeleniauskas got his start in music when he was in middle school. Like most children, he participated in school band and other activities. Jeleniauskas said music was something that his family did and, naturally, he decided to toot his own horn, so to speak.\nHe has come a long way since then. In 2005, Jeleniauskas was given the opportunity to conduct the National Orchestra of Bulgaria. Last year, the Syracuse Society for New Music commissioned him to write music, which Jeleniauskas said was one of the most rewarding experiences of his musical career so far. \nJeleniauskas has also received other awards from the American Society of Composers, Authors and Publishers.\nComposing is not the only musical activity Jeleniauskas practices. He said he dabbles in most instruments, citing clarinet, piano and strings as his favorites. \nJeleniauskas is also a ballet dancer and can be found dancing in the Jacob’s School of Music production of “The Nutcracker” this weekend.\nIn addition to dancing and composing, Jeleniauskas is quite an accomplished singer. Baker said Jeleniauskas is more comfortable when he’s writing music for voice. Jeleniauskas said that as far as performing is concerned, singing is the only thing he thinks he could do professionally. \nHe hopes to become a composer and work with musicians and orchestras. Baker said the future looks bright for Jeleniauskas and knows good things will come to him.
(11/16/07 2:20am)
Finals week, so often marked by tedium, monotony and studious work, is quickly approaching. So, who wouldn’t desire a break from such a time?\nThe Bloomington Playwrights Project is hoping to offer such a thing to a student audience, with their performance of “Sex/Death V.” The show will offer audience members a view of unconventional, risque and even experimental topics.\n“Sex/Death V” is a collection of 14 short plays and interludes ranging in length from about one to 10 minutes. Topics will focus around the title words, sex and death, and, more specifically, viewers can expect lust, suicide, murder, bizarre sexual fantasies or any combination thereof to be included, according to a press release.\nGabe Gloden, public relations director of the Project, said some of the short plays will feature nudity and even simulated sex scenes.\n“Some people will come out just to see what (we’ll) do this year,” he said. “A lot of audience members don’t have the chance to experience things like this on stage. It asks how far can performers, writers and audience members go?”\nGloden said the show presents an unusual challenge for both writers and actors alike.\n“‘Sex/Death V’ ends up challenging actors and writers to get out of their shells and tackle material that might be uncomfortable for them,” he said. “Can you be nude, simulate a sexual encounter or poke fun at sacred subjects and do it convincingly?”\nHe also added that even though this play features adult topics and is marketed toward mature audiences, the Project wouldn’t turn anyone away because of their age. President Sonja Johnson said the Project doesn’t want to use these topics just for the sake of sensationalism and that it is, after all, just entertainment.\nThis isn’t the first year that “Sex/Death V” is being performed on the Project’s stage. First shown in 2002, Gloden said it has gained in popularity as the years have passed. He said he feels that this year’s show is going to be the best yet, and for good reason. He said they received 220 submissions this year, and out of those, 14 were chosen. \nBoth Johnson and Gloden said the show will offer a nice break from studying for many students. \n“We hope that students will come out, looking for a break from all the rigors of finals week,” Gloden said.\n“Sex/Death V” will be at 10 p.m. Dec. 3-5 and 10-12 at the Bloomington Playwrights Project., 107 W. Ninth St. Tickets are $5. For more information, call 334-1188.
(11/15/07 5:14am)
In a room absent of light except for what comes through a small pin-prick, a panoramic view of the outside landscape can be seen. But, it’s not as mind-boggling as it might seem. The device that creates such a thing is called a “camera obscura,” and can be dated as far back as the ancient Egyptians, according to IU Assistant Professor of Photography Mariana Tres.\nTres, along with graduate students Garret Hansen and Rebecca Drolen, have constructed the primitive-type camera, which is currently on exhibit at the School of Fine Arts building. The size of a large room, the camera obscura, which is Latin for “dark room,” lets visitors view the landscape outside while inside a completely darkened and sealed room \n“Camera Obscura 415” was created inside of Tres’ studio in the School of Fine Arts building. Construction was simple: The windows in the room were covered with aluminum foil and duct tape in order to make the room as dark as possible. A pinhole was then poked in the aluminum foil to allow the image to come in. What could be considered the photo paper is actually a large sheet of white paper spanning the width of the room. \nThe viewers of the exhibit sit in a chair in the back of the room and slowly lets their eyes adjust to the dark. Within a span of about 10 to 15 minutes, the picture starts to come into focus; one can clearly discern trees, antennas, buildings, cars traveling on the street and anything else that might comes through from outside of Tres’ office window.\n“The great thing about it is that it takes a while for the image to become clear,” said Kyle Burson, Tres’ teaching assistant. “After sitting for a while, even colors start to form.”\nThe picture comes in through the pinhole upside-down, which Tres said could be explained by laws of optics. Light can only travel in a straight line, so when it reflects off the ground it comes through the pinhole and forms the top part of the image while light from the sky travels straight down on to the bottom of the paper.\nThe resulting image doesn’t only come into focus on the paper, but on the ceiling, floor and walls of the room. Because light comes through the pinhole at every possible angle, the picture of the outside landscape essentially surrounds the viewer. Though this is the first camera of its type to be built at IU, Burson said there are potential plans for constructing a permanent one somewhere on campus.\n “Camera Obscura 415” will be on display from 2 to 4 p.m. today in the Fine Arts Building Room 415.