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(10/27/10 11:27pm)
____simple_html_dom__voku__html_wrapper____>Coming from the “zef-side” of South Africa, Die Antwoord’s release “$O$” is tied with the vuvuzela for most annoying sound to come out of the country. While “$O$” is preformed in both Afrikaans and English, you don’t need to be bilingual to understand the album is merely a highly polished piece of garbage. DJ Hi-Tek (not to be confused with the Reflection Eternal collaborator) provides excellent production and captivating beats, but the vulgar and elementary lyricism from the rappers Ninja and Yo-Landi Vi$$er cheapen the effort. As offensive as the songs are, there is a sense of humor to the album. Some of the lines and puns are actually funny, but they appear infrequently, buried amongst tasteless lines about MC Ninja’s junk and other crude sexual imagery.As ridiculous as this group is, it is spreading like wildfire. The shock value is contagious, and the band claims to have plans to release four more albums after it finishes its current world tour.Technically speaking, there is much more to come from this group. Realistically, there doesn’t seem to be much to indicate that any of it will be different from “$O$”.
(10/20/10 11:34pm)
____simple_html_dom__voku__html_wrapper____>Badly Drawn Boy’s newest release, “It’s What I’m Thinking Part 1: Photographing the Snowflakes,” is infrequently exciting. Interesting orchestration rouses the listener from Damon Gough’s sleep-inducing, slow storytelling — but not often enough. Paired together, the instrumentation and melodies sound similar to Beck’s “Sea Change,” but “What I’m Thinking” is much more depressing in a straightforward way. Songs such as “This Electric” and “Too Many Miracles,” which are upbeat and injected with occasional electronic drums, stand out when contrasted against the backdrop of sad, sappy diary entries about loneliness, loss and nostalgia while proclaiming feelings such as “for the first time it feels real since the day I saw you walk away.” Mercury Prize winner or not, the sentiment is laid on a little too thick for this particular release and is not as charming as the rest of the Badly Drawn Boy discography; it is especially a long way away from the 2000 release “Hour Of Bewilderbeast,” too.
(10/14/10 12:12am)
____simple_html_dom__voku__html_wrapper____>Overall, “The Game of Monogamy” is another creative success from Tim Kasher, gratuitously implementing lively and interesting strings and horns as well as light acoustic works.“Monogamy’s” track list runs the entire gamut of quality, containing a few extraordinary songs, a few mediocre ones and unfortunately, a few awful ones, too. The poor songs all suffer from the same problem of complaining without being charming, making them hard to stomach yet somehow understandable given the album’s nature. For instance, in “A Grown Man,” Kasher grumbles about responsibilities and yells things like, “A grown man’s gotta bring home the bacon.” Perhaps the monotonous and cliched lines are meant to be uncomfortable to convey the sentiment (but perhaps it’s just bad writing). Thankfully, we aren’t left to wonder too often because except for those few misses, the collection is a poignant rendition of midlife crises.The horn sections add an upbeat flair to gloomy topics, and eventually Kasher is able to leave listeners with the feeling that they have triumphantly lifted themselves out of their melancholy and frustration with this catharsis, especially with the line, “I’m gonna write another chapter.”Hopefully, there are many more chapters left for this artist’s already prolific career, so long as he’s ripping the right pages out of his diary.
(10/13/10 10:10pm)
____simple_html_dom__voku__html_wrapper____>No doubt we’ve all heard the phrase “As humans, we all make mistakes.” In light of this, somebody ought to tell Lil Wayne that, while he’s usually “out-of-this-world,” some of the songs on “I Am Not a Human Being” need some work.Opening track “Gonorrhea” is a scathing dis’ to no one in particular, accusing someone, somewhere of having — you guessed it — an STD. The insult isn’t the only devastating line, as “Gonorrhea” is filled with multiple positive indicators of a hit, including a guest appearance from Drake. “I ball hard, even with five fouls,” is a particularly interesting delivery from Weezy, considering his current sentence in Riker’s Island Detention Facility.“With You” and “I’m Single” are two songs about relationships, specifically their creation and destruction. Drake’s smooth hook combined with Wayne’s love-wit on “With You” is almost enough to make the intended female recipient believe she’s actually special, while “I’m Single” confirms the fact that any relationship with rappers is likely doomed to infidelity.Women aren’t the only thing that Wayne can’t stick with, either. Title-track “I Am Not a Human Being” is an unfortunate genre-hopping combination of Weezy’s signature rock and hip-hop styling. The song, abrasive and confusing, seems to be two tracks being played at once. Similarly, “What’s Wrong With Them,” featuring Nicki Minaj has no immediately discernible connection between chorus and verse, and it instead relies on standard Wayne punch-lines that aren’t unique or smart when compared to the artist’s track record.“Right Above It,” “Popular” and “YM Banger” are more club hits, ready to fall in line with previous hits such as “Fireman,” “Go DJ” and “Lollipop,” all without sounding too similar. “Bill Gates” and “That Ain’t Me” almost make the cut but end up falling into the filler category along with “Hold Up” and “YM Salute.” As alien as Wayne likes to make himself seem, “I Am Not a Human” ends up sounding a little too down-to-Earth.
(10/06/10 9:12pm)
____simple_html_dom__voku__html_wrapper____>The available position of “hip-hop innovator” has been outsourced to Das Racist (pronounced “that’s”). On their new album, “Sit Down, Man,” members Himanshu Suri and Victor Vazquez inject provocative cultural perspectives and witty introspection into a genre of music that frequently suffers from a lack of creativity.Das’ intellectually driven lyrics might have you searching Wikipedia, but the punch lines are nothing short of sidesplitting when you do eventually get them. Between obscure literary and pop-culture references, the duo expounds on what it means to be a minority (“pan-brownism,” as they’ve called it), and they represent today’s hip, educated youth. Instead of rapping about fortune and status, the group often celebrates the intricacies of everyday lifestyle and the non-event.“Sit Down, Man” will get you thinking, even about their previous hit “Combination Pizza Hut and Taco Bell.” Is it a deceptively subtle commentary about America’s rampant obesity and irresponsible consumerism? Probably not. Either way, though, you’ll be more cultured after hearing them out.
(09/29/10 11:35pm)
____simple_html_dom__voku__html_wrapper____>As singer Richard Edwards said, the new songs on “Buzzard” are “much louder and more aggressive in general, but the quiet moments are much more bare — no strings or horns.” Along with those instruments and band members, Margot and the Nuclear So & So’s have shed what made them worth hearing.The subtlety is gone from the songs and replaced by crunchy, distorted guitar effects and dark riffs. The music is often abrasive, and the band seems to be headed closer toward the indistinguishable mainstream of alternative rock. Awkward spoken-word introductions and fillers add to already uninteresting lyricism — one of the most disconcerting factors of the album, considering the beauty of the words in their three previous albums. Now Edwards is singing, “I like you the best, I like you the best, yes I do”, along with other nonsensical utterings in an attempt to capture that “couldn’t-care-less” rock ’n’ roll attitude. “Buzzard” seems effortless. But in a bad way.
(09/29/10 11:27pm)
____simple_html_dom__voku__html_wrapper____>On this self-titled debut, music savant Dave Sitek and a stacked lineup of guest artists team up to make an album fully capable of inducing both sex and dancing. In fact, the entirety of Maximum Balloon’s tracklist can be separated into one of the two camps when measured by lyrical content and dirty, raw groove.Sitek, hailed as today’s “most forward thinking person in music” by NME, takes on a electronica dance-hop theme with Maximum Balloon. The album is energized and expanded by a long list of talent, including David Byrne of the Talking Heads. Karen O of the Yeah Yeah Yeah’s makes a powerful appearance on the album’s sexiest track, “Communion” to beg and scream, “On your knees, keep that beat,” while Holly Miranda contributes her moan and wail to the very sensual runner-up, “The Lesson.”The levity of the album’s subject matter makes for fun, yet ephemeral songs. Though you’ll probably never get the chance to see a live set, it’s likely you’ll hear Maximum Balloon (or at least the single “Tiger”) at the next hip party, whether it’s in the dance-room or the bedroom.
(09/29/10 3:00am)
____simple_html_dom__voku__html_wrapper____>Working as an intern for Secretly Canadian, I was not only exposed to some of the relationship dynamics between artist and label, but I also became more familiar with the Bloomington label’s renowned roster.Secretly Canadian, located just off of Second Street, serves as the headquarters for not only Yeasayer, but a few other bands worth noting.Take Here We Go Magic, for starters. The Brooklyn-based indie rock group began with frontman Luke Temple’s solo effort at creating a psychedelic, yet somehow sparse and minimalist, sound.The band’s self-titled debut was originally released on the Western Vinyl label and gained the band notoriety for their catchy songs “Fangela” and “Tunnelvision.” Here We Go Magic signed to Secretly Canadian in September 2009 and released their sophomore album “Pigeons” this past spring. The new record was an impressive next step with airy compositions and kraut-rock reminiscence, which shine brightest in the tracks “Collector” and “Moon.”Another interesting band is Magnolia Electric Co. This band also owes its origin to its frontman, Jason Molina.A native of Lorain, Ohio, Molina began recording with Secretly Canadian in 1997 under his name and the name Songs:Ohia, which consisted of a cast of revolving musicians with Molina as the band’s only permanent member. In March 2003, Molina renamed the band Magnolia Electric Co. He has stuck with Secretly Canadian to this day. Both Songs:Ohia and Magnolia Electric Co. have a low-fi, folk sound, but neither can be pinned down by one genre. The diverse sound is best represented by Songs:Ohia’s “Captain Badass,” and Magnolia Electric Co.’s “Hard to Love a Man.” Damien Jurado is another artist I discovered while running through endless catalog numbers and the vast warehouse aisles of the distribution center. Jurado is a singer-songwriter from Seattle who plays poignant and lyrically moving songs.He has been produced by David Bazan in the past and also worked with the Sub Pop record label. Since the beginning of his career, Jurado has released over 10 full-length albums. His most recent album “Saint Bartlett,” issued by Secretly Canadian, is exceptional, with songs “Arkansas” and “Rachel & Cali” as highlights.Finally, one more band I can thank Secretly Canadian for introducing me to is Throw Me the Statue. The band plays fun, bouncy pop music and has issued two albums full of captivating tracks. Early 2008 saw the band signing and re-releasing “Moonbeams,” while 2009 was the year of their masterpiece “Creaturesque.” Standout tracks include the danceable “Hi-Fi Goon” and the irresistible “Lolita.”Interning was a valuable experience, and for just a few hours every week, I worked alongside the label’s staff and learn even more about Bloomington’s music scene and influence. Tons of free promo CDs and early listens didn’t hurt, either.
(09/23/10 12:15am)
WEEKEND suggests fifteen great underground artists
(09/22/10 11:55pm)
WEEKEND runs down fifteen unappreciated gems
(09/22/10 10:48pm)
____simple_html_dom__voku__html_wrapper____>Much of this generation’s first exposure to music came via our father’s CD collections. They sat us down and explained the importance of Les Paul and Marshall Amplifiers, told us about the temporary heaven on Earth that was Woodstock, and cautioned us of the infamous “man” who eventually makes nearly everyone sell out. We were raised on a diet of Black Sabbath, Pink Floyd and Led Zeppelin albums. Rock ’n’ roll was for breakfast, lunch and dinner.Black Mountain is a blast from that very past, melting all of Dad’s favorites into an explosive combination of classic rock and metal. The nostalgia of “Wilderness Heart” brings back the raw distortion and fuzz of a bygone era while being attentive enough to employ all the tricks that worked way-back-when. Stephen McBean’s voice, raspy and rough, pleases even the most skeptical classic-rock enthusiasts while the rest of the group shreds as if it’s 1979. Get this album for the folks, if nothing else, because it’s not a tired theme to them, yet.
(09/22/10 10:27pm)
____simple_html_dom__voku__html_wrapper____>There’s a plethora of bands nowadays whose sounds hark back to the ’80s, but no band is closer to an imitation than The Drums. The group muddles the line between influence and cover not only because their singer sounds exactly like Robert Smith, but also because the guitars, drums and keys all seem a little too familiar. Take The Cure, New Order and Joy Divison, put them on a beach, and give them some Vampire Weekend CDs to create this self-titled album. Also, you should tell them to pick the most generic name they can think of. Despite the lack of originality, the songs are fun, catchy and quick. The most addictive song on the album, “Let’s Go Surfing,” runs just under three minutes and is packed full of highlights, including a whistling melody sure to stick with you, just like a dirty acronym for remembering the order of the planets. Novelty collectors, ’80s lovers and reincarnates of Ian Curtis will enjoy The Drums. No one else, though.
(09/15/10 11:50pm)
____simple_html_dom__voku__html_wrapper____>There are three letters in “pop,” four chords in punk, and a million literal “garage” bands that have tried to perfect the sound that comes so effortlessly from The Thermals. Does that sweeten their newest album, “Personal Life?” It might be the only thing they’ve got going for them.It’s been suggested that by saying less you’re actually saying more (and the phrase undoubtedly fits when applied to Hutch Harris’s succinct, yet provocative observations). But hasn’t this rebel-yell of a scene run out of breath yet?
(09/15/10 11:35pm)
____simple_html_dom__voku__html_wrapper____>Interpol’s self-titled, fourth studio release is exactly what you expect from the band. The rockers are still dark, weird and ingeniously capable of making emptiness seem full. “Interpol” is no “Turn on the Bright Lights,” but it still has its share of epic moments. “Barricade,” the album’s single, appropriately leads the compilation. Carlos Dengler’s bouncing basslines paired with the prominent sparks of guitar keep the track alive and healthy. “Try It On,” while not as electrified, is a model of what the entire album should orient itself toward. Unfortunately, Interpol doesn’t stick with the upbeat feel. Much of the album seems too largely a drone, the tracks coming off as a tired diatribe rather than an interesting elaboration.“Interpol” attempts to be epic but often falls short of its goal. “Lights” is a perfect example of the band’s tendency to slowly build, growing steadily by continuously adding subtlety. The problem is it doesn’t ever explode, and everyone knows for something to be epic, it has to burst into a conflagration of instruments and fury. Where’s the explosion?
(09/08/10 11:26pm)
____simple_html_dom__voku__html_wrapper____>There may be something in the water.Perchance an enormous magnetic disc buried deep within the ground.Maybe there is even a particular frequency, trancing and luring those who can hear its call like Sirens to sailors at sea.Whatever the cause, it’s apparent that something keeps drawing talent to Bloomington.“We are the band we are today because of Bloomington,” said members of Good Luck, one of the city’s favorite local bands.Good Luck and other local groups find inspiration and audience in the residents, venues and city of Bloomington. These musicians pour out their hearts and share their talents as often as they can, some with dreams of making it big, others just expressing an innate need to rock ’n’ roll.“The music here is amazing. It feels great as a musician to share a set with your favorite bands,” Josh Wold of the Bloomington band Pessoa said. “It’s inspiring to play with these innovative bands because most gigs in Indianapolis are hardcore shows, which kind of feels like beating a dead horse sometimes. Bloomington is a nice change of pace.”The scene weaves together a community, serving as an escape from the drudgery of jobs, homework and institutionalized learning.It has become a focus for discovering new music and finding new friends who share similar tastes and interests.“I’ve met almost all of my friends playing music,” Ginger Alford of Good Luck said. “I moved from Mississippi to come to this Bloomington music scene.”Venues such as The Bishop, The Bluebird, John Waldron Arts Center and Russian Recording regularly have many popular local bands. Other performances can be found in houses and basements of students and fans.“Our favorite show was in a cramped unfinished basement where everyone was huddled together,” Wold said. “We will play any basement, anytime, anywhere.”Many of these shows draw out large crowds. One particularly large concert took place during IU’s famous week of racing, madness and decadence, the Little 500. Hip-hop jazz-rockers Jip Jop performed a distinctive set on a patio of the Varsity Villas in front of hundreds.“The energy was incredible,” said Charley Pennington, a student and attendee of the event. “It was one of my favorite shows of all-time.”Another memorable concert in a basement this past August saw red and blue flashing lights, complete with noise violations and orders to cease and desist, forcing Good Luck and their dedicated following to relocate their show to Russian Recording. The situation was perhaps a metaphor for the perseverance of the bands.Bloomington’s scene has not only been a constant source of entertainment, but also a platform from which bands launch themselves into larger receptions. Lately, Pessoa has been touring all across Indiana, while indie-rockers husband&wife have traveled nationally to perform shows across the southern and western continental states. Good Luck recently played eighteen sets in the United Kingdom and Ireland, while Jip Jop can add Japan to their tour list as a result of their collaboration with the Broadway tour “Blast!”Such strides show the potential of Bloomington bands and keep their fans anxiously anticipating the future. On the horizon are new full-length albums from all the groups, as well as some more elaborate plans. The record label Crossroads of America Records (XRA), run by the members of husband&wife, is scheduling XRA Fest 3.0 this month, while Jip Jop’s Matt Margeson aspires to one day become the Dean of IU’s Jacobs School of Music.While these are all undoubtedly admirable goals, the bands don’t necessarily make music just for the dreams of flashing lights and fame.“It’s fun to make music. It’s cathartic. It feels good to contribute to the mess,” Mike Adams of husband&wife said. “It’s one way for us to interpret things around us that’s also easy to share with each other and other people.”It would seem that Bloomington’s time with these artists is lessening as their ambitions grow. The bands aren’t quick to forget their roots, though.“Our being in Bloomington has influenced our decisions, how we understand music and what we believe it is for,” Adams said, “In fact, we met here at the University, so it’s safe to say we wouldn’t be a band at all if we weren’t in Bloomington.”
(09/01/10 10:42pm)
____simple_html_dom__voku__html_wrapper____>Ra Ra Riot’s newest release, “The Orchard,” adds a distinct creativity to songs reminiscent of a bygone era of neon and synthesizers. Its roots twist the 1980s, and its branches weave cello and violin lines as intricate as Celtic knotting (say, is that a Tree of Life on the cover?).In comparison with acclaimed previous work “The Rhumb Line,” the new album doesn’t fall far from the old tree. Singer Wes Miles still sounds like a more theatrical Robert Smith, and the band still sounds like the progeny of The Cure and Vampire Weekend. What’s different, though, is the production, shining like a polished apple. Every snare hit is crisp, every bass line bounces and every instrumental swell launches each song to new heights. No real surprise considering Death Cab for Cutie’s Chris Walla collaborated with the album’s mixing.Songs like “Boy,” “Too Dramatic” and “Shadowcasting” show off the band’s danceability while tracks like “Kansai,” “Keep it Quiet” and “Do You Remember” are great for reflection “under the oak trees and the leaves and the rain.”
(08/27/10 1:44am)
____simple_html_dom__voku__html_wrapper____>Friday night posed one of the most important questions of festival: Lady Gaga or The Strokes?I’m sure the pun has already been made, but this particular night might as well have been called Gagapalooza. The hype manifested itself before the show even began. Attendees were piling up well before the start time of the show, everyonetrying to get as close as they could, anxiously debating the order of the set list.I don’t really consider myself a fan of Lady Gaga. However, calling this concert “entertaining” is quite the understatement. I had heard her shows were worth seeing and decided that though The Strokes were extremely influential, as of late they seem rather dead. They haven’t released an album in a long time, I’ve run many of their songs into the ground by overplaying them — and if there is one thing Lady Gaga is, it’s alive. In fact, she’s downright thriving.Gaga’s fanbase was incredibly — almost unbelievably — vast. Boys, girls, men, women and children could be spotted singing along, dancing and even openly weeping from excitement. It was almost embarrassing to see the dedication of some fans: their clenched fists, the twinkle in their eyes, their jumping and “Bad Romance”-ingwith the artist-crowd interactions.Gaga, along with performing all the hits, had some messages to preach, too. Themes of acceptance and equality were discussed through her trademark concert mannerism of storytelling.At one moment Gaga’s voice was soft and nostalgic as a pillow; the next, she would be intimidating her audience through screams and demands for input and applause. The bipolar delivery was cyclically soothing and terrifying, keeping everyone on the tips of their toes.Though you still probably won’t find Gaga on my playlists, I do not regret choosing her. The theatrical performance was a vibrant, eclectic and epic: a concert well worth adding to the list.This time, the dilemma for me was between Phoenix and Empire of the Sun. Being both a longtime listener of Phoenix and fan of Wiz Kalifa’s remix of Empire of the Sun’s “Walking on a Dream,” I was torn between the two shows. Green Day, though, was never really a show I considered going to.Green Day’s extended career has taken them far from my own musical interests. I have heard “Good Riddance” more times by accident and bad fortune than any intentionally selected song I have ever played. I wanted to avoid it happening again at all costs.I eventually ended up feeling more interested in seeing how well the danceability (that’s a word) of “Wolfgang Amadeus Phoenix” translated from album to stage.I was pleasantly surprised. It ended up being quite possibly the best performance of the entire festival.Lights shimmered and lit the audience. Crowd surfing was casual, and jumping was mandatory. During the last song of the set, “1901,” every quarter note was met with the rain of the entire crowd’s landing feet.It was impossible not to dance, because even if you did try to remain still, your neighbors would lift you up in camaraderie as the music pulled you out of your inhibitions.Glowsticks made a noticeable appearance here. The neon rings, thrown and wrapped around wrists, streaked across silhouettes of youthful, dancing bodies like fireflies across tall grasses rustling in a breeze.Everything was outstanding. It got sweaty, hot and humid, but the audience wouldn’t have had it any other way. Attendees made sure they left every drop of energy at the show, and 10 p.m. came way too soon.The competing sets to the Arcade Fire never jeopardized my chance of seeing them. There is no way I would have gone to any other set, especially between the other two bands that were playing. Digitalism would surely have made me dance, but I had to hear “Funeral,” “Neon Bible” and “The Suburbs” performed.Soundgarden is a band just a bit before my time and taste; the only song I can recall would be “Black Hole Sun,” and its grunge makes me wish I couldn’t.From the opener to the encore, fans waved their hands and threw their voices, now hoarse from a long weekend, into the sounds of the stage and supporting cast. “Wake Up” and “Keep the Car Running” were the high points of the set, the notes precise and explosive. The show was everything I expected it to be and even more. Arcade Fire put the audience in high spirits and nimble bodies. Their ensemble on stage was full and dynamic; the crowd was responsive and enthusiastic. That combination almost always results in landmark shows — and this was no exception.What a wonderful way to wrap up the evening and the festival. By the last note, I was ready to call it a night, drained but content. The bands had some really cool merchandise and souvenirs, but my prize was less tangible. Lollapallooza’s final hours will be forever ingrained in my concert memory, a monumental performance and the icing on a delicious musical cake.
(08/25/10 11:59pm)
____simple_html_dom__voku__html_wrapper____>What do SSLYBY and the actual Boris Yeltsin have in common?Their fan bases were both dwindling by the end of their careers.SSLYBY’s third release, “Let It Sway” tests the patience of its listeners, much like making Russian historical puns amongst an audience of American power-pop fans. Though the band is often original, it is working within a genre of music where everything seems to already have been said.Similar to an essay, an album needs to open with an attention grabber to capture potential listeners and assure further grandeur and wit. Unfortunately, the magnetism of the first few catchy songs doesn’t stick throughout the rest of the collection.This third album maps the tendency of SSLYBY to release works containing only a few significant tracks surrounded by filler. Debut album “Broom” had the songs “House Fire” and “Oregon Girl” to veil the remaining eight tracks of monotony, while the sophomore studio release “Pershing” showcased the hit “Modern Mystery” atop a tall stage of scrap wood.“Let it Sway” sticks with the trend, making it an album worth hearing, just not all the way through.
(08/11/10 9:36pm)
____simple_html_dom__voku__html_wrapper____>There are seeders, and there are leechers. A seeder is a contributor: They aren’t the ones who create the art but are rather the purveyors of music. A leecher is a listener looking for new music. The exchange can be seen as an organic harmony, connecting artists to their fanbase.Seeders manifest as critics, DJs, bloggers and other promoters. Their tasks are to extend various musical tastes to their public. This job is crucial because the seeders are entrusted to filter music by type and quality to entertain their audience.Discretion is a matter left to the broadcaster at IU’s student-led radio organization, WIUX. IU student Jessie Davis, also known as “DJJD,” is one of many seeders who are also hosts to live broadcasts on the college station.“WIUX plays a lot of material you won’t find on the regular radio,” Davis said. “It’s about having fun and representing different genres for the listeners.”Getting involved is just a matter of contacting the committee and applying. Many different genres are up for grabs, and spaces are competitive but attainable.“Good DJs bring a flair to music and make the recommendations exciting,” said Davis.As far as bringing live music to an audience is concerned, IU’s Union Board has a long history of delivering entertainment to Bloomington.“I work with the Union to help support local music and local music scenes,“ IU student and Union Board representative Amy Pottenger said. “We are concerned with not only bringing the entertainment to the campus, but connecting the campus to itself.”This interconnectivity has hatched concerts and events benefiting not only the artists and patrons, but local charities as well. The annual Live from Bloomington compilation released by the board raises money for Hoosier Hills Food Bank, while other events have provided donations for charities as well. Joining the board is easy, too.“There are lots of opportunities to move up and take on responsibilities within the organization,” Pottenger said.Another popular medium of sharing and critiquing music is blogging. Sites such as Tumblr, Last.fm and even Facebook are tools for spreading music. Users browse and add posts on a regular basis. Sharing a new song today has become as easy as copying and pasting a URL.Critics evaluate music, amalgamate like-minded participants and inspire new searches and repeat collaborations. The process builds a connection and trust between seeders and leechers.As long as there is music, the seeders and leechers will exist. To maintain a continually blooming Bloomington scene, it’s important to participate in both positions of the cycle — to cultivate as well as consume.
(08/05/10 7:09pm)
____simple_html_dom__voku__html_wrapper____>You don’t have to know much about martial arts to know that Donnie Yen delivers a roundhouse kick of a performance in “Ip Man.”The film is a portrayal of the life of the grandmaster Ip Man, whose disciples include international star Bruce Lee.The predominant style of martial arts featured is Wing Chun, a form of self-defense and close-range combat Ip Man helped spread during his lifetime.The movie takes place in the grandmaster’s hometown of Foshan, a city renowned for its martial arts, and begins at the brink of the 1937 Japanese invasions.Within an hour and a half, Ip Man restores not only the honor of Foshan, but also even the entire besieged Chinese country. The irony is that the hero’s style is passive and rooted, juxtaposing persistent opponents and escalating war.“Ip Man” is a must-see for martial arts fans and action-movie buffs alike.