On my latest article for the Brown and White I covered Lehigh's Battle of the Bands. When the judges announced Scott Pine & the Conifers as the winners the crowd turned silent, with the exception of a few claps out of respect. Everyone was starstruck at the fact that the Peeled Labels, the famous Lehigh 8-person band that includes oboes and violins, didn't win after clearly sounding better than the other bands.
The judges did their job, though. They weren't deceived by the horrible PA speaker system that sank the performances of the heavier rock acts. The Peeled Labels used their live performing experience and took a soft, almost acoustic approach to their set. The result: Clear sound tranceding through peoples' ears.
I'll be honest, no one was in shock more than me at the fact the Scott Pine won. I thought they didn't have a chance, not because they weren't good, but because of their lack of stage presence. The distorted guitar gave me a headache. It was so bad that I had to go outside and order something to eat from Hawk's Nest while they finished their set. The speakers just weren't picking up the high frequencies. And that applied to high pitched vocals as well. I later heard their songs online and realized how good they truly are. On Saturday the guitars sounded crushed and distorted (not in the good way, but in the annoying way) and the vocals of such band like Spitting Images, Roth and The Down Low sounded like a cheap megaphone was being used as a mic. Only Matt Bellamy from Muse can pull that off.
I was expecting The Peeled Labels to win. Hands down they had the best set and also sounded the best. But I can easily understand why the judges didn't pick them. They're not the type of band you would imagine opening for rapper Wiz Khalifa. They'd make a great opening act for Dave Matthews Band or Jack Johnson, mainly softer acts.
Regardless, many bands showed promising talent and I hope they exploit it to the fullest.
Tuesday, March 29, 2011
Friday, March 25, 2011
Lehigh University Battle of The Bands
Tomorrow night, Lehigh's best bands will take the stage in Lamberton Hall in a competition to select the opening act for Wiz Khalifa during Sundaze 2011.
Sixteen bands submitted demos. Only seven got picked, and tomorrow they will show the Lehigh community what band is worth opening for the hip-hop rookie of the year.
The show begins tomorrow at 6:30 p.m. inside Lamberton Hall in Lehigh University.
This event, co-sponsored by UP and Music Box, is a chance for college musicians to play live in front of a respectable audience. Previous shows this semester sponsored by the former and latter have included playing at the same Lamberton Hall and the Godfrey Daniels Coffee House.
There is no doubt competition will be fierce, and each band will give it their all. Opening for a mainstream artist like Wiz Khalifa is a great way to gain exposure, plus almost every Lehigh student attends the spring outdoor concert.
Sixteen bands submitted demos. Only seven got picked, and tomorrow they will show the Lehigh community what band is worth opening for the hip-hop rookie of the year.
The show begins tomorrow at 6:30 p.m. inside Lamberton Hall in Lehigh University.
This event, co-sponsored by UP and Music Box, is a chance for college musicians to play live in front of a respectable audience. Previous shows this semester sponsored by the former and latter have included playing at the same Lamberton Hall and the Godfrey Daniels Coffee House.
There is no doubt competition will be fierce, and each band will give it their all. Opening for a mainstream artist like Wiz Khalifa is a great way to gain exposure, plus almost every Lehigh student attends the spring outdoor concert.
Thursday, March 24, 2011
Great Musicals Adapted to the Silver Screen
Adapting a musical, in today's age where they've lost a considerable audience compared to decades ago, is no easy task. Many fail ("The Producers" among some), but others hit the mark spot on. Below is a list of some of my favorite musicals that have adequatley made the transition from Broadway to Hollywood.
Mamma Mia!
This feel-good musical didn't need much rewriting to appeal to the big screen. The energy is easily tranceded to the average movie-goer because of the popularity of ABBA to the older generation. Even if you weren't alive for the 70s and 80s pop movement, the long lasting legacy of the Swedish pop giants can make any child to get up and dance along with the choregrophy and music even if this musical about love isn't performed live. The producers had it easy, neverthless, they delivered.
The Phantom of the Opera
The most popular musical of all time, the masterpiece of Andrew Lloyd Webber took a long time to finally make the transition to the big screen. Though the movie flopped in theatres, the long-lasting fanbase of Phantom was enough to have the movie version, directed by Joel Shumacher, be treasured in their living rooms. Not much could be done to alter the theater version to be adapted for the screen. The casting was spot on and the acting talents (not singing) of the cast, fit perfectly with the raw energy that Webber always intended Phantom to have.
Evita!
I might get a lot of criticm for this choice, especially with the poor casting choice of Madona as the title role. But put the pop star aside, Antonio Banderas stole the show as Che, the average Argentinan citizen. For anybody that has expereinced social and political injustice in a third world country, the movie portrayed their feelings to the letter. For citizens of a first world country, it educated them. Another musical by the great Andrew Lloyd Webber, the movie version was enough for me to long for the live musical that I was sadly was never able to watch.
Mamma Mia!
This feel-good musical didn't need much rewriting to appeal to the big screen. The energy is easily tranceded to the average movie-goer because of the popularity of ABBA to the older generation. Even if you weren't alive for the 70s and 80s pop movement, the long lasting legacy of the Swedish pop giants can make any child to get up and dance along with the choregrophy and music even if this musical about love isn't performed live. The producers had it easy, neverthless, they delivered.
The Phantom of the Opera
The most popular musical of all time, the masterpiece of Andrew Lloyd Webber took a long time to finally make the transition to the big screen. Though the movie flopped in theatres, the long-lasting fanbase of Phantom was enough to have the movie version, directed by Joel Shumacher, be treasured in their living rooms. Not much could be done to alter the theater version to be adapted for the screen. The casting was spot on and the acting talents (not singing) of the cast, fit perfectly with the raw energy that Webber always intended Phantom to have.
Evita!
I might get a lot of criticm for this choice, especially with the poor casting choice of Madona as the title role. But put the pop star aside, Antonio Banderas stole the show as Che, the average Argentinan citizen. For anybody that has expereinced social and political injustice in a third world country, the movie portrayed their feelings to the letter. For citizens of a first world country, it educated them. Another musical by the great Andrew Lloyd Webber, the movie version was enough for me to long for the live musical that I was sadly was never able to watch.
Saturday, March 19, 2011
Best Rock Albums of 2010
Even though 2010 was the worst year for rock in terms of sales, there were some great records that didn't receive as much attention as they should hav. Kings of Leon's album flopped even though it had some great tracks, Slash finally released his true solo album and shocked the world, and Arcade Fire took home the most prestigious Grammy.
3. Slash (Slash)
The legendary former guitarist of Guns N' Roses pulled out his own guns by collaborating with over 10 different artists ranging from Black Eyed Peas singer, Fergie, to former Nirvana drummer and Foo Fighters singer, Dave Grohl. All of the songs in this album are simply great. They convey the agressive but soulful personality that Slash always brought to Guns N' Roses and Velvet Revolver.
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2. Kings of Leon (Come Around Sundown)
Easily the most underrated album of 2010. The followup to 2008's massive hit, "Only By The Night," failed to dominate radio stations and the charts without songs like "Use Somebody" and "Sex on Fire." But songs like "Radioactive" and "Pyro," show much the band has matured in only two years.
1. Arcade Fire (The Suburbs)
Easily the best act of 2010, Arcade Fire broke into mainstream music without sacrificing their indie roots. Songs like "Ready to Start," "The Suburbs," and "City With No Children" lead this massive album to the most prestigious music award.
3. Slash (Slash)
The legendary former guitarist of Guns N' Roses pulled out his own guns by collaborating with over 10 different artists ranging from Black Eyed Peas singer, Fergie, to former Nirvana drummer and Foo Fighters singer, Dave Grohl. All of the songs in this album are simply great. They convey the agressive but soulful personality that Slash always brought to Guns N' Roses and Velvet Revolver.
me>
2. Kings of Leon (Come Around Sundown)
Easily the most underrated album of 2010. The followup to 2008's massive hit, "Only By The Night," failed to dominate radio stations and the charts without songs like "Use Somebody" and "Sex on Fire." But songs like "Radioactive" and "Pyro," show much the band has matured in only two years.
1. Arcade Fire (The Suburbs)
Easily the best act of 2010, Arcade Fire broke into mainstream music without sacrificing their indie roots. Songs like "Ready to Start," "The Suburbs," and "City With No Children" lead this massive album to the most prestigious music award.
Friday, March 18, 2011
Are magazines republishing?
In the past months I have read two Rolling Stone articles that take exclusive rights of the excerpts from the memoirs of Keith Richards and Sammy Hagar. While the microscopical sections of their memoirs included in the magazine are entertaining and almost serve as a larger than life nut graph to make you buy the actual book, I wonder if it's entirely ethical.
Choosing to include an excerpt might mean several things: the staff at RS might have been short of one article, the publisher of the memoir is paying RS to sort of advertise the book in their magazine, or RS genuinely feels that the writing is truly masterful and goes with the guidelines that they would require out of their writers.
I like to think that the third option is the correct one even if it makes me sound naive. But at the end of the day, isn't doing this plagiarism?
.
The material is already written and is going to be published. RS publishes the excerpt a few weeks in advance before the book is released. SInce the author and publisher of the memoirs are allowing the use of their memoir to be published, it obviously isn't considered plagiarism because RS is giving full credit to both the author and publisher. But isn't it ripping out the readers of RS?
A simple review would suffice to make me one to buy the book or not. Instead, they take up space from excellent profiles to stick in four to five pages of memoirs. I enjoyed Sammy Hagar's excerpt because it was short and condensed, and straight to the whole Van Halen issue. Richards', however, was a cover story, excessively long and unorganized.
At the end of the day it depends on what the readers like. Care to share?
Choosing to include an excerpt might mean several things: the staff at RS might have been short of one article, the publisher of the memoir is paying RS to sort of advertise the book in their magazine, or RS genuinely feels that the writing is truly masterful and goes with the guidelines that they would require out of their writers.
I like to think that the third option is the correct one even if it makes me sound naive. But at the end of the day, isn't doing this plagiarism?
.
The material is already written and is going to be published. RS publishes the excerpt a few weeks in advance before the book is released. SInce the author and publisher of the memoirs are allowing the use of their memoir to be published, it obviously isn't considered plagiarism because RS is giving full credit to both the author and publisher. But isn't it ripping out the readers of RS?
A simple review would suffice to make me one to buy the book or not. Instead, they take up space from excellent profiles to stick in four to five pages of memoirs. I enjoyed Sammy Hagar's excerpt because it was short and condensed, and straight to the whole Van Halen issue. Richards', however, was a cover story, excessively long and unorganized.
At the end of the day it depends on what the readers like. Care to share?
Thursday, March 17, 2011
Theatre in Venezuela
On my last night while I was on vacation in Venezuela for Spring Break I had an epiphany. As a young child I had always avoided the Venezuelan theater thinking that it was a joke compared to productions in Broadway and London. Shame on me.
I was standing in line at the movie theater with my girlfriend to buy tickets for "The King's Speech" when a young man carrying a radio headset approached us and kindly asked us if we were interested in watching the production that was playing just across the movie theater. We both looked at each other hesitantly (we both wanted to watch that movie very badly), but then he sweetened the deal when he said that the tickets were complimentary because the couple they were intended for didn't show, and they needed to get them off their hands. We were in.
We both strongly enjoy theater, hell, I'm studying it. But I didn't know what to expect. Could these guys really put up a show?
They certainly could. The play was called "Baraka," translated from "Cloaca," a play that opened in London in 2004 and was directed by Kevin Spacey. The show had rave reviews, so I sat down and enjoyed the show.
Everything was obviously scaled down to what I was used to. After seeing shows in grand theaters in Broadway and the West End, this production was held in a small auditorium-like proscenium theater. The set was obviously not elaborate or stuck to the ground since several productions share the stage.
This wasn't an issue. The acting was unbelievable. Some of the best I have ever seen. And the script was translated so perfectly to fit the Venezuelan audience, but without sacrificing any of the artistic or dramatic purposes written by Dutch writer, Maria Goos.
The story follows four very different middle-aged men. A homosexual who works for the mayorship, a soon-to-be minister for the government, a theater director and a cocaine-addicted lawyer. Together they play out of each other the deepest emotions that the average Venezuelan is afraid to express.
Running a little over two hours, and with no intermission, the play did feel long, but was well worth it. It was an eye-opening experience that will now motivate me to attend to the theater in other places of the world beside english-speaking countries.
I was standing in line at the movie theater with my girlfriend to buy tickets for "The King's Speech" when a young man carrying a radio headset approached us and kindly asked us if we were interested in watching the production that was playing just across the movie theater. We both looked at each other hesitantly (we both wanted to watch that movie very badly), but then he sweetened the deal when he said that the tickets were complimentary because the couple they were intended for didn't show, and they needed to get them off their hands. We were in.
We both strongly enjoy theater, hell, I'm studying it. But I didn't know what to expect. Could these guys really put up a show?
They certainly could. The play was called "Baraka," translated from "Cloaca," a play that opened in London in 2004 and was directed by Kevin Spacey. The show had rave reviews, so I sat down and enjoyed the show.
Everything was obviously scaled down to what I was used to. After seeing shows in grand theaters in Broadway and the West End, this production was held in a small auditorium-like proscenium theater. The set was obviously not elaborate or stuck to the ground since several productions share the stage.
This wasn't an issue. The acting was unbelievable. Some of the best I have ever seen. And the script was translated so perfectly to fit the Venezuelan audience, but without sacrificing any of the artistic or dramatic purposes written by Dutch writer, Maria Goos.
The story follows four very different middle-aged men. A homosexual who works for the mayorship, a soon-to-be minister for the government, a theater director and a cocaine-addicted lawyer. Together they play out of each other the deepest emotions that the average Venezuelan is afraid to express.
Running a little over two hours, and with no intermission, the play did feel long, but was well worth it. It was an eye-opening experience that will now motivate me to attend to the theater in other places of the world beside english-speaking countries.
Friday, March 4, 2011
5 Biggest Musical Influences For Bass
I picked up this amazing and organic sounding instrument when I was only 12. The bass guitar was bigger than me, and I'm pretty sure it was also heavier. Nevertheless, I took the initiative to attempt to play it after my parents refused to let me take guitar lessons because of how small my hands were.
Some of the bassist listed are by no means the most technically acclaimed. They represent however, different stages of my musical ventures.
5. Mark Hoppus (Blink-182) The first songs I ever played were all the hits from "Enema of the State." Yeah, they were all tonic notes as you would expect in a punk band. He isn't a virtuoso or anything like that. But for beginners, he's a real source of inspiration because it gives people something to look forward to play.
4. Duff McKagan (Guns N' Roses, Velvet Revolver) After surpassing my teen punk phase, I started getting musically cultured with older and more classical rock music. As a result, I stumbled into GNR. I wasn't hooked because of Axl's insane voice or Slash's melodic and powerful guitar, rather, it was Duff's blissful half-step-down tuned bass lines dipped in a signature chorus effect. His bass lines were unlike anything I had heard because they didn't rest on tonic notes. This was the first bassist I heard playing around with notes effectively.
3. Paul McCartney (The Beatles) A consistent presence in any list or ranking, Sir Paul opened my eyes to how important the instrument is to all the Beatles classics. Most, if not all of the songs are driven by his Hofner bass, and that's when I finally understood the crucial role of the bass guitar.
2. Flea (Red Hot Chili Peppers) I've never been a huge funk person. But Flea and his slapping and thumping style made me appreciate the bass more than I ever had before. He was the first bassist I heard my friends saying that he was truly the man of the band.
1. Chris Wolstenholme (MUSE) Presently, my biggest musical influence. His style is just crazy. I hated bass effects until I heard Muse for the first time. He manages to find a unique sound for every song he records, and it always fits the emotion perfectly. He's definitely the most underrated bassist.
Some of the bassist listed are by no means the most technically acclaimed. They represent however, different stages of my musical ventures.
5. Mark Hoppus (Blink-182) The first songs I ever played were all the hits from "Enema of the State." Yeah, they were all tonic notes as you would expect in a punk band. He isn't a virtuoso or anything like that. But for beginners, he's a real source of inspiration because it gives people something to look forward to play.
4. Duff McKagan (Guns N' Roses, Velvet Revolver) After surpassing my teen punk phase, I started getting musically cultured with older and more classical rock music. As a result, I stumbled into GNR. I wasn't hooked because of Axl's insane voice or Slash's melodic and powerful guitar, rather, it was Duff's blissful half-step-down tuned bass lines dipped in a signature chorus effect. His bass lines were unlike anything I had heard because they didn't rest on tonic notes. This was the first bassist I heard playing around with notes effectively.
3. Paul McCartney (The Beatles) A consistent presence in any list or ranking, Sir Paul opened my eyes to how important the instrument is to all the Beatles classics. Most, if not all of the songs are driven by his Hofner bass, and that's when I finally understood the crucial role of the bass guitar.
2. Flea (Red Hot Chili Peppers) I've never been a huge funk person. But Flea and his slapping and thumping style made me appreciate the bass more than I ever had before. He was the first bassist I heard my friends saying that he was truly the man of the band.
1. Chris Wolstenholme (MUSE) Presently, my biggest musical influence. His style is just crazy. I hated bass effects until I heard Muse for the first time. He manages to find a unique sound for every song he records, and it always fits the emotion perfectly. He's definitely the most underrated bassist.
Thursday, March 3, 2011
How to survive Venezuela during spring break
So it's a little off topic from what my posts usually are, but hey, why not just for the fun of it?
It's been almost two years since I last visited my home country. My parents basically begged me and almost bribed me into not going. "Please! Anywhere you want to go but there!" they said.
I have to go. Sure it's unsafer than ever before and inflation has more than quadrupled in the last year, but I still miss those white sandy beaches, the 90 degree weather and the friends I've left behind.
So to calm my parents down, I basically give them a checklist I will abide by to be safe.
1.) Don't cause attention to yourself! Hide the iPhone before getting off the plane. (It's a good thing I don't have a BlackBerry because they snap those off your fingers like candy).
2.) Take off my watch and any visible jewelry or values and store them in my bag.
3.) Take all the credit cards, cash and passports and stow deep inside your bag.
4.) Leaving the airport and going to the car is the crucial part. Most muggings and express kidnappings take place on the 30-minute road connecting the airport to Caracas. Make sure the person who's picking you us is trustworthy. Don't ever just get in any cab, especially if you're a tourist. Do that, and bye. You'll be calling the embassy from the middle of nowhere wearing nothing but your underwear (if they were feeling nice).
5.) Avoid driving late at night. Traffic signs are not enforced and anyone can DUI without any consequences. It's better to stay over till sunrise wherever you're at rather than return late at night.
So this, along with common sense is going to keep me safe (hopefully). I was raised there. I know my way around. You just have to be smart, and well, have a little luck.
It's been almost two years since I last visited my home country. My parents basically begged me and almost bribed me into not going. "Please! Anywhere you want to go but there!" they said.
I have to go. Sure it's unsafer than ever before and inflation has more than quadrupled in the last year, but I still miss those white sandy beaches, the 90 degree weather and the friends I've left behind.
So to calm my parents down, I basically give them a checklist I will abide by to be safe.
1.) Don't cause attention to yourself! Hide the iPhone before getting off the plane. (It's a good thing I don't have a BlackBerry because they snap those off your fingers like candy).
2.) Take off my watch and any visible jewelry or values and store them in my bag.
3.) Take all the credit cards, cash and passports and stow deep inside your bag.
4.) Leaving the airport and going to the car is the crucial part. Most muggings and express kidnappings take place on the 30-minute road connecting the airport to Caracas. Make sure the person who's picking you us is trustworthy. Don't ever just get in any cab, especially if you're a tourist. Do that, and bye. You'll be calling the embassy from the middle of nowhere wearing nothing but your underwear (if they were feeling nice).
5.) Avoid driving late at night. Traffic signs are not enforced and anyone can DUI without any consequences. It's better to stay over till sunrise wherever you're at rather than return late at night.
So this, along with common sense is going to keep me safe (hopefully). I was raised there. I know my way around. You just have to be smart, and well, have a little luck.
Wednesday, March 2, 2011
What's Next?
Now that I'm done with my acting quota for this semester, I now have the time and resources to devote my free time to write new songs, record them and play them live hopefully before the end of the semester.
When I was abroad in London last spring I started a music project (better known as a one-man-band) called AAVA. Between a short semester with relatively few classes and a lot of spare time on my hands, I decided to make the most of that experience by traveling around Europe and learning different cultures.
Those experiences served as the main source of inspiration for the first record I did. "The Bliss In Between," though raw and not perfect, it captures everything I went through from growing up as a child in a corrupt third-world country to missing my family and friends when I moved. Twice (Lehigh and then London).
I recorded that album in Tenerife, Spain with the help of talented musician Oscar Bennassar, better known by his stage name, The Kale.
In a matter of weeks, I showed up with basically only one song prerecorded from we could work on. The rest, we had to start from scratch. He exploited my songwriting and playing abilities to the fullest (as you would expect of the greatest music producers) of my potential and he was there to offer advice and offer a helping had in times of need.
For my sophomore record, I'll probably take a less technical and complex approach due to the fact that I will be producing the album by myself and don't have all the resources I had available to me in Spain.
It'll probably consist of six to eight tracks of acoustic material, though there may be some full-scale electric songs in there. What has always worried me is the lack of appeal my voice has. This is something I've been working on with a vocal coach this semester.
It's time to get serious. No more excuses. I spent the first two weeks of the fall semester building a home studio I practically haven't used yet. Acting for Judas was fun, but now it's over. It's time to take Adrian V (possible new stage name) in a new direction.
When I was abroad in London last spring I started a music project (better known as a one-man-band) called AAVA. Between a short semester with relatively few classes and a lot of spare time on my hands, I decided to make the most of that experience by traveling around Europe and learning different cultures.
Those experiences served as the main source of inspiration for the first record I did. "The Bliss In Between," though raw and not perfect, it captures everything I went through from growing up as a child in a corrupt third-world country to missing my family and friends when I moved. Twice (Lehigh and then London).
I recorded that album in Tenerife, Spain with the help of talented musician Oscar Bennassar, better known by his stage name, The Kale.
In a matter of weeks, I showed up with basically only one song prerecorded from we could work on. The rest, we had to start from scratch. He exploited my songwriting and playing abilities to the fullest (as you would expect of the greatest music producers) of my potential and he was there to offer advice and offer a helping had in times of need.
For my sophomore record, I'll probably take a less technical and complex approach due to the fact that I will be producing the album by myself and don't have all the resources I had available to me in Spain.
It'll probably consist of six to eight tracks of acoustic material, though there may be some full-scale electric songs in there. What has always worried me is the lack of appeal my voice has. This is something I've been working on with a vocal coach this semester.
It's time to get serious. No more excuses. I spent the first two weeks of the fall semester building a home studio I practically haven't used yet. Acting for Judas was fun, but now it's over. It's time to take Adrian V (possible new stage name) in a new direction.
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