Ghost in the 'Jukebox' Machine

http://www.pittnews.com/article/2010/02/28/ghost-jukebox-machine

Ghost in the 'Jukebox' Machine

Jukebox the Ghost
Mr. Small’s
March 7, 7 p.m.
$8 - $10
(412) 821-4447

An necessary part of being a touring musician is the love of traveling, especially for ghosts.

The best part about being in the band is traveling to new places, Tommy Siegel said in an e-mail to The Pitt News. The vocalist and guitarist for Jukebox the Ghost was in Europe at the time, finishing up his most recent tour.

The current tour abroad is the second international tour for Jukebox the Ghost, an established band that has been praised for entertaining piano-pop music that provides entertainment and optimism. The band sounds like a harmonious combination of The Morning Light and Owl City.

Jukebox the Ghost consists of Ben Thornewill (vocals and piano) Jesse Kristin (drums), and Siegel (vocals and guitar). While this is only their second tour abroad, the band began touring extensively in 2006, using the time to develop their musical skills and establish a name for themselves.

Before they started touring, Jukebox the Ghost went by a different name.

“The band ‘officially’ started as The Sunday Mail, and existed under that name in college for a couple of years,” Siegel said. “Ben and Jesse had already been playing together for a year when I put up an ad in the college music department in an attempt to start a band.”

From an ad in the paper, the new trio set out on the road all new bands travel. They performed and gained support locally in their neighborhood, specifically the Washington D.C. area music scene.

“It was a challenge for a few years, but once we caught on at our school, [we were] quick to catch on locally,” Siegel said. “One of the hardest things about any local music scene ... is the lack of small, all-ages venues for local bands to get their start. We couldn’t even find a way to play outside of campus events regularly until our senior year of college, which definitely impeded any attempt at playing for new people.”

As they searched for venues the band continued to compose, taking inspiration from “anywhere and everywhere,” Siegel said.

“On the first record, all of the songs I wrote were about the apocalypse, so I was using some of the weird imagery in the Book of Revelation as my source of inspiration,” Siegel said. “Currently, my inspiration (and Ben’s) comes from all over the place.”

The eclectic mash of inspirational sources may contribute to the fact that the band’s composition process is “pretty natural.” But it does make for an interesting viewing, he added.

“I think an outside observer would be surprised to see how much nitpicking goes on,” Siegel said. “When we arrange a song, we’re all painfully aware of what everyone else in the band is playing. We micro-manage every part of a song and try to make sure the whole thing is airtight. To an outsider, I’m sure it would sound like pointless bickering, but it’s an important part of the process.”

Jukebox the Ghost has also managed to find a strong fan base during the recovery of the economy, especially because of the Internet.

“If anything, we’ve benefited from the viral quality of the Internet from people passing our album around,” Siegel said.

Behind the scenes, Siegel recently dealt with vocal nodules — tissue masses that form on vocal cords and make speech difficult — but noted this was the only issue he’s had with his music career.

“[I] had to get surgery, which was a pretty brutal experience. But if anything, that just made me more dedicated to the band and keeping myself healthy. I don’t think any of us have ever really second-guessed the band,” he said.

With their abroad tour at an ending, Jukebox the Ghost is preparing for the upcoming months.

“We just hope to keep moving forward and to keep making music,” Siegel said. “We’re releasing a new album this spring, and we’re all excited to hit the road to play some new material.”

Pittsburgh Hollywood Theater gives audiences retro films, food

http://www.pittnews.com/article/2010/02/24/pittsburgh-hollywood-theater-gives-audiences-retro-films-food

Pittsburgh Hollywood Theater gives audiences retro films, food

Hollywood Theatre Feature
“Julie and Julia”
Sunday, Feb. 28 at 6 p.m.
$30 per person — includes food, dessert, movie
RSVP by Friday, Feb. 26

If you want to see Leonardo DiCaprio in a mental institution this weekend, then don’t plan a trip to the Hollywood Theatre.

Located in Dormont, a community approximately seven miles from campus, the Hollywood doesn’t show the newest movies, like DiCaprio’s “Shutter Island.” Instead, the theater screens older films like “Monty Python and the Holy Grail.”

“We’re a repertory film theater,” Jordan Paley, assistant manager, said. “We operate a nonprofit theater, so it’s easier for us to get older movies that way. Would we have been able to afford [first runs]? It depends on who comes and how many people show up at the doors.”

And it’s not just a movie that the theater offers. This weekend you can see “Julia and Julia” and eat a specially prepared meal from Enrico Biscotti, a Pittsburgh restaurant.

The film tells the tale of two women, one of whom is Julia Child. Both women experiment with cooking at different points in time, and the narrative shifts between the two.

The dinner includes cassoulet, roasted root vegetables, brioche with an orange butter, salad and macaroons — a menu that may sound familiar to previous viewers.

“We try to tailor the menu to fit the movie,” Paley said. “We basically try to cater the meal to work in conjunction with the film.”

The Hollywood makes up for not running recent releases by heightening the experience of going to a theater, hosting events that consist of dinner and a movie. Paley said he hopes the theater gives movie-goers “the older style feeling of going to a movie and an event rather than just something to do” for entertainment.

“It’s a feeling for people who went to the theater in the ’50s, and who went to watch cartoons on screen before their film and went for dinner and got drinks before and after,” Paley said. “It’s the feeling of something to be remembered versus something to do.”

Previous events featured films such as “A Christmas Story” and “The Godfather,” and Paley said they plan to continue hosting the event with a new film and meal once a month. The dinners mark one of the ways the theater has changed with the times.

All of this is due to this classic old theater reopening with a new concept.

The original Hollywood Theatre opened in 1933 and over the decades underwent several modifications, including one by Warner Brothers Theaters in the 1940s. The theater managed to stay open until 1998, according to Paley.

The theater was reopened in 2007, but closed again in 2008. It reopened yet again in 2009. Motion Picture Heritage Corp. currently sublets the theater from the Bradley Center.

The theater’s website describes the past décor of the theater, particularly during the ’50s and ’60s, as artful, with a small 100-seat balcony, and furniture and a TV in the lobby.

In 2006, the Bradley Center outfitted the theater with Dolby Digital sound, added seating and updated the projection booth.

Ideas for future restorations and improvements include a café, a liquor license and live music performances. Film ideas, however, are easily influenced by the public.

“We have a suggestion box in our lobby, so as people suggest movies, we put them up as they get requested,” Paley said.

Currently “The Rocky Horror Picture Show” is reported as being in high demand at the theater. “Ferris Bueller’s Day Off” is a popular film as well.

Hollywood Theatre workers also have plans to play the entire “Indiana Jones” trilogy onscreen during a single day. This date is not yet finalized.

In addition, Saturday nights tend to be more of a cult movie night “so everyone can have a really weird, fun time,” Paley said.

The theater has also made plans to host independent film festivals when possible.

“We plan to bring independent film festival films and films not given regular distribution the chance to play in theater,” Paley said. “We’d like to have directors there for Q&A afterwards. Not a lot of independent filmmakers get to see their films on the screens.”

Beyond their special events, the Hollywood operates much like a normal theater during the week. Its prices vary from $4 to $6, and it sells food and drink to go with its films.

“The plan is to just give the best program we possibly can to everyone in the city,” Paley said. “We feel strongly the concept of a movie as an event will make people love our theater and will keep people coming to the movies again.”

'Percy Jackson' elicits more on-screen 'Lightning'

'Percy Jackson' elicits more on-screen 'Lightning'

http://www.pittnews.com/article/2010/02/17/percy-jackson-elicits-more-screen-lightning

“Percy Jackson and the Olympians: The Lightning Thief”
Starring: Logan Lerman, Brandon T. Jackson, Alexandra Daddario
Directed By: Chris Columbus
Fox 2000 Pictures
Grade: B-

Greek mythology is working its way back into 21st century pop culture, and the Greek gods are alive and well right here in the U.S. — at least in one new movie. They’re even having children.

“Percy Jackson and the Olympians: The Lightning Thief” tells the tale of Percy Jackson, the son of the Greek god Poseidon.

The film is based on the first book in a young adult series written by Rick Riordan. All five books are set in the U.S. and intertwine Greek mythology with daily life.

Main character Percy Jackson, a teenager who has dyslexia and ADHD, lives in New York — at least until he’s attacked, and his mother and best friend usher him out of the city and take him to Camp Half-Blood.

In a hurried pacing of plot, Percy’s mother is kidnapped, and his best friend Grover reveals himself as Percy’s protector. Oh, and Grover is a satyr (half goat and half man).

It’s disclosed that Percy is Poseidon’s son, and that Zeus currently believes Percy stole his mythical lightning bolts. If Percy does not return the bolts, a war will break out between the gods that will destroy the Earth.

The logic of why Zeus thinks Percy took his lightning bolts is never explained. Instead the film focuses on a side quest to save Percy’s mother.

Put simply, the film is very fast. It never lingers on a single scene or moment for very long, but rather charges through with action while barely touching on the real mystery: Who actually stole the lightning bolts?

Unfortunately, for those expecting some iota of mystery, the culprit becomes obvious after about half an hour.

The fast pace covers up frequent moments of wooden acting from the cast, who do a decent enough job to get a barely passing stamp of approval.

And be warned, mythology fans: Some parts of Greek mythology will be altered to suit the film’s purpose. (Being half-god doesn’t make you a demigod, writers. Duh!)

Yet the film makes up for any flaws with at least one thing — good humor. The writers keep everything clean and family-friendly. They even make the recession funny, at least for a few seconds. The character of Grover, played by Brandon T. Jackson, has the most energy of anyone on screen. His every line will keep anyone from taking this movie too seriously and will remind him or her it’s time to sit back and laugh.

Put simply, “Lightning Thief” is not the most emotional, most philosophical or most beautiful film of the year, and it’s probably not the best interpretation of a book to be rolled onto screen. But it’s worth seeing just for good, innocent giggles with friends or family. And maybe, even when the cast really isn’t acting their best, it’s worth being laughed at.

***

NOTE: It's my understanding that despite a standard dictionary definition, traditionally in Greek mythology the sons/daughters of a god and a mortal were recognized as heroes, while demigods referenced another division of godly children.

CD Review - Scott-Heron

Gil Scott-Heron mixes poetry and music

http://www.pittnews.com/article/2010/02/08/gil-scott-heron-mixes-poetry-and-music-0

Band: Gil Scott-Heron

Album: I’m New Here

Grade: B-

Record Label: XL Recordings

Sounds Like: A blues singer at a poetry reading.

Poetry and music often go hand in hand. I’m New Here takes a poetry reading one step further and becomes a bold statement about the opinions of artist Gil Scott-Heron.

Best known as a spoken-word soul performer during the 1960s and 1970s, Scott-Heron had not released any albums in 13 years, and this not disappointing.

Scott-Heron’s deep and soulful voice contributes to the power of the issues he addresses in his songs. His style, instead of focusing on rhyme, focuses on power and meaning. And the rhyme he does make is a bonus to his presentation.The background music is simple yet powerful, drawing on the strongest points from hip-hop, blues and gospel music to create an eclectic combination that defines Scott-Heron’s unique style.

Keyboard and string instruments contribute toward a sense of impending drama. But Scott-Heron’s true power and emotion comes from the inflection and pace of the poetry, with the lyrics easily separating themselves from the music.

The album begins with “I Came From a Broken Home (Part 1),” explaining in vivid narrative forma history of giving and loss within a family. He creates an identity and a persona which he carries throughout the record.

Scott-Heron not only sings, but also inserts interlude tracks where he just speaks. With his deep voice and storytelling style, it’s hard not to feel like a child sitting and listening to grandpa.

I’m New Here ends with “I Came From a Broken Home (Part 2).” It sounds exactly the same as the opening track, but the words have changed as Scott-Heron explains why he is a man. The last 30 seconds of the album run without words, leaving the listener to take in what he has said.

Hip-Hop Week offers chance for Kid Cudi opening performance

Hip-Hop Week offers chance for Kid Cudi opening performance

http://www.pittnews.com/article/2010/02/07/hip-hop-week-offers-chance-kid-cudi-opening-performance

Pitt students will embrace the culture of hip-hop next week as WPTS radio station hosts its annual Hip-Hop Week, which includes DJs in dorm lobbies, a DJing competition, a live on-air show and a dance on Friday.

This year WPTS is collaborating with Pitt Program Council to plan the competition, scheduled for Tuesday at 8 p.m. in Nordy’s Place. Students are welcome to watch the competitors. At press time, 11 groups had signed up to compete.

The winner of the hip-hop competition will be announced after the show on Tuesday and will open for the PPC-sponsored Kid Cudi concert in March.

At least half of a competing band’s members must be Pitt students, but otherwise the contest is completely open to any eager performers, according to Corey Mizell (aka DJ KaraZmatiK), the hip-hop director for WPTS.

Mizell, a part-time Pitt student, has always been a DJ. He said this year’s collaborations between WPTS and PPC presents a major opportunity for students in bands.

“For anyone who’s always wanted to do this, this will be a one moment to actually see what it would feel like to see what it would feel like to perform for thousands for students,” Mizell said. “It can probably get people to pursue this as a career ... It takes a lot of nerves to get up in front of a lot of people on a massive stage and perform your music and hope they like it.”

Former WPTS director Marcus Harris, also a Pitt student, will perform in the competition with his group, the BNVz.

Harris is the founder of Pitt’s annual hip-hop week, which he hopes explains and shares the culture of hip-hop.

“A lot of people think it’s a type of music,” Harris said. “But it’s a culture based on urban storytelling. It’s based on young people wanting to tell their story no matter what their story was.”

Hip-hop culture has its roots in 1970s New York City, according to James Peterson, assistant professor of English at Bucknell University. Peterson teaches African-American Literature and studies hip-hop culture.

Peterson explained hip-hop has four main elements: break dancing, DJing, graffiti and rapping. During the 1970s, economic and socioeconomic factors such as the closing of art centers led to the need for expression in urban areas.

Today hip-hop is “just the most recent installation of African-American oral and folk culture and musical intervention,” Peterson said. “Hip-hop is part of the historical continuum of production which is largely responsible for all American music. Hip-hop is also a repository. It samples jazz, moves like the blues, and it’s basically merging with R&B.”

Hip-hop is also welcome in mainstream music and culture because of historical events, according to Peterson.

“It’s a black art form, but it was based in diverse communities. It was always pretty diverse,” he said.

Music changed in the 1980s. Content shifted from “public enemy” to a “gangster consumerist form of the music that is accessible to mainstream,” Peterson said.

Part of hip-hop culture tends to include alternate names or personas between daily life and stage life, something Mizell says he’s just “always done.”

“There’s always a persona name which is like an alter ego because I’m a completely different person when I’m DJing a party or when I’m outside of my element, or being everyday Corey,” Mizell said. “Now it’s time for me to go to my second job, be the entertainer for the night and bring the energy for everybody. It’s always been that way. If you see them in interviews they’re a completely different person than when you see them at a live show. It’s like a natural instinct.”

“DJ KaraZmatiK” is Mizell’s current stage name and was suggested to him by a friend. Mizell changed names when he switched between performing groups because he “wanted a new, refreshing name to summarize him now.”

Harris, however, has a slightly different take on the alternate name.

“I wouldn’t necessarily call it my persona,” Harris said. “It’s like a child. When a child is born they don’t get to choose their name, but in hip-hop, because it’s about expression, you get to redefine yourself. You get to choose who you want to be. In life you don’t get to do that.”

Harris explained his stage name is MH the Verb, a name that came about because he was a very active, energetic person when he came to college.

“I’m not a noun, not a person. I’m a way,” he said.

Harris also explained some aspects of hip-hop are not straightforward, such as why it tends to be a male-dominated culture, or why the same artist will seem to give conflicting messages in their songs.

“It’s conflicting at times, but we’re all conflicted at times, and that’s the beauty of hip-hop,” Harris said. “It’s a bit of a positive outlet even when it’s not so positive.”

For Mizell, the collaboration of the competition and PPC with Kid Cudi is a significant event during Hip-Hop Week.

“It allows all people to see all organizations can work together and not be so separate,” he said. “This is a major institution but many organizations bringing many people together for one common cause. People rally together for a national disaster or tragedy, but we can’t even do it within the interlinking of our own university, you know?”