Imagine being stranded in a foreign country with no money, no maps, no itinerary and a guitar. Imagine being promised hotels, food, transportation and gigs months in advance as specified in a contract and instead being greeted with an old barn, no running water and buses without drivers.
Last Friday, October 3, I was invited to a private screening where I could peer through the gaze of 26 musicians who were thrown into that situation. Generation Tec is a rock-u-mentry still in progress and part of a trilogy of films documenting the travels, trials and tribulations of six bands promised premier treatment as part of the “EuroTour” advocating world peace, which were instead forced to build an entire United States tour on their own, over night.
The film was originally designed to document 14 bands invited from all over the world to play around the United States. However, after several bands were fired or quit, only six were left to salvage the tour. The bands came to America and met their tour promoter, Lou Ricca, who essentially left them with nothing but a tour “put together on wishes.” There were no hotels booked, no meals planned and no venue dates confirmed, just a rough tour route planned in the shape of a heart when drawn out like connect-the-dots on the map and a few hopeful show dates.
The film begins with a narrative delivered by Dionne Lennon, runner-up for the VH1 song of the year competition and winner of the American Idol Underground song-writing competition who had two songs, which placed in the top ten “Teenage Years” and “Last Day”. She speaks about her generation, “generation tech” and the disconnection between the youth culture, which comprises it and those who came before. She discusses the changing times and the fear that surrounds the American public today, citing examples of teens being prosecuted as terrorists for prank calls and using myspace.com inappropriately behind their parent’s backs.
However, Lennon also takes the opportunity to advocate positive uses for the Internet by introducing each of the bands, which participated in the tour and utilize myspace.com as a tool for sharing their music. The bands include: Exit Avenue from England, The Models of Sweden, Midterm Break of the UK, XMS 3 from Wales, Doana, originally from France and Lennon along with the Medicine Ball Caravan, representing the United States.
The tour and film begin at Yasgur’s Farm, the site of the original Woodstock music festival, for what was promised to be a major show on the tour. The 26 musicians instead found only an old barn with no running water, no bathrooms, no beds, no food, no equipment, no show and no air conditioning. From there, the “Magical Misery Tour” began.
Though celebrity appearances by The Red Hot Chili Peppers, Gwen Stefani, Neil Young, Tom Waits and others had been promised at each performance along with a variety of other amenities expected by musicians participating in a professionally booked tour, Ricca fell through with each of his guarantees. He forced the musicians to go days without food and running water and made members of the bands drive the vans from Yasgur’s Farm to New York City. However, upon arriving, Ricca abandoned the bands without a hotel in the middle of Manhattan, even though most of the musicians were under 21, some were under 18 and a 7-year-old and 5-month-old were traveling with the group.
“We started the tour with a full film crew,” explained actor, writer and director Victor Colicchio. “But once the tour fell apart, there was no way we could keep filming. That’s when Dionne took over.”
The entire film is from the personal perspective and camera of Dionne Lennon as she recorded the car rides, shows, pit stops, meetings and down time of the musicians as they continued their tour, planning shows, hotels and travel routes as they went, despite the obstacles.
Though the tour was downgraded to only two booked shows, thanks to Ricca, the musicians managed to work together and plan a tour spanning from New York City to Miami virtually overnight. Using their only available resources, the computer and cell phones, the musicians successfully booked the tour as they traveled and made stops at the Rock and Roll Hall of Fame and Graceland during their travels.
“Originally, no one had plans to continue beyond the shows in Ohio because there was not enough money and nothing planned,” said Colicchio. “But, Dionne convinced them to stop at the Rock and Roll Hall of Fame and that motivated everyone to stay on tour.”
After stopping in Cleveland, the group continued to Graceland, Nashville and eventually Florida, though the bands were originally reluctant to continue touring with so little resources.
“We were all out of money and on our way back to Pennsylvania when we noticed at a rest stop that Venice (a seven-year-old also present on the tour) and the drummer of Exit Avenue were dressed exactly the same,” said Colicchio. “It was right then that we all started laughing and realized we were a family and no one wanted to go home anymore. So, we turned right around and went down to Florida for the shows.”
However, upon the abrupt change of plans and calls back to venues to re-book the shows, the tour was met with even more obstacles as a major accident caused the highway to be shut down. It was only by luck that the group ran into a truck driver at a rest stop that offered an alternative route, which enabled the musicians to continue their journey.
“It was as if everything was stopping them from going, but it didn’t matter,” said Colicchio. “The bands didn’t even care about the money, they knew they had to play the shows for themselves and decided to make them free because they didn’t care if they were playing to five people or five hundred. They just wanted to play.”
It is this progression from strangers, to friends to family, which the film begins to capture. As the first of three in the series, Generation Tec successfully peaks the curiosity of viewers, making them anxious to see how the remainder of the tour develops.
“Because there are so many main characters, Generation Tec is necessary to emotionally set up the next two films and develop the setting,” said Colicchio. “The second film documents more of the tour and the third is about their ultimate success.”
Though Colicchio is more involved with the second two films, he left the filming and editing of Generation Tec in the hands of Dionne Lennon and Kutztown University undergraduate, Justin Tuerk.
“We used the green screen effect a lot in Generation Tec,” said Tuerk in a question and answer session after the film. “Rather than just have talking heads, we used the green screen to mix footage of the bands and the interviews we had with them to keep it more interesting.”
Tuerk was brought into the project as an assistant, but instantly fell in love with the idea of the film and took on full responsibility of the task. Though the production of the film was guided by Colicchio, the writer of Summer of Sam and actor in Inside Man and The Brave One, and it was produced by Jeri Carroll (Summer of Sam) and Dave Pederson (Supersize Me) each only provided guidance to the two young editors and allowed them full creativity.
“Considering their ages added together is still only 34, I’d say they’ve done a pretty good job,” said Colicchio with regard to Lennon and Tuerk’s work on the film.
Judging by the audience’s response, they agreed with Colicchio’s praise and many expressed excitement for the rest of the trilogy and interest in asking Lennon about her experiences. When asked if she would do it all again, despite the problems, Lennon earnestly responded, “I would definitely do it again, but only because of the people. I couldn’t see it all fall apart because of one person.” And she is glad she did not allow that to happen, “I still talk to every one of the bands to this day and it’s been a year since the tour.”
Though at times the tour seemed doomed for failure, these 26 musicians came together and were able to succeed despite all odds. It is amazing what is possible with a little help from your friends.
For more information check out: www.generationtecmovie.com
Monday, October 13, 2008
Run like an Antelope
The timing was perfect for the tribute band Strange Design to begin their first East Coast tour. Their inspiration, the classic jam-band Phish, announced their return to the stage only one week prior to the first night of Strange Design’s tour, which began last Wednesday night at Rocktown Bar and Grill.
The newly formed tribute band is currently traveling up and down the East Coast making stops in Burlington, Vermont to Delray Beach, Florida, and will hit major cities including Boston and New York City along the way.
After Phish announced their twenty years of touring had reached an end at a concert in Northern Vermont back in 2004, the musical landscape looked bleak for Phish-heads looking to relive their favorite performances. Like the Grateful Dead before them, Phish was well-known for taking seven minute album cuts and transforming them into twenty minute long jams, unique to each and every live performance. However, Phish concerts also captured something different from the Dead or any band prior or preceding them, which Strange Design seeks to recreate.
“The goal is to get the fans involved creatively,” said band members and loyal Phish fans, Aaron Levy, Ben Markowitz and brothers Adam and Matt Chase.
“There hasn’t been a band since that can compare with the live performances of Phish,” said drummer Adam Chase. “There was Zappa and The Talking Heads, but there hasn’t been another that delivers such a unique and fun show.”
The band formed and is based out of Charleston, South Carolina, though members attended schools much further north including Princeton, Towson and the University of Maryland and studied subjects ranging from Architecture to Russian History.
“The Russian History comes in handy sometimes,” joked bassist Ben Markowitz, who majored in music at Princeton. Markowitz went on to work in the business side of the music industry as a Booking Agent in New York City following school. “It was a smaller agency out of Manhattan and was a good transitional job that gave me a solid understanding of the business and so many connections, but I would much rather play.”
Each of the members has been in several bands prior to the creation of Strange Design, some of which played in Harrisonburg previously. In addition to the tribute band, all the members are currently involved in another original project, Emotive, a soul-rock group featuring lead vocalist Elise Testone.
However, the members seem to agree that though Strange Design is based upon the music of another band, it serves as a “great exercise” for their musicianship.
“Most people don’t realize how specific many of the long jams are in many of the songs,” explained Markowitz. “It’s a challenge to play some of the really hard, really long instrumentals and we transcribe and learn them all by ear.”
This intricate attention to detail and delivery of the live performance are other factors, which set Strange Design apart from other bands.
“Cover bands can play whatever they want,” said Adam Chase. “But with a tribute band, we really do the whole show with the deeper cuts and overall performance. We focus on recreating the entire experience.”
In Wednesday’s particular performance, this included a set list from a Phish show performed August 1, 1999 at the Fuji Rock Festival in Naeba, Niigata, Japan and even incorporated trampolines during the encore.
“Phish would really bring the audience into their shows,” said Markowitz. “They used to do something called the Big Ball Jam where they would throw big different-colored balls into the crowd, each of which represented a different instrument and depending on how high the crowd hit them, that would determine what the instrument did.”
Though Wednesday’s show did not involve hitting beach balls, it was not simply a matter of choice. Each show Strange Design performs is done exactly how the Phish concert was carried out and shows are determined by fan requests submitted on the website, www.thestrangedesign.com.
“It used to take a lot longer to learn a show, because every single one is different,” said keyboardist Aaron Levy. “But by this point we can really just listen to the recording of the show on the car ride between and learn most of it.”
The band decides how songs will be performed by listening carefully to their recordings, taking notes, discussing what they hear and they eventually come to a consensus over how the song will be performed after listening to as many versions as possible.
“One of my favorite show memories was from one in Greensboro where we recreated a show where Trey does a monologue in “Run Like An Antelope” about going to a grocery store and getting a cantaloupe,” said Markowitz. “When we did it in our show, part of it says to hold the cantaloupe over your head and the whole audience was out there holding imaginary cantaloupes up in the air.”
In addition to the many props and effects the band uses to recreate the atmosphere of their favorite shows, Strange Design also uses a complex lighting system to enhance the experience run by a friend and nearly 5th member of the band, James Brown.
Though Brown studied geology and is currently studying geographic information systems through an online graduate program offered by Penn State, he is also an accomplished light engineer and Phish fan, attending a total of 144 Phish shows.
“After 144 shows, I’ve seen many good and many bad,” said Brown. “But Strange Design definitely have it down. Matt is a genius on guitar and they practice non-stop. They are the closest you can come to Phish.”
That is, the closest you can come to Phish until they return to Hampton Coliseum in Hampton, VA March 6-8. However, due to the extreme demand for tickets that will not be on sale until Saturday, October 18, Phish fans can rely on Strange Design for their fix.
“Phish always delivered a good show,” said Adam Chase. “We were too young for the Dead and there was no sense in pop that was always the same. Phish was always different, with an eclectic range of styles and excellent musicianship. They were a major influence on us and we are just paying them homage.”
If Strange Design is simply paying Phish homage, Trey, Mike, Jon and Page should be flattered as the show Wednesday was arguably one of the best performances hosted at Rocktown to date. Next time Strange Design graces Harrisonburg with their presence, Phish-heads and anyone who can appreciate talent, incredible musicianship and an exciting, interactive stage show, should flock.
For more: www.thestrangedesign.com
www.myspace.com/thestrangedesign
The newly formed tribute band is currently traveling up and down the East Coast making stops in Burlington, Vermont to Delray Beach, Florida, and will hit major cities including Boston and New York City along the way.
After Phish announced their twenty years of touring had reached an end at a concert in Northern Vermont back in 2004, the musical landscape looked bleak for Phish-heads looking to relive their favorite performances. Like the Grateful Dead before them, Phish was well-known for taking seven minute album cuts and transforming them into twenty minute long jams, unique to each and every live performance. However, Phish concerts also captured something different from the Dead or any band prior or preceding them, which Strange Design seeks to recreate.
“The goal is to get the fans involved creatively,” said band members and loyal Phish fans, Aaron Levy, Ben Markowitz and brothers Adam and Matt Chase.
“There hasn’t been a band since that can compare with the live performances of Phish,” said drummer Adam Chase. “There was Zappa and The Talking Heads, but there hasn’t been another that delivers such a unique and fun show.”
The band formed and is based out of Charleston, South Carolina, though members attended schools much further north including Princeton, Towson and the University of Maryland and studied subjects ranging from Architecture to Russian History.
“The Russian History comes in handy sometimes,” joked bassist Ben Markowitz, who majored in music at Princeton. Markowitz went on to work in the business side of the music industry as a Booking Agent in New York City following school. “It was a smaller agency out of Manhattan and was a good transitional job that gave me a solid understanding of the business and so many connections, but I would much rather play.”
Each of the members has been in several bands prior to the creation of Strange Design, some of which played in Harrisonburg previously. In addition to the tribute band, all the members are currently involved in another original project, Emotive, a soul-rock group featuring lead vocalist Elise Testone.
However, the members seem to agree that though Strange Design is based upon the music of another band, it serves as a “great exercise” for their musicianship.
“Most people don’t realize how specific many of the long jams are in many of the songs,” explained Markowitz. “It’s a challenge to play some of the really hard, really long instrumentals and we transcribe and learn them all by ear.”
This intricate attention to detail and delivery of the live performance are other factors, which set Strange Design apart from other bands.
“Cover bands can play whatever they want,” said Adam Chase. “But with a tribute band, we really do the whole show with the deeper cuts and overall performance. We focus on recreating the entire experience.”
In Wednesday’s particular performance, this included a set list from a Phish show performed August 1, 1999 at the Fuji Rock Festival in Naeba, Niigata, Japan and even incorporated trampolines during the encore.
“Phish would really bring the audience into their shows,” said Markowitz. “They used to do something called the Big Ball Jam where they would throw big different-colored balls into the crowd, each of which represented a different instrument and depending on how high the crowd hit them, that would determine what the instrument did.”
Though Wednesday’s show did not involve hitting beach balls, it was not simply a matter of choice. Each show Strange Design performs is done exactly how the Phish concert was carried out and shows are determined by fan requests submitted on the website, www.thestrangedesign.com.
“It used to take a lot longer to learn a show, because every single one is different,” said keyboardist Aaron Levy. “But by this point we can really just listen to the recording of the show on the car ride between and learn most of it.”
The band decides how songs will be performed by listening carefully to their recordings, taking notes, discussing what they hear and they eventually come to a consensus over how the song will be performed after listening to as many versions as possible.
“One of my favorite show memories was from one in Greensboro where we recreated a show where Trey does a monologue in “Run Like An Antelope” about going to a grocery store and getting a cantaloupe,” said Markowitz. “When we did it in our show, part of it says to hold the cantaloupe over your head and the whole audience was out there holding imaginary cantaloupes up in the air.”
In addition to the many props and effects the band uses to recreate the atmosphere of their favorite shows, Strange Design also uses a complex lighting system to enhance the experience run by a friend and nearly 5th member of the band, James Brown.
Though Brown studied geology and is currently studying geographic information systems through an online graduate program offered by Penn State, he is also an accomplished light engineer and Phish fan, attending a total of 144 Phish shows.
“After 144 shows, I’ve seen many good and many bad,” said Brown. “But Strange Design definitely have it down. Matt is a genius on guitar and they practice non-stop. They are the closest you can come to Phish.”
That is, the closest you can come to Phish until they return to Hampton Coliseum in Hampton, VA March 6-8. However, due to the extreme demand for tickets that will not be on sale until Saturday, October 18, Phish fans can rely on Strange Design for their fix.
“Phish always delivered a good show,” said Adam Chase. “We were too young for the Dead and there was no sense in pop that was always the same. Phish was always different, with an eclectic range of styles and excellent musicianship. They were a major influence on us and we are just paying them homage.”
If Strange Design is simply paying Phish homage, Trey, Mike, Jon and Page should be flattered as the show Wednesday was arguably one of the best performances hosted at Rocktown to date. Next time Strange Design graces Harrisonburg with their presence, Phish-heads and anyone who can appreciate talent, incredible musicianship and an exciting, interactive stage show, should flock.
For more: www.thestrangedesign.com
www.myspace.com/thestrangedesign
Thursday, September 18, 2008
Super Stoked for more Spaghetti
Seth Casana and Mickey Glago of Midnight Spaghetti Productions are not the type of people to settle for “good enough”. As directors of their production company, members of the band, Midnight Spaghetti and the Chocolate G-Strings and founders and managers of the annual Spaghettifest three-day music festival at Natural Chimneys in Mount Solon, these two entrepreneurs are always in search of what they can do to make their company and band better and the festival bigger.
Their latest accomplishments include having Scratch from the award-winning hip-hop group, the Roots perform at this year’s festival, a completed full-length documentary about Spaghettifest 5 and plans to make an even more comprehensive documentary covering Spaghettifest 6 set to take place the weekend of September 26-28.
“This year we’re expecting between 750 and 1,000 people,” predicted Casana. “Our goal is always to improve with each year. This will be our biggest yet with 40 bands.”
However, the event last Thursday night at the Court Square Theater was not just a promotion for Spaghettifest 6, but a celebration of last year’s festival, which was fully documented by a 3-man team from Cave House Studios.
“We met Seth at an MC competition and helped him edit videos from Spaghettifest 4,” explained the director of the Spaghettifest 5 documentary, Mike Frank. “After working on that we decided to do something more comprehensive. We shot as many bands as possible at the festival and I fell in love with it.”
Though Frank started out in the animation side of film after graduating from Full Sail University in Orlando, Florida, he turned to live-film, with special interest in musical events and established Cave House Studios, now operating out of Fredrickburg, VA.
After meeting Casana and editing a rough collection of films from Spaghettifest 4, Casana and Frank decided to take documentation of the event to a new level. After the 3-day festival last September, they had over 40 hours of footage, which was sifted through and the best 90-minutes were selected and smoothly edited into the professional documentary shown Thursday night.
“It was my first feature-length anything and was the longest, most intense project I’ve ever done,” said Frank. “We shot for the whole weekend and while the two other guys had breaks, I don’t think I ever stopped. I didn’t eat because I had to get it all! It was very physical.”
It was also successful.
“I was blown away by the quality and variety of music,” said Frank. “Midnight Spaghetti and The Afromotive were some of the best to record and Murphy’s Kids has one of the most energetic moments on film. We had heard their music so we knew exactly where to be to capture the best shot.”
Local favorite, Murphy’s Kids, who performed in Harrisonburg the night before the film’s debut last week, has been performing at the festival since 2003 when lead singer John Charlet managed his way onto the bill in an unconvential way.
“John actually sat through one of Mickey’s classes, even though he wasn’t supposed to be there,” laughed Casana. “He waited until the end, handed Mickey one of their CD’s and asked if they could be in the festival. We listened to it, realized they were really good and they’ve been in it ever since.”
This year Murphy’s Kids have landed a prime time slot and will be opening for the Friday night act, The Afromotive on the main stage, delivering their typical, high-energy performance fans have come to expect and love.
“Murphy’s Kids was fun to record because we didn’t know what to expect performance-wise,” said Frank. “When we told them we’d be recording they gave us a warning saying, ‘It’s calm now, but it’s going to get crazy,’ and told us to stay off the stage. It was an accurate warning.”
The documentary also captured shots of the venue, Natural Chimneys, the audience throwing frisbees by day and dancing by night and has several short statements from festival-goers interspersed between the many musical performances.
“We wanted to showcase it because Spaghettifest is a blast,” said Frank. “We wanted to show what it was like to be there and give a feel for the sights and sounds together. This year our goal is to capture that even better.”
The documentary shown Thursday premiered following Midnight Spaghetti’s music video “Rat Fight”, which was produced by Indigenous Films director Ryan Poe, who filmed and edited the video single-handedly. The entire video was shot in only a day, but the result was impressively professional.
Following the music video, there was a short introduction for the documentary and viewers were encouraged to check out the website, www.spaghettifest.com. The DVD is available to be watched online and a limited number of copies are available for sale.
Following the documentary which featured a 30-minute performance from Midnight Spaghetti and the Chocolate G-Strings and clips from Electric Baby, Jounce, Ryan Villanueva, DJ Maskell, Freekbass, Unfortunate Sons, The Transmitters and others, viewers were again encouraged to sign up on an e-mail list to receive more information and to get their tickets before leaving.
This year the festival will benefit The Pancreatic Cancer Action Network in honor of Carnegie Mellon Professor Randy Pausch. Though he passed away due to pancreatic cancer in July of 2008, Pausch has become a phenomenon with his book and presentation, “Last Lecture: Really Achieving Your Childhood Dreams,” which he delivered to an audience of 400 people at the university in September of 2007.
“He is so inspiring and has had such an incredible effect with his lecture and book,” said Casana. “This is just our way of saying thanks.”
Spaghettifest 6 will give hundreds the opportunity to say thank you as ticket sales will help support The Pancreatic Cancer Action Network and give festival-goers the opportunity to see 40 bands in 3 days, meet dozens of like-minded music-lovers and enjoy the beauty of Natural Chimneys Regional Park.
“Every year it’s more awesome,” said Casana. “With 40 bands and an even better, more comprehensive documentary, this is going to be the best year yet.”
Between 3 days of camping, 3 stages of bands and the opportunity to have a cameo in the Spaghettifest 6 Documentary, what could be better?
For more on Spaghettifest 6: http://www.spaghettifest.com
For more on The Pancreatic Cancer Action Network: http://pancan.org/
Their latest accomplishments include having Scratch from the award-winning hip-hop group, the Roots perform at this year’s festival, a completed full-length documentary about Spaghettifest 5 and plans to make an even more comprehensive documentary covering Spaghettifest 6 set to take place the weekend of September 26-28.
“This year we’re expecting between 750 and 1,000 people,” predicted Casana. “Our goal is always to improve with each year. This will be our biggest yet with 40 bands.”
However, the event last Thursday night at the Court Square Theater was not just a promotion for Spaghettifest 6, but a celebration of last year’s festival, which was fully documented by a 3-man team from Cave House Studios.
“We met Seth at an MC competition and helped him edit videos from Spaghettifest 4,” explained the director of the Spaghettifest 5 documentary, Mike Frank. “After working on that we decided to do something more comprehensive. We shot as many bands as possible at the festival and I fell in love with it.”
Though Frank started out in the animation side of film after graduating from Full Sail University in Orlando, Florida, he turned to live-film, with special interest in musical events and established Cave House Studios, now operating out of Fredrickburg, VA.
After meeting Casana and editing a rough collection of films from Spaghettifest 4, Casana and Frank decided to take documentation of the event to a new level. After the 3-day festival last September, they had over 40 hours of footage, which was sifted through and the best 90-minutes were selected and smoothly edited into the professional documentary shown Thursday night.
“It was my first feature-length anything and was the longest, most intense project I’ve ever done,” said Frank. “We shot for the whole weekend and while the two other guys had breaks, I don’t think I ever stopped. I didn’t eat because I had to get it all! It was very physical.”
It was also successful.
“I was blown away by the quality and variety of music,” said Frank. “Midnight Spaghetti and The Afromotive were some of the best to record and Murphy’s Kids has one of the most energetic moments on film. We had heard their music so we knew exactly where to be to capture the best shot.”
Local favorite, Murphy’s Kids, who performed in Harrisonburg the night before the film’s debut last week, has been performing at the festival since 2003 when lead singer John Charlet managed his way onto the bill in an unconvential way.
“John actually sat through one of Mickey’s classes, even though he wasn’t supposed to be there,” laughed Casana. “He waited until the end, handed Mickey one of their CD’s and asked if they could be in the festival. We listened to it, realized they were really good and they’ve been in it ever since.”
This year Murphy’s Kids have landed a prime time slot and will be opening for the Friday night act, The Afromotive on the main stage, delivering their typical, high-energy performance fans have come to expect and love.
“Murphy’s Kids was fun to record because we didn’t know what to expect performance-wise,” said Frank. “When we told them we’d be recording they gave us a warning saying, ‘It’s calm now, but it’s going to get crazy,’ and told us to stay off the stage. It was an accurate warning.”
The documentary also captured shots of the venue, Natural Chimneys, the audience throwing frisbees by day and dancing by night and has several short statements from festival-goers interspersed between the many musical performances.
“We wanted to showcase it because Spaghettifest is a blast,” said Frank. “We wanted to show what it was like to be there and give a feel for the sights and sounds together. This year our goal is to capture that even better.”
The documentary shown Thursday premiered following Midnight Spaghetti’s music video “Rat Fight”, which was produced by Indigenous Films director Ryan Poe, who filmed and edited the video single-handedly. The entire video was shot in only a day, but the result was impressively professional.
Following the music video, there was a short introduction for the documentary and viewers were encouraged to check out the website, www.spaghettifest.com. The DVD is available to be watched online and a limited number of copies are available for sale.
Following the documentary which featured a 30-minute performance from Midnight Spaghetti and the Chocolate G-Strings and clips from Electric Baby, Jounce, Ryan Villanueva, DJ Maskell, Freekbass, Unfortunate Sons, The Transmitters and others, viewers were again encouraged to sign up on an e-mail list to receive more information and to get their tickets before leaving.
This year the festival will benefit The Pancreatic Cancer Action Network in honor of Carnegie Mellon Professor Randy Pausch. Though he passed away due to pancreatic cancer in July of 2008, Pausch has become a phenomenon with his book and presentation, “Last Lecture: Really Achieving Your Childhood Dreams,” which he delivered to an audience of 400 people at the university in September of 2007.
“He is so inspiring and has had such an incredible effect with his lecture and book,” said Casana. “This is just our way of saying thanks.”
Spaghettifest 6 will give hundreds the opportunity to say thank you as ticket sales will help support The Pancreatic Cancer Action Network and give festival-goers the opportunity to see 40 bands in 3 days, meet dozens of like-minded music-lovers and enjoy the beauty of Natural Chimneys Regional Park.
“Every year it’s more awesome,” said Casana. “With 40 bands and an even better, more comprehensive documentary, this is going to be the best year yet.”
Between 3 days of camping, 3 stages of bands and the opportunity to have a cameo in the Spaghettifest 6 Documentary, what could be better?
For more on Spaghettifest 6: http://www.spaghettifest.com
For more on The Pancreatic Cancer Action Network: http://pancan.org/
Monday, September 15, 2008
Stand For Tomorrow, Everyday.
Seeing Murphy’s Kids this early in the semester is like an official welcome back to school: the year has now, officially begun.
“It’s great to be here,” shouted lead singer, John Charlet of Murphy’s Kids from the stage of Rocktown Bar and Grill, “It’s always great to be here!”
The show was put on by local concert production and promotion company Blame it on the Train Productions, which is working to bring another major act to the JMU campus. Last fall the student-run organization brought Pink Floyd tribute band The Machine to Memorial Hall and raised over $5,000 for the Susan G. Komen Foundation for the Cure. Currently, BIOTT has not decided on a charity to donate to this season, but all proceeds raised by shows put on in conjunction with the company will go towards fund-raising for a worthy organization.
The Richmond-based Murphy’s Kids performed following fellow JMU favorite, Blatant Vibe; comprised of Aaron Walker, Kunal Jhahjee, Daniel Attaway, Julian Astri and Casey Flanagan, who warmed up the crowd with old favorites that had fans singing along and their own version of “Another One Bites the Dust”.
“This is our first time out to see music,” said freshman, Jessica Ashley who was joined by freshman friends Katherine Peters, Laura Filkoski and Ben Rellick. “We are up for seeing anyone, anywhere, but this is our first show at JMU, so we’re excited to see what it’s like.”
Judging by the sweat on their shirts and smiles on their faces by the end of the show, it seemed to be a good first choice thanks to the recommendations of Rellick.
“I’ve been seeing Murphy’s Kids for over 2 years now,” explained Rellick. “I’m from Richmond and always try to make it to their shows, but haven’t seen them since April. It’s been so long!”
However, absence makes the heart grow fonder and Rellick was no exception.
“I knew every song and it was great,” he said upon leaving, with his new Murphy’s Kids shirt and sticker. “I can’t wait for Spaghettifest!”
Others shared similar reactions including juniors Lauren Murphy and Vanessa Shepperson.
“Murphy’s Kids was amazing, as always,” Shepperson said still smiling, even after hours of dancing and singing in the front row. “I am so excited to see them at Spaghettifest!”
Shepperson and Rellick are not the only ones who are anxiously anticipating Spaghettifest 6, set to take place the final weekend in September 26-28 at Natural Chimneys Regional Park in Mount Solon, VA.
“We are so excited for the festival this year,” expressed Blatant Vibe’s keyboard player, Aaron Walker. “We want to learn two new songs and another cover in 14 days for it and we plan on playing all our tightest-sounding, crowd-pleasing best songs. It’s going to be bigger than ever.”
With all the buzz surrounding the weekend-long Spaghettifest, last Wednesday night’s show served as a perfect warm-up for both fans and the bands with energy exploding from the stage and reflecting back from the audience. The floor of Rocktown was littered with students and friends, moshing, crowd surfing, dancing, sweating, singing and smiling the whole night. After hours of non-stop energy on stage, the crowd asked for more and still, the bands delivered.
Blatant Vibe entertained the audience with funky instrumentals and Kunal Jhanjee’s dexterous raps, some of which the crowd recited and others, they could only listen to in awe as he raced through rhyme after rhyme. John Charlet, Reid Attaway, Adam Bonini, DJ Kyriakides, Nate Koch and Dave “Gibby” Gibson of Murphy’s Kids played a slew of favorites including “Are You With Me,” “Stand for Tomorrow,” “Richmond Bands,” “ManDate,” and “Hands On” and kept the audience engaged at all times thanks to their lively stage stunts and constant audience interaction.
“I’ve seen them a million times and they have always been awesome,” praised senior Steven Wilson. “They were great at the Holiday Inn and Festival Fest in the rain was the best, most insane show ever.”
At one point in the night, Charlet stopped and asked how many present Wednesday would also be joining them at Spaghettifest. When the entire floor erupted in a wave of raised hands and voices, the whole band could not help but smile.
“That’s amazing,” Charlet said. “That is going to be an incredible weekend and I can’t wait to see you all there.”
This year Murphy’s Kids and Blatant Vibe will be taking the main stage of the festival on Friday evening and will be joined throughout the weekend by acts like Scratch of the Roots, Midnight Spaghetti and the Chocolate G-Strings, The Afromotive, Future, 40 Dollar Mule, HeartGetsMonkey, DJ Maskell, Red River Rollercoaster, Rubberlegs and many more. To join in on the action, tickets are available online at www.myspace.com/mkrva where sales will show support for MK.
Perhaps what is most appealing about both Blatant Vibe and Murphy’s Kids is the positive atmosphere both bands seem to create and promote throughout their shows.
When asked what he thought of the night and the bands as Rocktown was shutting down, fellow Spaghettifest performer and Wednesday night attendant, Christopher Hall profoundly tried to capture the essence of the night saying, “Seeing them, I think, ‘sing loud, love louder’.”
Though his comment seemed unusual next to other reactions from the night, something about it made perfect sense. Murphy’s Kids and Blatant Vibe really make fans feel something more than the music and as loud as they scream, sing or rap, the comradery and love of the atmosphere really does speak louder.
For more on Murphy’s Kids: http://www.myspace.com/mkrva
Blatant Vibe: http://www.myspace.com/blatantvibe
Spaghettifest 6: http://www.spaghettifest.com/
“It’s great to be here,” shouted lead singer, John Charlet of Murphy’s Kids from the stage of Rocktown Bar and Grill, “It’s always great to be here!”
The show was put on by local concert production and promotion company Blame it on the Train Productions, which is working to bring another major act to the JMU campus. Last fall the student-run organization brought Pink Floyd tribute band The Machine to Memorial Hall and raised over $5,000 for the Susan G. Komen Foundation for the Cure. Currently, BIOTT has not decided on a charity to donate to this season, but all proceeds raised by shows put on in conjunction with the company will go towards fund-raising for a worthy organization.
The Richmond-based Murphy’s Kids performed following fellow JMU favorite, Blatant Vibe; comprised of Aaron Walker, Kunal Jhahjee, Daniel Attaway, Julian Astri and Casey Flanagan, who warmed up the crowd with old favorites that had fans singing along and their own version of “Another One Bites the Dust”.
“This is our first time out to see music,” said freshman, Jessica Ashley who was joined by freshman friends Katherine Peters, Laura Filkoski and Ben Rellick. “We are up for seeing anyone, anywhere, but this is our first show at JMU, so we’re excited to see what it’s like.”
Judging by the sweat on their shirts and smiles on their faces by the end of the show, it seemed to be a good first choice thanks to the recommendations of Rellick.
“I’ve been seeing Murphy’s Kids for over 2 years now,” explained Rellick. “I’m from Richmond and always try to make it to their shows, but haven’t seen them since April. It’s been so long!”
However, absence makes the heart grow fonder and Rellick was no exception.
“I knew every song and it was great,” he said upon leaving, with his new Murphy’s Kids shirt and sticker. “I can’t wait for Spaghettifest!”
Others shared similar reactions including juniors Lauren Murphy and Vanessa Shepperson.
“Murphy’s Kids was amazing, as always,” Shepperson said still smiling, even after hours of dancing and singing in the front row. “I am so excited to see them at Spaghettifest!”
Shepperson and Rellick are not the only ones who are anxiously anticipating Spaghettifest 6, set to take place the final weekend in September 26-28 at Natural Chimneys Regional Park in Mount Solon, VA.
“We are so excited for the festival this year,” expressed Blatant Vibe’s keyboard player, Aaron Walker. “We want to learn two new songs and another cover in 14 days for it and we plan on playing all our tightest-sounding, crowd-pleasing best songs. It’s going to be bigger than ever.”
With all the buzz surrounding the weekend-long Spaghettifest, last Wednesday night’s show served as a perfect warm-up for both fans and the bands with energy exploding from the stage and reflecting back from the audience. The floor of Rocktown was littered with students and friends, moshing, crowd surfing, dancing, sweating, singing and smiling the whole night. After hours of non-stop energy on stage, the crowd asked for more and still, the bands delivered.
Blatant Vibe entertained the audience with funky instrumentals and Kunal Jhanjee’s dexterous raps, some of which the crowd recited and others, they could only listen to in awe as he raced through rhyme after rhyme. John Charlet, Reid Attaway, Adam Bonini, DJ Kyriakides, Nate Koch and Dave “Gibby” Gibson of Murphy’s Kids played a slew of favorites including “Are You With Me,” “Stand for Tomorrow,” “Richmond Bands,” “ManDate,” and “Hands On” and kept the audience engaged at all times thanks to their lively stage stunts and constant audience interaction.
“I’ve seen them a million times and they have always been awesome,” praised senior Steven Wilson. “They were great at the Holiday Inn and Festival Fest in the rain was the best, most insane show ever.”
At one point in the night, Charlet stopped and asked how many present Wednesday would also be joining them at Spaghettifest. When the entire floor erupted in a wave of raised hands and voices, the whole band could not help but smile.
“That’s amazing,” Charlet said. “That is going to be an incredible weekend and I can’t wait to see you all there.”
This year Murphy’s Kids and Blatant Vibe will be taking the main stage of the festival on Friday evening and will be joined throughout the weekend by acts like Scratch of the Roots, Midnight Spaghetti and the Chocolate G-Strings, The Afromotive, Future, 40 Dollar Mule, HeartGetsMonkey, DJ Maskell, Red River Rollercoaster, Rubberlegs and many more. To join in on the action, tickets are available online at www.myspace.com/mkrva where sales will show support for MK.
Perhaps what is most appealing about both Blatant Vibe and Murphy’s Kids is the positive atmosphere both bands seem to create and promote throughout their shows.
When asked what he thought of the night and the bands as Rocktown was shutting down, fellow Spaghettifest performer and Wednesday night attendant, Christopher Hall profoundly tried to capture the essence of the night saying, “Seeing them, I think, ‘sing loud, love louder’.”
Though his comment seemed unusual next to other reactions from the night, something about it made perfect sense. Murphy’s Kids and Blatant Vibe really make fans feel something more than the music and as loud as they scream, sing or rap, the comradery and love of the atmosphere really does speak louder.
For more on Murphy’s Kids: http://www.myspace.com/mkrva
Blatant Vibe: http://www.myspace.com/blatantvibe
Spaghettifest 6: http://www.spaghettifest.com/
Monday, September 8, 2008
Danny Hill
Danny Hill is not a music major. He has never taken formal guitar or vocal lessons. He is pursuing an ISAT major with a concentration in energy and is co-concentrating in Business. Though, in most normal circumstances one might think of science and art as two areas on complete opposite sides of the cerebral spectrum, Hill proves the most analytical can also be the most creative.
“I taught myself guitar and never thought I could sing to save my life,” confesses the senior JMU student. “I hear the imperfections in my songs and not always the good, but I think that’s what makes artists progress.”
Hill has been playing guitar since he picked up the instrument junior year of high school back in Springfield, Virginia. Aside from a few trumpet lessons in the sixth grade, Hill’s music experience was limited to his appreciation for it and self-motivation to learn how to play guitar, sing and write songs independently.
“I play because I love it,” says Hill. “It’s not to make money and I enjoy it because there are no deadlines and no pressure. Whenever I feel like writing, I write.”
Hill’s songs reflect his unrestrained song-writing and performance style, with lilting vocals, raw guitars and honest lyrics reminiscent of Bright Eyes front man Conor Oberst.
“I don’t like to write songs ‘for’ people and get asked a lot if a certain song is ‘about’ someone,” explains Hill. “But I usually write about events in my life or even things I see going on in other people’s lives.”
This removed perspective adds to the abstract and almost mysterious quality to Hill’s simple, but intriguing style, enhancing the personal feeling of the gentle tracks and further lending him to comparisons to other accomplished artists including some of his greatest influences including Ola Podrida, Okkervil River and Damien Rice.
“I like their style and the movement in their songs,” Hill clarified. “The way they structure their music is not typical like so much of what’s on the radio.”
However, Hill cannot completely reject everything on the radio, as he has been featured on the JMU student-run station, WXJM 88.7FM.
“Hearing the preview of artists coming up next and my name being announced was a little surreal,” he laughed. “Hearing my song on the radio with the intro and everything was really cool.”
Like many unsigned artists, Hill utilizes MySpace.com as his major form of self-promotion and has been ranked as high as the 13th most popular unsigned folk/rock artist in Virginia. The site, www.myspace.com/dannyhillmusic, features four of his professionally recorded tracks which were mixed at the local Silver Sun Productions studio, run in Harrisonburg by JMU alumnus Graham Cochran who also helps record various other JMU musical ensembles and groups.
“I think it’s awesome that it gives musicians a chance to be heard without being signed to a major label,” said Hill. “It allows listeners to hear music they normally wouldn’t.”
As for Hill, he finds most of the music he listens to through the popular blog, www.aminalsound.com, which features bloggers’ favorite music of the moment. The site is open to anyone, however certain bloggers are better known than others for their impeccable taste and some are even sponsored.
Hill has performed at open-mic events, but has yet to open for any Harrisonburg bands or headline any local venues, though show opportunities are always welcome for the folk-rock singer/songwriter.
“I’d love to get out there and play for an audience,” mused Hill. “So far it’s really only been for friends and small events, not major shows in the area.”
As his popularity grows, perhaps Danny Hill will develop into more than an ISAT major and JMU senior, and become a regular local performer. Until then, Hill serves as proof that anyone, music major or not, can do what they love and find success by their own terms.
To hear Danny’s music, check out: http://www.myspace.com/dannyhillmusic
“I taught myself guitar and never thought I could sing to save my life,” confesses the senior JMU student. “I hear the imperfections in my songs and not always the good, but I think that’s what makes artists progress.”
Hill has been playing guitar since he picked up the instrument junior year of high school back in Springfield, Virginia. Aside from a few trumpet lessons in the sixth grade, Hill’s music experience was limited to his appreciation for it and self-motivation to learn how to play guitar, sing and write songs independently.
“I play because I love it,” says Hill. “It’s not to make money and I enjoy it because there are no deadlines and no pressure. Whenever I feel like writing, I write.”
Hill’s songs reflect his unrestrained song-writing and performance style, with lilting vocals, raw guitars and honest lyrics reminiscent of Bright Eyes front man Conor Oberst.
“I don’t like to write songs ‘for’ people and get asked a lot if a certain song is ‘about’ someone,” explains Hill. “But I usually write about events in my life or even things I see going on in other people’s lives.”
This removed perspective adds to the abstract and almost mysterious quality to Hill’s simple, but intriguing style, enhancing the personal feeling of the gentle tracks and further lending him to comparisons to other accomplished artists including some of his greatest influences including Ola Podrida, Okkervil River and Damien Rice.
“I like their style and the movement in their songs,” Hill clarified. “The way they structure their music is not typical like so much of what’s on the radio.”
However, Hill cannot completely reject everything on the radio, as he has been featured on the JMU student-run station, WXJM 88.7FM.
“Hearing the preview of artists coming up next and my name being announced was a little surreal,” he laughed. “Hearing my song on the radio with the intro and everything was really cool.”
Like many unsigned artists, Hill utilizes MySpace.com as his major form of self-promotion and has been ranked as high as the 13th most popular unsigned folk/rock artist in Virginia. The site, www.myspace.com/dannyhillmusic, features four of his professionally recorded tracks which were mixed at the local Silver Sun Productions studio, run in Harrisonburg by JMU alumnus Graham Cochran who also helps record various other JMU musical ensembles and groups.
“I think it’s awesome that it gives musicians a chance to be heard without being signed to a major label,” said Hill. “It allows listeners to hear music they normally wouldn’t.”
As for Hill, he finds most of the music he listens to through the popular blog, www.aminalsound.com, which features bloggers’ favorite music of the moment. The site is open to anyone, however certain bloggers are better known than others for their impeccable taste and some are even sponsored.
Hill has performed at open-mic events, but has yet to open for any Harrisonburg bands or headline any local venues, though show opportunities are always welcome for the folk-rock singer/songwriter.
“I’d love to get out there and play for an audience,” mused Hill. “So far it’s really only been for friends and small events, not major shows in the area.”
As his popularity grows, perhaps Danny Hill will develop into more than an ISAT major and JMU senior, and become a regular local performer. Until then, Hill serves as proof that anyone, music major or not, can do what they love and find success by their own terms.
To hear Danny’s music, check out: http://www.myspace.com/dannyhillmusic
Bring the Music
On Wednesday, the University Program Board announced Boys Like Girls as the chosen artist for the fall convocation center show. Since the decision was revealed, it has been a popular topic of discussion around campus as students complain or celebrate the result. However, it seems few people understand and take into consideration all the factors that must be evaluated in order to reach a final decision on the UPB’s chosen entertainment. There is more to the UPB than concerts and more to planning events than choosing an artist and booking the date. It is a careful process weighing popularity, availability and cost in order to reach a final decision.
The UPB is split into five committees, which work together to plan an eclectic spectrum events around the JMU campus. Center Stage produces major concerts, The Film Committee plans Grafton movies, Arts and Culture brings educational and cultural speakers and Special Events plans comedians, guest speakers and any other programs, which could be beneficial to the JMU student body. There are about 30 actively participating students in the Center Stage Committee and about 75 within the entire UPB. The Board is headed by an executive council made up of directors from each committee, three vice presidents, the Executive Assistant, President, Creative Director, Financial Director, Webmaster, Grad Assistant and UPB Coordinator.
In the case of the fall convocation center concert, the process begins with a list of touring artists compiled by a middle agent, Melissa Boyle Aronson of Babco Entertainment, LLC. From this list of comedians and bands, spanning different genres and price ranges, a survey is distributed to students and once results are returned, the artists who received the most votes are looked into more carefully. Price and availability are two of the biggest factors, though popularity is always top priority.
“We look closely at all the artists that got the best responses in the survey,” says Center Stage Committee director Patrick White. “We go down the list until we find the most popular artist who is available. We also make diversity of music genres a goal. For example, last semester we had hip-hop, this semester is rock, next may be something different.”
This semester was nearly something very different as other top acts considered included Taylor Swift, Wanda Sykes and Sarah Bareilles. However, different factors gradually eliminated each of the artists. Taylor Swift is touring with Rascal Flatts, which would cost over $100,000 to bring to the school. Sarah Bareilles’ tour schedule became totally booked and Wanda Sykes would have meant a compromise between a comedian and a concert.
“We would have had to decide between a Convo concert or a Convo comedian,” explained White. “We knew that the Convo concert is an experience that means so much to many students and our committee members, so we couldn’t bring Sykes to JMU.”
White also explained the complications of availability and price as a tricky factor to consider, “If an artist is touring through our region when we have a Convo date, their price is much cheaper than it would be otherwise and that’s an opportunity we like to grab when we can. For Boys Like girls, we chose a show that is sponsored by Verizon Wireless. One of the pros of choosing a sponsored show is that you get even more bang for your buck!”
The UPB has the benefit of the buck as it is the largest funded student organization at JMU. Half of the funds are dedicated to the Center Stage Committee, which uses the money to produce four concerts every year, including the fall show scheduled for Friday, September 26.
Reactions to the decision so far have been mixed.
“I think Boys Like Girls is too poppy for JMU,” said sophomore Rachel Williams. “I think someone like Badfish (a Sublime tribute band) would draw more of a crowd.”
For those who are disappointed in the choice, White suggests getting active. “Respond to the survey and spread the word! If the artist you want is not on the survey, we leave in write-in space for that. What many students don’t realize is that unfortunately many artists are not touring, not available or outside the budget of UPB.”
However, others who recall past UPB events are more optimistic. “I loved T-Payne,” said sophomore Kelley Brink. “I had so much fun at that concert so I think Boys Like Girls could be good, too.”
Regardless, the decision has been made and not without careful thought, consideration and discussion between UPB members. Whether a fan of Boys Like Girls or not, it is still important to consider and recognize the hard work and dedication of the UPB to consistently bring quality entertainment here to JMU. September 26 should be an exciting night.
The UPB is split into five committees, which work together to plan an eclectic spectrum events around the JMU campus. Center Stage produces major concerts, The Film Committee plans Grafton movies, Arts and Culture brings educational and cultural speakers and Special Events plans comedians, guest speakers and any other programs, which could be beneficial to the JMU student body. There are about 30 actively participating students in the Center Stage Committee and about 75 within the entire UPB. The Board is headed by an executive council made up of directors from each committee, three vice presidents, the Executive Assistant, President, Creative Director, Financial Director, Webmaster, Grad Assistant and UPB Coordinator.
In the case of the fall convocation center concert, the process begins with a list of touring artists compiled by a middle agent, Melissa Boyle Aronson of Babco Entertainment, LLC. From this list of comedians and bands, spanning different genres and price ranges, a survey is distributed to students and once results are returned, the artists who received the most votes are looked into more carefully. Price and availability are two of the biggest factors, though popularity is always top priority.
“We look closely at all the artists that got the best responses in the survey,” says Center Stage Committee director Patrick White. “We go down the list until we find the most popular artist who is available. We also make diversity of music genres a goal. For example, last semester we had hip-hop, this semester is rock, next may be something different.”
This semester was nearly something very different as other top acts considered included Taylor Swift, Wanda Sykes and Sarah Bareilles. However, different factors gradually eliminated each of the artists. Taylor Swift is touring with Rascal Flatts, which would cost over $100,000 to bring to the school. Sarah Bareilles’ tour schedule became totally booked and Wanda Sykes would have meant a compromise between a comedian and a concert.
“We would have had to decide between a Convo concert or a Convo comedian,” explained White. “We knew that the Convo concert is an experience that means so much to many students and our committee members, so we couldn’t bring Sykes to JMU.”
White also explained the complications of availability and price as a tricky factor to consider, “If an artist is touring through our region when we have a Convo date, their price is much cheaper than it would be otherwise and that’s an opportunity we like to grab when we can. For Boys Like girls, we chose a show that is sponsored by Verizon Wireless. One of the pros of choosing a sponsored show is that you get even more bang for your buck!”
The UPB has the benefit of the buck as it is the largest funded student organization at JMU. Half of the funds are dedicated to the Center Stage Committee, which uses the money to produce four concerts every year, including the fall show scheduled for Friday, September 26.
Reactions to the decision so far have been mixed.
“I think Boys Like Girls is too poppy for JMU,” said sophomore Rachel Williams. “I think someone like Badfish (a Sublime tribute band) would draw more of a crowd.”
For those who are disappointed in the choice, White suggests getting active. “Respond to the survey and spread the word! If the artist you want is not on the survey, we leave in write-in space for that. What many students don’t realize is that unfortunately many artists are not touring, not available or outside the budget of UPB.”
However, others who recall past UPB events are more optimistic. “I loved T-Payne,” said sophomore Kelley Brink. “I had so much fun at that concert so I think Boys Like Girls could be good, too.”
Regardless, the decision has been made and not without careful thought, consideration and discussion between UPB members. Whether a fan of Boys Like Girls or not, it is still important to consider and recognize the hard work and dedication of the UPB to consistently bring quality entertainment here to JMU. September 26 should be an exciting night.
School House Rock
Working at the Paul Green School of Rock Music was one of the greatest experiences of my life. While others complained about summer jobs waitressing and interning, I genuinely looked forward to every day I had the chance to step into the Chatham, New Jersey branch of the School of Rock Music.
The Paul Green School of Rock Music began in 1998 in Philadelphia when Green hatched the idea to develop young musicians’ talent and ambition in a concentrated direction. Since its start, the School of Rock has expanded to more than 40 locations nation-wide. The school’s unique approach to music education sets it apart from other music programs and schools because it not only integrates both individual and group instruction, but also provides students the opportunity to perform everything they learn several times a year at real venues with real audiences, playing real rock and roll.
The school welcomes students aged 7-18 and of all levels, beginners to advanced, on guitar, bass, vocals, drums and keyboards. It also offers students who are proficient on other instruments including violin, horns, and other percussion the opportunity to share their talent in a variety of shows. Students not only learn musical proficiency and technique, but the program also places them in an environment which allows them access to and the ability to learn about musical equipment, showmanship, discipline, how to work with others and an artistic outlet. Students are also given the chance to participate and perform in end-of-season shows where they perform some of the greatest rock and roll classics, providing them with the motivation necessary to over-come stage fright and build confidence.
The School operates with an open, rolling admission and 3 seasons a year: spring, summer and fall. At the end of each season, students perform their selected show, which include bands and styles ranging from Southern Rock and Hair Metal to Led Zeppelin, The Doors and Iron Maiden vs. Judas Priest. Students are exposed to all types of rock and roll music and given the unique opportunity to learn and perform it with friends at many well-known and respected venues across the nation. School of Rock students perform more than 500 concerts to more than 200,000 people every year and have appeared at The Knitting Factory, BB Kings, The Roxy and Lollapallooza.
The goal of the Paul Green School of Rock Music, is to help students realize what they are capable of and place them in a position not only to recognize that potential, but give them the opportunity to share, explore and develop their talent and foster a new generation of incredible musicians.
The school also takes an industry caught in a vice of greed and corruption and purifies it by bringing it back to the basics of rock and roll: freedom, rebellion from the standard and love for the music, not the money.
After working in radio during the summer of 2007, with a booking agency this summer and after hearing, reading and learning about the other sides of the industry through classes here at JMU, working at and for the School of Rock was the most refreshing experience of my life. Each of the employees was there for love of music and for the thrill it gave them to see children excel at their instruments and learn to perform and appreciate some of the most classic and quintessential songs in rock history. Television and music videos place importance on sensationalism, radio places it on the number of listeners and artist management relies on audience draw at venues only looking to make a profit. The industry is desperately concerned with revenue in a time where demand for music is greater than ever, but payment for it is reaching an all-time low. However, the School of Rock removes itself from the spiral of money over music by focusing on the cultivation of a new generation of young musicians who will learn to love Pink Floyd before the Jonas Brothers and Janis Joplin over Hannah Montana.
After working at the front-of-house all summer, I have heard an incredible number of parents say how jealous they are of their sons and daughters’ opportunity to learn that type of music in such an environment. Being a classically-trained violinist, I too can relate and admit I wish I could have grown up learning Clapton rather than Bach, though both are valuable in their own right. However, the comradary and mutual respect the children gain for each other by playing together, inspires me and makes me especially jealous. I never felt so close with my orchestral peers, and yet these 17 year-old guitarists embrace 8 year-old drummers and even enjoy performing beside them.
Personally, working at the school was a blessing. For the public, the success of the school could be a miracle. This growing network of talented and well-trained musicians is coming through the ranks and coming quickly. The very best students, The School of Rock All-Stars, have already toured with acts including The Butthole Surfers and Jon Anderson of Yes worldwide, setting a new standard for youth performers.
Ultimately, the greatest attribute of the school of rock is the outlet it gives young students to perform and very often, they amaze and astonish those who see them. The Paul Green School of Rock Music is saving rock and roll one kid at a time. So far, it is doing an incredible job.
The Paul Green School of Rock Music began in 1998 in Philadelphia when Green hatched the idea to develop young musicians’ talent and ambition in a concentrated direction. Since its start, the School of Rock has expanded to more than 40 locations nation-wide. The school’s unique approach to music education sets it apart from other music programs and schools because it not only integrates both individual and group instruction, but also provides students the opportunity to perform everything they learn several times a year at real venues with real audiences, playing real rock and roll.
The school welcomes students aged 7-18 and of all levels, beginners to advanced, on guitar, bass, vocals, drums and keyboards. It also offers students who are proficient on other instruments including violin, horns, and other percussion the opportunity to share their talent in a variety of shows. Students not only learn musical proficiency and technique, but the program also places them in an environment which allows them access to and the ability to learn about musical equipment, showmanship, discipline, how to work with others and an artistic outlet. Students are also given the chance to participate and perform in end-of-season shows where they perform some of the greatest rock and roll classics, providing them with the motivation necessary to over-come stage fright and build confidence.
The School operates with an open, rolling admission and 3 seasons a year: spring, summer and fall. At the end of each season, students perform their selected show, which include bands and styles ranging from Southern Rock and Hair Metal to Led Zeppelin, The Doors and Iron Maiden vs. Judas Priest. Students are exposed to all types of rock and roll music and given the unique opportunity to learn and perform it with friends at many well-known and respected venues across the nation. School of Rock students perform more than 500 concerts to more than 200,000 people every year and have appeared at The Knitting Factory, BB Kings, The Roxy and Lollapallooza.
The goal of the Paul Green School of Rock Music, is to help students realize what they are capable of and place them in a position not only to recognize that potential, but give them the opportunity to share, explore and develop their talent and foster a new generation of incredible musicians.
The school also takes an industry caught in a vice of greed and corruption and purifies it by bringing it back to the basics of rock and roll: freedom, rebellion from the standard and love for the music, not the money.
After working in radio during the summer of 2007, with a booking agency this summer and after hearing, reading and learning about the other sides of the industry through classes here at JMU, working at and for the School of Rock was the most refreshing experience of my life. Each of the employees was there for love of music and for the thrill it gave them to see children excel at their instruments and learn to perform and appreciate some of the most classic and quintessential songs in rock history. Television and music videos place importance on sensationalism, radio places it on the number of listeners and artist management relies on audience draw at venues only looking to make a profit. The industry is desperately concerned with revenue in a time where demand for music is greater than ever, but payment for it is reaching an all-time low. However, the School of Rock removes itself from the spiral of money over music by focusing on the cultivation of a new generation of young musicians who will learn to love Pink Floyd before the Jonas Brothers and Janis Joplin over Hannah Montana.
After working at the front-of-house all summer, I have heard an incredible number of parents say how jealous they are of their sons and daughters’ opportunity to learn that type of music in such an environment. Being a classically-trained violinist, I too can relate and admit I wish I could have grown up learning Clapton rather than Bach, though both are valuable in their own right. However, the comradary and mutual respect the children gain for each other by playing together, inspires me and makes me especially jealous. I never felt so close with my orchestral peers, and yet these 17 year-old guitarists embrace 8 year-old drummers and even enjoy performing beside them.
Personally, working at the school was a blessing. For the public, the success of the school could be a miracle. This growing network of talented and well-trained musicians is coming through the ranks and coming quickly. The very best students, The School of Rock All-Stars, have already toured with acts including The Butthole Surfers and Jon Anderson of Yes worldwide, setting a new standard for youth performers.
Ultimately, the greatest attribute of the school of rock is the outlet it gives young students to perform and very often, they amaze and astonish those who see them. The Paul Green School of Rock Music is saving rock and roll one kid at a time. So far, it is doing an incredible job.
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