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Secret Life- Jorge Farfan

Music was coming from the monitors as the curtains started to open slowly. Fans peaked through to get a glimpse of the blue lit stage. The crowd was ready to see the main attraction at Chicago’s House of Blues on a cold December night. Sister Hazel started to play and any thoughts of the frigid temperatures outside were quickly forgotten. It was a fantastic night for music.

Chicago was graced with two shows by the band from Gainesville, Florida, Sister Hazel. The group came out and performed some of their best songs such as “All For You” and “Change Your Mind.” They brought out so many songs with the intentions of entertaining the crowd and that is exactly what they did. Going along with the holiday season they played the Christmas rock song “Run, Run, Rudolph” which had everyone dancing. The Soggy Bottom Boys would have been proud to see the song “Man of Constant Sorrow” to be played so close to the original. It was a flawless performance and sounded just like the CD.

Front man Ken Block led the band with the upbeat guitar oriented songs, to the vocally driven a cappella sections of other ditties. His lead vocals were sweet sounds to the ears. Vocally the entire band blended well with each other within every song. Ken’s acoustic guitar work was done in a fast paced strumming style. His guitar was a clear representation of how hard he plays. He was well on his way to wearing a hole in the body as a lot of country and folk players had done in the past.

The bottom end was provided by Jett Beres. He played the same five string bass during the entire show through a bass rig that could move the Earth. Within the main floor, the rumbling could be felt within your feet. He had quick fingers that played the kickass bass lines and a tone that made everything he played sound warm. He also has a very wide range vocally. He brought the definition of three part harmony a new meaning.

Completing the rhythm section is Mark Trojanowski on drums. His timing was better than any clock and his versatility was displayed on everything he played. He was completely on fire during the entire show. He showed amazing dynamics and at times he was a great example of playing less is more. He wasn’t on stage being an animal like other drummers have done. He knew how and when to hit with the absolute correct amount of force. He is just a solid in the pocket drummer.

A great asset to the band is found in Andrew Copeland. This guy provides rhythm guitar, keyboards, vocals, and a solid foundation of music within this rock band. What more could you ask for in a musician? His part within the band is holding down the rhythms and melodies. Within his role, he helps to fill out the bands musical style and sound. He is a very talented musician and it shows within his performance.

Last but not least is Ryan Newell on lead guitar. During every concert, the man who has the spotlight is always the guitar player. Ryan deserved every bit of it as he shined through on what he played. His guitar work is in the same league with some of the great guitar Gods. He played some intricate and flashy guitar riffs that amazed a lot of people within the room, including musicians. When he picked up a slide and moved it across the strings it was just magical.

The best part of the show was when the band broke into the middle guitar jam of “Hotel California” by the Eagles. Newell hit all the tough guitar licks from this classic rock anthem as if Joe Walsh was there himself playing it for you. He was backed up on the double guitar solo parts by Ken Block.

The band did the same customary routine as all other acts do. They pretend they are done with their show and leave the stage knowing damn well that they are coming back out for another song or two. For their encore they came back out and performed the song “Champaign High.” The acoustically based song had left the fans with a smile on their face.

During the show there was a positive energy that flowed around the room. Good, happy music was being played and the audience welcomed the sounds with open arms. As the show went along, the fans felt that positive energy coming from the stage and sent the feelings back to the band with applause and cheers.

The show had ended and the fans left the building. They huddled together in the streets attempting to stay warm as they waited for their cars to be brought to them. Smiles were everywhere despite the frigid temperatures.

Sister Hazel was just an incredible band to see live. Their ability as musicians is unbelievable. The entire group was on the money within all of the songs they played. Five guys performed as if they were one unit captivating the ears and eyes of the patrons at the House of Blues in Chicago. One word describes the show that was done and that is perfection! It was a fantastic night for music.

It is my belief that nudity and simulated sex are not a part of the craft of theatre and film acting and should not be engaged in at any point in their career by actors and actresses who are sensitive enough and talented enough to be considered artists and craftspeople.

In the same way that drinking three shots of whiskey and then “acting” in a drunk scene is not acting, so is actually being nude or engaging in real “simulated” sex not acting.

In the same way that eye gouging is not allowed or a part of the skill and sport of playing professional basketball or football, so should nudity not be allowed in artistic acting projects that consider themselves to reflect the superior quality of the craft of theatre and film acting.

Why isn’t eye gouging allowed in professional sports? Well, obviously eye gouging has nothing to do with the skill or gifts required to perform in professional sports. The second and most obvious reason why eye gouging is not allowed in sports is because it causes permanent injury to the player. In fact, after just one or two good eye gouges the talented sportsperson will be lacking the required facility – eyesight- to perform in the sport ever again.

No one wants to admit that nudity in film and TV is dangerous to your health or your career but we all know it is. The only question to ask yourself when casting an actress in a role that requires nudity is-would I cast a friend in this part? The answer will almost always be no. Why? Because you know that this actress will be subjected to a process that is demeaning at best and psychologically crippling at worst. That the chances of appearing nude in a feature film or TV show like ‘ Entourage” could very easily be the worst career move of her life, causing future casting directors to look on this actress’ resume as belonging to a stripper/exotic dancer type or a permanent extra player.

I’m not going to run down a list of actresses whose careers have either gone into a tailspin after doing nudity in film or never resumed forward momentum in career status because I don’t want to do any further damage to artists who have essentially consented to being “molested” on camera. In fact with the advent of the internet these actresses are reminded every day that the few seconds of film in which they appeared nude are being downloaded as freeze frames ad infitum just like any porn star with no acting training, experience or gift at all.

If you read a few interviews at random with actresses of quality about their actual experience doing nude scenes you will see several common claims. That the experience of being nude on a film set with many strangers watching and filming was “upsetting, embarrassing” that they “cried in their trailers afterwards”, that they were “unable to feel confident as actors afterwards” or made it impossible to interact with the other players as professional equals, that they “regret doing the scenes” and “would not do it again.” And importantly, that it not only did not open the career doors that were promised by “taking the risk and baring all” but in fact destroyed the very faculties of extreme emotional and psychological sensitivity and openness that are part of parcel of the skill package required to perform in “top form” in the craft of theatre and film acting ever again. And this happens after just one experience - just as quickly and efficiently as one good eye gouge destroys the eyesight of a pro sports star.

Unfortunately for actresses in particular, providing the nudity that helps “sell” a feature film translates into a “Game Over” situation for that artist.

Does the amount of facial hair seen in a crowd, actually predict how hip a band’s set will be? Let me present you with some facts. On Tuesday November 23^rd at the House of Blues, over 50% of the men in the audience were bearded, preparing to have the excellent Wolf Parade melt their whiskers off. Meanwhile, at the Justin Bieber/Lady Gaga concert with openers Nickleback, not a single face was adorned with a man scarf. Is this coincidence? Is this even true? No. But that does not change the fact that Wolf Parade ruled Tuesday night, and made a lot of bearded gentlemen very happy.

Wolf Parade has always been a band flying just south of the radar for me. My buddy in Portland (a bearded bloke mind you) gave me their albums years ago, and I’ve listened to them casually ever since. They never struck me as mind-blowingly amazing or anything too different from other indie rockish bands like Modest Mouse or Arcade Fire. Then I saw them live at the House of Blues last Tuesday. Now, I’m not 100% sure I didn’t just appreciate them more, because I myself have grown my own beard. My facial follicles tend to absorb more good vibrations, whereas a clean-shaven face tends to just get marauded with whatever crappy music hits their cold cheeks. All I know is every perception I had about Wolf Parade went out the door about five minutes into their set.

But before we get to the meatiness that was Wolf Parade, let’s talk about the equally interesting opening bands. The first, Ogre You Asshole, is an all-Japanese band with decent influences from Fugazi and Talking Heads. They spoke barely a lick of English, but spoke the international language of rock, eloquently. Wintersleep, the second band, was however completely illiterate. The lead singer was channeling a weird combination of Michael Stipe’s vibrato, and Scott Stapp’s suckiness. When a band that doesn’t even speak English, with songs totally incoherent to an American audience, plays before you and wipes the floor with you, it’s time to take a long look in that rock n’ roll mirror. As Michael Kronenberg, a devote and loyal Wolf Parade fan said behind me, “I just got a drink so I could tolerate that awful band.” Couldn’t have said it better myself.

Wolf Parade owned. For sure. Not only did they play a nice mix of their new songs, from Expo 86, and their older albums, Apologies to the Queen Mary and At Mount Zoomer, they did it with gusto. A great amount of energy, humor, and personality that really brought the band, that previously just lived on my ipod between Ween and Wu-Tang, to vibrant life. Highlights were the insanely catchy song “What Did My Lover Say? (It Always Had To Go This Way)” and the fan favorite, “I’ll Believe in Anything.”

Unlike previous concerts where people talk the whole way through or, shout unnecessary obscenities throughout the show, the spotlight was truly on Wolf Parade. They commanded attention. If music is judged by how many heads can bob up and down together (bearded or not), this show kicked ass.

Wolf Parade has a unique talent that separates them from other bands of a similar nature. Sure, you can call them hipsterish, you can call them a jam band, but what separates them from these genres is the fact that, well they pull it off. Although every song could easily be taken to it’s hipiest extreme with an endless musical tangent, they can take all their complex sounds, build it over the duration of a song, and wrap it up, without it sounding like a chaotic mess.

A final highlight from the show, as if it needed one, was the encore as the Japanese bass player from Ogre you Asshole plays with Wolf Parade during the encore. Call me lame, but there was something beautiful about watching two talented musicians of totally different cultures, coming together to speak the same language of rock.

Wolf Parade has easily made it into my top concert of the year. The simply blew me away. When a band can change your perspective from one live show, they’re doing their job. Music should always be based on their live performances, not their overproduced studio sound, and this is where Wolf Parade excelled. They created an experience totally different from listening to them on your ear buds. Which is something everyone can appreciate, bearded or not.

If you like Wolf Parade I also strongly recommend checking out singer/keyboardist Spencer Krug’s other band Sunset Rubdown, and singer/guitarists band Handsome Furs.

The world is an amazing place - but also, sometimes, pretty lackluster. I had the opportunity to see Dredg at the House of Blues in Chicago last week, but this show was unlike any other show the band has played in Chicago. Since achieving a fair amount of success earlier in their career and being signed to a major record label (Interscope), the band was given little to no promotion and subsequently dropped from Interscope.

Several years ago, Circa Survive went on tour with Dredg as the opening act - but this time around, Dredg opened up for them. An interesting role reversal to say the least - after talking to quite a few people in the crowd, half of the people were huge fans of Dredg and the other half were only attending the concert to watch Circa Survive and had no idea who Dredg was.

The guys from Los Gatos, CA put on a great show - featuring material spanning their discography and introducing the crowd to a new song from their upcoming album. The sound at the House of Blues for Dredg was terrific, and rivaled any other group I've seen at the venue. It was great to see the fans of Circa Survive who had never heard of Dredg getting into their music and generally enjoying themselves. I wasn't originally sure if the genres of music the two bands play were particularly compatible, but I'm happy to have been proven wrong in this instance.

It's very infrequently that an opening band outshines the headliner, but this show belongs in that handful of discrepancies. I would encourage everyone to listen to Dredg, but above all else, you NEED to see a show. Having been a fan of live music since attending my first concert, Dredg is a band that exhudes more pure energy in their performances than any other I've seen. In my opinion Dredg is far overdue to become a household name like Incubus, The Red Hot Chili Peppers, etc and they have absolutely no business opening up for flavor-of-the-week bands like Circa Survive.. but hey, as long as Dredg is playing music I will go and see them - whatever the ticket may be.. and you should too.

http://www.dredg.com

It’s always a pleasure to see an act that is completely unique. Something they do is without a doubt nothing like any other group that you have ever seen. Their show, their gimmick, their music, takes you on a musical journey letting your mind roam freely. Within the band Strictly Jug Nuts, they have captured a live music show that is incredible, original, and leaves a warm feeling within you after they are done.

Strictly Jug Nuts came out to wow the crowd and show off their talent as they always do. Band leader Skip Landt hasn’t been playing banjo for a long time, but he has advanced well on his instrument of choice. For the kind of music being played it may not be the most technically difficult pieces, but to your ears it is magical. Landt helps lead this group of ten musicians into a masterful presentation every time they play.

The group covers some old songs such as “Summer-time” and “My Blue Heaven” that are done in their own style. They move along, chugging through music so effortlessly and always leaves a smile on the face of the onlookers from ear to ear. What an incredible act to see and they continue to amaze audiences.

In 2009, Strictly Jug Nuts was the winner of the Battle of the Jug bands competition. They beat out some great groups during their run for the head spot, but no one could’ve beaten them. The group is just that good. For the 2010 competition, they were invited back to lead off the competition with an unfortunate rule. The previous year’s winner can play as an exhibitionist, but they aren’t eligible to win. The group took the stage at the Irish American Heritage Center (4626 North Knox Avenue - Chicago, IL 60630) with their heads held high. All ten of them were proud to be back and they played as if they were going for the win. If they would’ve been able to qualify, they would’ve been in the running for the main spot again.

They played a few songs leaving your jaw on the floor. The song “Ragmama” was a great little number that had a nice feel to it. The song flowed as it was driven by the musicians. People tapped their feet to the sounds as the songs moved along. They also played three other wonderful numbers; “Richmond Woman Blues,” “You Shouldn’t Say That,” and “29 Ways.” It was a perfect selection of songs for this crowd that came out. Everyone was happy to see this group perform.

Five incredible bands entered the competition with the winner based on audience votes. Bands that entered the competition were: One More Thump, The Schticklers, The Hump Night Thumpers, The Slap & Tickle Band, and The Barehand Jugband. In the end, The Schticklers, claimed the top seat and Strictly Jug Nuts had to pass the torch on to a very deserving band of musicians.

In 2011, Strictly Jug Nuts will be back in the competition fired up and ready to go. As they practice their music and prepare for each and every show, they do so as if it is a competition. They pour their hearts and souls into the music; living their dreams of being a working musician. They are one of the most unique groups in the city of Chicago and really something to see. Strictly Jug Nuts is just awesome. Next years competition can’t come soon enough.

Musicians in the band Strictly Jug Nuts are:

Skip Landt – Banjo, Vocals

Chuck Krauser – Guitar, Vocals

David Kachelon – Harp, Vocals

Fran Landt – Jug, Kazoo, Vocals

Andy David – Guitar, Vocals

Ginny Morin – Spoons, Kazoo, Vocals

Richard Stowell – Mandolin, Vocals

Jacob Fishman – Washboard, Vocals

Petrie Fishman – Kitchenware, Vocals

Steve Brownstein – Electric Washtub Bass

When I told my boyfriend that I was going to be reviewing Powerman 5000 at the Cubby Bear, he thought I was joking. How can a Glee loving, pop music enthusiast possibly enjoy the hard rock of Powerman 5000? Simple; the music is the perfect blend of pulse racing, head pounding, pure rock. Their angry anthems rocked the walls of the Cubby Bear on November 17^th, and amidst the black-leather- wearing groupies were girls. Yes, girls listen to Powerman 5000. The music is not going to be found on a typical iPod mix of the North Shore girl, but Powerman does have a subconscious appeal that pulls in fans from all walks of life, even the Ugg wearing Wrigleyvillettes. Take “When Worlds Collide,” off their album “Tonight the Stars Revolt!” The song epitomizes the energy and the anger that Powerman 5000 injects into all of their songs:

What is it really that motivates you
The need to fly or this fear to stop
I'll go along for the ride but surprise
When we get there I say 9 of 10 drop
Now who's the light and who is the devil
You can't decide so I'll be your guide
And one by one they will be hand chosen
Now this is what it's like when worlds collide

Powerman embodies a sense of controlled chaos. It’s the kind of music that matches your anger and frustration after a tough day at work; the music that pumps you up before a big match. Sure it isn’t for everyone, but just give it a try after a long day and see if it doesn’t channel all of that negative energy out of you – because let’s be honest, some days yoga and meditation simply does not cut it.

In concert, Powerman 5000 is a little difficult to appreciate. While the Cubby Bear is a great bar, the acoustics aren’t that of a concert hall, so while the music permeates the room the lyrics end up falling just shy of screaming, leaving your ears ringing and wanting a soft ballad. Powerman 5000, at least for beginners, is best listened to in your car, the bass turned up.

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Looking like a combination of the 1980s Musclemen mini action figures, Rob Zombie comic books and Fangoria magazine, Gwar takes the stage with a no-holds-barred attitude. Having been around since before Rob Zombie,they’re everything one would expect. Playing metal music in their natural clothing and letting people wonder if any of them are the original members.




The time is October 26, 2010, and the place is House of Blues.  The lights dim and the green laser lights with fog are on and the zombies spewing blood creep onto the stage with Michael Jackson’s “Thriller” resounding. Aiming for fans and photographers alike, Gwar sprays blood everywhere. The fans who wore white to celebrate the event are now head-to-toe in red. Wanting blood like a vampire in *Blade*, the crowd receives their sustenance to live.



Flattus Maximus strums an opening chord and the crowd becomes rowdier than the at a Justin Bieber concert. The energy is ironically happy and positive. The fans of Gwar take their music seriously and you better not call it a joke. They’re an army of plenty and are willing to cast these people to outer space if they choose to insult their form of entertainment.



Gwar brings the essence of a true experience to the stage. They play metal music and bring more props than a sex toy salesperson; and unlike that salesperson, Gwar actually uses their props in person. They include fake genitals, dead pig fetuses and robots with buzz-saw arms that rip apart evil aliens and creatures.



Gwar has continued to set the bar for metal bands from other planets and Earth. They never apologize and they never back down from what they do best: performing a top quality show that could make anyone enjoy the art of Metal.

Hell in a Handbag Productions knows how to celebrate the Halloween season…with, uh… Rip Nelson? Absolutely! You read correctly. In their newest production “Rip Nelson’s Spooktacular”, written and directed by David Cerda, the audience is taken back to 1976 where actor/comedian Rip “Wooga Wooga” Nelson hosts a Halloween special featuring a guest list that includes Joan Crawford, Shelly Duvall, Brooke Shields, Bob Dylan, Phyllis Diller, Donny Osmond and many more. With no shortage of boozing, one-liners, temperamental guest stars and super-seventies pizzazz, Rip Nelson’s Spooktacular takes the audience on one hell of a hilarious ride.  

Currently running at Mary’s Attic (5400 N. Clark) Fridays and Saturdays through November 6^th, Rip Nelson’s Spooktacular is possibly one of the funniest shows around. Ed Jones is masterful as host Rip Nelson, capturing every quirky nuance of the character and successfully projecting it in his own distinctive and comical way. The cast is exceptionally strong as each personality is played brilliantly and hardly a moment goes by where laughter is not heard by the audience.

For those of you that have seen other Hell in a Handbag productions such as “Lady X” or “Poseidon! An Upside Down Musical”, you’ll be sure to familiarize with their unique and witty blend of humor. For those of you that have never experienced any of the company’s past shows, wait no longer. You will be in for a night of riotous laughter from beginning to show’s end.  

Open Your Handbag! Please!!!

The Rip Nelson Hell-In-A-Handbag Celebrity Telethon Benefit

WHERE: Mary’s Attic, 5400 N. Clark Ave., Chicago, IL

WHEN: Sunday, Nov. 7, 6pm—9pm

WHAT: Open Bar, Buffet, Entertainment, Entertainment, Entertainment, Celebrities, Special Guests, Raffles and Live Auction

COST: $50

Purchase tickets online at http://www.brownpapertickets.com/event/133536 or call 1-800-838-3006

For additional information or questions, call the Handbag hotline @ 312-409-4357

Chicago, IL – Hell in a Handbag Productions presents Open Your Handbag! The Rip Nelson Hell in a Handbag Celebrity Telethon Benefit…a benefit that Handbag fans have come to expect…uproarious FUN!

Join Rip Nelson, the star of our current production The Rip Nelson Halloween Spooktacular, as he presents a star studded variety telethon to help raise money for Chicago’s #1 camp and parody theater company, Hell in a Handbag Productions! Rip and his guests, Bob Dylan, Joan Crawford, Shelly Duvall, Lucille Ball, Charo, Chicago diva Lynne Jordan as Nell Carter and many more* will sing and dance their way into your heart and hopefully your Handbag!  

Guests will enjoy an open bar, which includes Mary’s well cocktails, domestic bottles and Miller Lite draft along with yummy delicacies from Hamburger Mary’s kitchens!

The event will also include a raffle, photos with your favorite Hell in a Handbag celebrities and an exciting live auction where you can bid on a chance to meet the REAL Patty Duke at a Chicago screening of Valley of the Dolls, or meet the REAL John Waters and see his one man show. We’ll also be auctioning off a walk on part in Rudolph the Red Hosed Reindeer 2010, spa treatments and an assortment of fantastic items and packages just in time for the holidays.

Join the entire glamorous Hell in a Handbag ensemble and special guests for a camp-tac-ular evening at the beautiful and spacious restaurant/nightclub, Mary’s Attic for Open Your Handbag! The Rip Nelson Hell in a Handbag Celebrity Telethon. Help us keep Chicago FABULOUS !

Hell in a Handbag Mission Statement

HIAH is dedicated to the preservation, exploration, and celebration of works ingrained in the realm of popular culture via theatrical productions through parody, music, and homage.

Handbag is a 501(c)(3) Not for Profit entity.

*At least that’s who they told us they were….