Items filtered by date: November 2007

Did you know innocent people were "forcibly tattooed... for the identification system of them in Nazi concentration camps during the Holocaust?" So, "In modern times the association of tattoos with Nazi concentration camps and the Holocaust" has caused some Jewish people to be against the practice of tattooing of any kind (http://en.wikipedia.org 2010.)

The more folks expose themselves to truths about different cultures and religions than their own, and can understand where they are coming from, the better the chances of peace and harmony in a world of too many minds misunderstood and divided.

"The Invasion of Skokie" is a play partially intended to be a comedy about a Jewish family during the 1970s. Whopping whacked-in-the-head-Nazis may have said or say laughing gas should have been filled into the theatre since not all the punch lines spit out by the characters were laughed at by the audience of mostly middle-aged-men and ladies.

However, in all fairness the production had such non-comical heavy-weight themes with one being about the Holocaust, which is not to be taken shallowly due to its extreme emotional costs on Jewish human beings. The "Invasion of Skokie's" main character, Morry, played by Mick Weber, executed quite well how the Jewish have been hit by the evil blows of the Nazis, and how it can, understandably, still be painful for them to think of the unjustifiable torturous acts and killings of grandparents, moms, dads, sons, daughters, siblings...

To elaborate, the play was set during the time the Nazis of Illinois, in real life, beat the Village of Skokie in the U.S Supreme Court when they had fought to march in the town to throw their political existence in the face of victims and survivors of the Holocaust (which comprised of 40 percent of the residents there!) As one could imagine, some Jewish people around while the fight had taken place had said "This isn't just a free speech matter. This is an assault on a community," what a nightmare (Petlicki M. Chicago Dramatists marches into 'Invasion of Skokie' Pioneer Local. 2010 Aug 26.) Since Chicago Dramatists Network Playwright of "The Invasion of Skokie," Steven Peterson, had his deceased father and a lot of his friends as victims of the march it was something he wanted to share (Petlicki M. Chicago Dramatists marches into 'Invasion of Skokie' Pioneer Local. 2010 Aug 26.)

An additional theme of "The Invasion of Skokie" is about a Jewish couple (Morry and Sylvia ) struggling to keep their daughter (Debbie) from marrying a man (Charlie) from another faith, even though he has been tight with the family ever since he was a young child. But, Sylva's and the family's close friend (Uncle Howie's) reactions toward the Nazi's march and the possible walking of a gentile into their unit, compared to Morry's, was mild. That is, Morry firmly believes in using violence against the Nazis who are to invade Skokie, whereas, Sylvia, Debbie and Charlie are adamantly opposed to resorting to measures that dangerous, radical and wild.

The Director, Richard Perez, as well as all of the characters played by Mick Weber (Morry Kaplan), Cindy Gold (Sylvia Kaplan), Tracey Kaplan (Debbie Kaplan), Michael Joseph Mitchell (Howie Green) and Bradford R. Lund (Charlie Lindal) have respectable credentials, and the acting seemed convincing thru and thru, especially Mick Weber's, while Steven Peterson's writing was not to my liking until 10 minutes or so into the production.

To close the curtain on the review, I will lastly say there is a tremendous throw-you-off-your-rocker part in the play which combined with its other themes, I did not mention, have the depth and importance for you to excitingly argue back and forth with someone about them.

"The Invasion of Skokie" (a finalist in the Dorothy Silver Playwriting Competition) plays at the Chicago Dramatists, 1105 W.Chicago Ave. Chicago, IL. 8 p.m. Thursdays-Saturdays, 3 p.m. Sundays, September 15th-October 10th. $32 Tickets; www.chicagodramatists.org; (312) 633-0630.

Above photo:

(L-R) Bradford Lund, Mick Weber, and Michael Joseph Mitchell star in Steven Peterson's world premiere production of The Invasion of Skokie, at Chicago Dramatists, 1105 W. Chicago Ave., running 09/2-10/10/10, Thursdays through Saturdays at 8 PM and Sundays at 3 PM. Photo by Jeff Pines.

From the brilliantly wacky minds of David and Amy Sedaris comes The Book of Liz, the heartwarming and hilarious tale of one Sister Elizabeth Dunderstock of the Squeamish cult -- er, religious community. Liz's delicious cheeseballs (both traditional and smoky) are wildly popular and sustain the existence of the quaint and pious Clusterhaven. However, Liz grows to feel unappreciated among her Squeamish brethern and makes the bold decision to try her luck in the outside world. On her journey, she makes plenty of friends, including Cockney-speaking Ukrainian immigrants (from Ukrainia), who find her a job waiting tables at Plymouth Crock, a family restaurant run entirely by recovering alcoholics. Everyone loves her and things are going great for Liz, until she's offered a promotion to manager on the condition that Liz fix her excessive sweating problem. Of course Liz wants the job, but should that mean compromising who she is? Meanwhile in Clusterhaven, the Squeamish can't seem to duplicate Liz's cheeseball recipe, and the community is suffering as a result. What is Liz's secret cheeseball ingredient? Will Liz stay and take her chances in the real world, or will she reclaim her place in the Squeamish community? Find out for yourself at Chemically Imbalanced Comedy on Friday and Saturday nights, where The Book of Liz will be playing until December 18th.

Much of this comedy calls to mind the short-lived Comedy Central show Strangers with Candy, which starred Amy Sedaris. Ridiculous situations and silly -- but oftentimes very much adult -- humor are characteristics of both and will be sure to have you in stitches. A talented and enthusiastic cast (each who play multiple characters throughout the show) bring the Sedaris' hysteriical words to life, both the subtle comedy ("You really think I'll make an okay waitress?" "Liz, I KNOW you'll make an okay waitress!") and the not-so-subtle ("You're gonna want to take the outer road to Route 420--" "Hehehe, 420." "Hehe, yeah it's funny.") And, despite the cheeseballs, don't expect anything cheesy here; what you get is the original, outrageous comedy of America's most hilarious sibling duo.

Grass Widow, the surf-punk trio from San Francisco, has rapidly been making their mark on the music scene with their distinctive sound that can be heard on their latest release, Past Time on Kill Rock Stars records. Made up of three talented women, Hannah Lew, Lillian Maring and Raven Mahon, the band shares the spotlight equally distributing lead vocals, harmonies, songwriting duties and even interview face time. The band is an amalgamation of garage, post-punk and upbeat surf rock complimented by flowing vocals and a positive, fun attitude.

Make a note to catch this up and coming band. Grass Widow will be playing two shows in Chicago on September 23^rd at The University of Chicago (daytime show, 4:45pm) and at Crown Liquors at 9pm.

Buzz - How has the Past Time tour been going so far?

Raven - We're beginning the tour with a record release show in San Francisco, which we're really proud of. We took a lot of time designing an event that could incorporate music and film and include a lot of people in our community. We put together a choir of 30 ladies of all ages to sing on a few of the songs and have a string section that will play the parts recorded on the album. We’ve had the opportunity to make some music videos and employ the talents of our friends, so we'll be showing those at the beginning of the night. Oddball films, a 16mm film archive in SF is putting together some shorts to project between the sets.

Buzz - Being a three-piece all girl band, what is the band chemistry like on and off the stage?

Raven - Regardless of gender, bands contain special kinds of relationships; it's beyond just being friends or even a family. In this case, we have a very egalitarian philosophy of collaboration, especially in the process of songwriting, which includes a lot of time spent on discussing the content and subject matter of the lyrics. We've come to learn a lot about each other through this process. We also sort of feel like business-partners, which isn't exactly fun, but educating ourselves about the fine print of the music industry and doing as much as we can ourselves, is really important. It’s nice to work with people like the folks at Kill Rock Stars, who have politics we agree with and a work ethic we share. Aside from that, we're really good friends, we respect and trust each other.

Hannah - It can be challenging getting along with any three people when you are all together 24/7, but I think I have the best two people possible to share this experience with. Musically, we get the most out of each other and I feel like I express myself to the most of my ability without hesitation. Sometimes writing with complete equality can be difficult or take a long time because we are really taking all angles into account, but in the end we have songs that we all feel equally invested in and it is worth all the critical thinking.

Buzz - What is it that you like most about being on the road?

Hannah - We have a really great community here in SF and my family lives here too, so sometimes it feels silly to ever leave, but it's always good to challenge ourselves and interact with people in different places.

Lillian - It's exciting to share what we make with people outside of our local sphere of friends and musicians. Especially visiting places where it isn't the norm for bands to be socially or politically innovative, or to be women. It reconnects us to the intention of our project in a unique way.

Buzz - Is there anything you hate about touring?

Raven - It's hard to be away from family and friends. I really love my work, too, and I often wish I could clone myself.

Hannah - I don't like being away from San Francisco for more than a week, but I'm glad to have this project to keep me traveling out there in the world, or I might just stay in SF and be a homebody. I get a lot of care and support from my boyfriend, Andrew, and I miss him a lot when we're gone. Every time we get home from tour, I'm always glad to be coming home to San Francisco.

Buzz - Tell me about your new record, Past Time.

Hannah - This album is really a chronicle of a year that had many challenges for us. Each song is sort of another attempt at trying to formulate some kind of narration amidst the grief. In the end I feel like we were able to synthesize these difficult feelings and create something outside of our grief. In dealing with grief, you can never really land on anything and I think this album has that feeling. There is no easy pop song to rest on because we never got to rest that year. 

Buzz - How did you enjoy the process of making the new record?

Raven - It was really fun to make the record. We recorded it in two sessions at our friend Alex Yusimov's studio in Portland, and both times were essentially holed up in a basement for 2 weeks straight, but we took long breaks to make food and mess around and see bad movies to wipe the slate clean before we'd head back down. Alex's studio, The Pool, it's called, is strictly analogue, so it was pretty involved. At times all 4 of us had our hands on the board, adjusting levels simultaneously.

Hannah - We love recording at The Pool. We basically just moved into Alex's house both times and just lost our minds working so hard. It's easy to get into the zone there. Alex knows everyone in Portland, so if we need a sitar guitar or a string trio or anything weird he can figure that stuff out.

Lillian - Like Hannah said before, it was an unrestful year when we were writing those songs, but when we went up to Portland to record them we'd have a little departure from the regular. It was a welcome break to be able to focus on the music without distraction of our personal lives.

Buzz - What is the main message Grass Widow would like to send to their fans?

Raven - That music can be cathartic and therapeutic if it's honest and can be invaluable, in that sense, for both the musicians and the listeners. Everyone who has the slightest inclination should start a band and support local music scenes (especially low-cost, all ages venues).

Hannah - Don't be afraid to do your own thing. Be yourself and play music with people you love. Recently we played a show in China and I thought a lot about how we have the luxury of being able to do things ourselves here in the states, which is very empowering. I would say- go past what you think is possible and make your own rules because you can! 

Buzz - If you could choose, what other artist(s) would Grass Widow like to collaborate with, if ever?

Raven - It would be fun to do a film score.

Hannah - It's been really fun rehearsing with the choir and string trio for our record release show and I'd like to collaborate with them more.

Buzz - What was it like coming up in the San Francisco music scene?

Raven - I love San Francisco. I feel like it has influenced - in overt and more discreet ways - a lot of aspects of the music we make and the way we exist as a band. Although all-ages venues have had a tough time here, there has always been a supportive and active underground music scene that doesn't rely on myspace or the Internet to exist.

Hannah - Yeah, we are so lucky to live here. There's no formula or dominant style that any bands are trying to emulate here-just a lot of really good bands that support each other a lot. We have a pretty good thing going on right now. I grew up here and have watched the city go through many phases and have felt my place change a lot through all of those eras, but this one is the best. We have a lot of love here.

Lillian - I started playing music in Olympia, Washington and there's a homegrown vibe to the scene there. This may have changed in the last few years but the shows I went to then were always in houses, rarely a legit venue or bar. It was all very intimate. After moving to San Francisco I learned how that kind of community survives in a city. A sense of kinship is important to us; it makes every show worth playing. I feel fortunate to have found that here.

Buzz - What songs on your new release mean the most to you and what about them grab you?

Hannah - Each song on this album is important to us and was a product of a very strong feeling.

Lillian - The album defines a search for meaning in a seemingly endless tunnel of chaos. Each song is a step toward wholeness. 'Give Me Shapes' stands out to me because it describes a process of creating structure where none exists, and that was a prominent theme for us during that time.                   

The “Hottest Show on Earth” returned to the Chicago area last weekend at the First Midwest Bank Amphitheatre in Tinley Park, with KISS reminding everyone what made them the rock gods that they are. Though the band received strong support from The Envy and The Academy Is, they didn’t need it. Despite the fact that KISS has been rocking the world for over 37 years, Paul Stanley (a.k.a. “The Lover”) and Gene Simmons (a.k.a. “The Demon”) still carried out the showmanship that made them one of the most famous acts in rock and roll history. With newer members Tommy Thayer and Eric Singer taking on the identities of “The Spaceman” and “The Cat”, this full-on rock show gave fans the chance to experience KISS as though they were still in their height of popularity – in fact this show may have been bigger.

From the opening number, “Modern Day Delilah” off their latest release Sonic Boom, when Simmons, Stanley and Thayer were airlifted over the towering drum set and placed at the front of the stage, it seemed as though the band incorporated something in each song that made the crowd think, “Holy Shit”. Whether a flurry of explosions, giant bursts of fire, or segments of the stage rising to propel a band member, nearly each song was a spectacle in its own unusual way. But not to be overshadowed by the incredible stage effects, was, of course, the music. In a set that lasted two hours and ten minutes, KISS included such songs as “Detroit Rock City”, “Love Gun”, “Calling Dr. Love”, “Firehouse”, “Black Diamond” and “Say Yeah”, also from their latest album.

KISS pulled out all the stops. Tommy Thayer shot fireworks from his guitar ala Ace Frehley and Gene Simmons breathed fire. Not long after, blood oozed from Simmons’ mouth during a haunting bass piece just before he was carried over 50 feet high, above the stage lights, to perform “I Love it Loud”.

The band went on with a six-song encore that kicked off with Eric Singer taking on former drummer Peter Criss’ ballad, “Beth”. While Singer stood center stage to sing, the other three members huddled to his right, quietly jamming in the background. KISS followed up with a couple more big hits before “I Was Made for Loving You” in which Paul Stanley glided across the audience on a cable and landed on a small platform with a microphone in order to perform to the people toward the rear of the arena. When Stanley returned to the stage, the band broke into “God Gave Rock ‘n’ Roll to You” as images from vintage KISS were displayed onto the jumbo projection screens. Finally, white confetti shot out from the stage, transforming the arena into a mega snow globe for the duration of the show, as the band jammed out to “Rock and Roll All Night” amidst thunderous explosions and high-flying stage theatrics – including an ascending drum riser.

KISS’ live show is not just a concert; it’s an experience – an experience that should be had by all rock and roll fans. Should KISS return anytime soon, make a point to catch this amazing show.      

Prior to the start of the show, the audience searches for open seating in the crowded small stadium sized venue surrounding the center stage at Profiles Theatre. “Fifteen” by Taylor Swift is one of the carefully chosen teen-pop songs playing in the background while the crowd gets comfortable. A perfect precursor for Deidre O’Connor’s Jailbait that begins in Claire’s bedroom, quintessentially designed for a modern girl her age, fifteen. A Taylor Swift poster hangs on the wall behind her bed indicating she is far from the days when Barney was her idol.  Her stuffed animal's arm peaks out from underneath a pillow that she hurriedly hid to cover any evidence of her immaturity from her sleepover friend, Emmy. Where Emmy intends to “sleep-over” is yet to be reveled.

Emmy, the popular, experienced, and boy-crazed boy-magnet, is the orchestrator of tonight’s events where her intentions are anything but innocent. Emmy’s much older 30-something friend Mark, who she met the week before at a 21 and over club, have a set-up prepared that was unbeknownst to both Claire and Robert, Mark’s 30 something friend, prior to the club. Regardless, Claire and Robert, the most unlikely of matches both timid and out of their element, meet.

Fast forward to the aftermath. “It’s a pick-up. It’s a dirty drunken night of fucking, followed by no phone call. No contact. No relationship. Nothing”, retorts Robert after Claire’s naive and innocent explanation of the night. Even after the 3:00am cab ride back home to fake-sleeping Emmy who drank a little too much at the club, Claire wears Robert’s sweater like a badge of honor. A right of passage both girls recount on Claire’s brightly colored flower print bed together. “It’s just sex”, Emmy rationalizes, “We all have to do it eventually”.

Another familiar story of today’s neglected youth, with a dash of daddy issues and a dab of too young for adult relations they’re having in the bedroom. A story that, though disturbing and sad, wasn’t the story line that stood out. It is our battle to stay in or get to the ‘in between’ that was riveting.

Eric Burgher, who plays Robert, and Shane Kenyon, who plays Mark, do a fantastic job of portraying the aging man’s quest to stay young enough. Though Mark is the womanizing asshole of the two, he knows what he wants: sex, 20-something girls, and good-times. Robert, the seemingly more mature and future focused one, is, in truth, the most lost and unsure. Both carry baggage of past relationships where fairy-tale endings with 2 kids a dog and a white picket fence were once realistic and welcomed goals. Perhaps it is the bitterness of reality for Mark and the fear of next steps for Robert that drove them to the club that night. But it is the memory of those past relationship mistakes that they wish to erase and the desire to start again at 20-something that blinds them of truths and pairs them with the two innocent and naive 15 year old girls.

O’Connor wrote a script that intertwines characters and connects the struggles that we face both at 15 and at 30: the desire to be wanted, to be cool and more experienced, and most importantly, to believe we can start again with someone new.  An emotional and gripping performance of one devastating example of what can happen when we try to be someone we aren't anymore or aren't ready to be just yet.

Jailbait continues through Oct. 17 at Profiles Theatre, 4147 N. Broadway. For ticket information, click here

Walking into the tiny EP Theatre on South Halsted I was not expecting, nor could I have hoped to see as much as the mad and macabre as I was to see on September 1^st. I was about to witness The Texas Chainsaw Musical. With no AC and dozens of way cooler college kids and hipsters surrounding me, I prepared for what would be, if anything, something to talk about at the water cooler tomorrow.

As someone unfamiliar to musicals and independent theatre, I must say I was pleasantly surprised with my first real experience. Part of the Chicago Fringe Festival, TCM was far from the performances, I’d seen in my small college town, where costumes were ill-fitting, awkward dialogue was in every scene, and an art show headiness flew right over my head. The cast and crew of Texas Chainsaw Musical created a welcomed surprise; full of tension, humor, and the amazing ability to make the audience feels compassion for one of the most notorious serial killers of all time.

The show kicked off with the same tense, John Larroquette narrated monologue as the 1974 original. The tension soon breaks into a rollicking musical number about how hot it is in Texas. Rather appropriate given the small, AC-less EP theatre.

As the story continues we meet an eclectic cast of characters about to meet their demise. Most notably Amanda Hardesty as Sally, Adam Rosowicz as her wheel chair bound brother Franklin, and Guy Schingoethe as the chainsaw wielding Leatherface himself. The cast as a whole does a great job of creating believable tension when needed and delivering perfectly timed comic relief right when the audience needs it.

As the musical progresses, and more and more hot, young teens meet their inevitable fate; Leatherface puts down his chainsaw and shows his compassionate side. He croons the audience in a Phantom of The Operaesque way, making us feel incredibly sorry for the monster that just hung a busty teen on a meat hook.

The play ends in a finale that has to be seen to believe. Imagine the whole creepy Hewitt clan, rocking out in a live band all while torturing and attempting to murder the still screaming “final girl” Sally. With Grandpa on the drums, the Hitchhiker shredding guitar, Dad/The Cook plucking bass, and ol’ Leatherface himself playing ‘lectric keys, it’s unlike any jam band you’ve ever seen. I will never be able to watch the infamous Grandpa hammer scene from the 1974 movie without thinking of a thunderous drum solo. Thanks.

Overall TCM was a great way to kick-start a very early Halloween celebration. With many standout moments, including Franklin’s goopy gushing kill scene, Sally’s never ending screaming, Franklin’s hilarious and heartfelt, “I Wish I wasn’t in a wheelchair number,” and a finale that was truly epic. I won’t spoil it, but the way the Hitchhiker meets his demise, may be the funniest part of the entire production.

Hopefully The Texas Chainsaw Musical finds another venue and audience closer to Halloween. It’s a show that has just the right amount of scares and humor to enjoy during those harvest weeks. But until then I highly recommend finding more shows out there like this. It’s a welcomed surprise to the non-stop crappy remakes and handi-cam horror flicks that flood the Cineplex’s in October. Plus it’s not every day you get sprayed with chainsaw goo.

www.chicagofringe.com

http://www.nmtchicago.org/

For those who are not yet familiar with Katie Todd, you’re really missing out a very creative and intelligent songwriter, not to mention a highly entertaining and live show. Catchy songs, thoughtful lyrics and unique vocals coupled with an amazing band are the keys to success for any act and Katie Todd has them all. Over the weekend, fans were able to catch the band at the third annual Chickago Social in Andersonville, along with a handful of other performers including Sean Wiggins, Reyna Larson and international DJ, Lisa Pittman. The Pride event attracted Katie Todd loyals, the curious, music lovers in the gay community and anyone else in search of good musical performances.

Alone, Katie Todd quietly took the stage to open the show, headed to her keyboard and went into “This Time”, the full band joining her at just the right moment as the song began to hit its stride and take off. As the set continued, trumpet player, Steve Wright, an integral component to the overall Katie Todd sound, was able to showcase his skills, complimenting each song with just the right touch of horned flair, as well as delivering flowing backing vocals. Katie Todd’s cutesy but powerful vocals gracefully streamed over the band’s melodic instrumentation from each song to the next, perhaps most notably on favorites “Leave” and “Love Love Love You”.

Guitarist Ted Kezios is another reason the band gels so well. Ranging from subtle picking to aggressive rhythms, Kezios also displayed his signature sound in a handful of solos that had the crowd buzzing, especially in the band’s very original version of The Doors’ “People are Strange” where he flat out sizzled.

Despite playing with a relatively new rhythm section, Katie Todd pulled off a fantastic show without any hitches, leaving the crowd with yet another memorable performance that will certainly add to her large contingent of followers. For more information on Katie Todd’s music and upcoming shows, visit www.katietodd.com.  

Legendary musicians come around once in a blue moon, bringing joy to their fans, giving them a new deity to worship. Some of these musical artists have actually been thought of in God like status. We put them on pedestals, raising them up high, and will imitate them as we sing to our favorite songs that have been handed down by our idols. We dance around the room in the same choreography as we try to escape reality if only for three and a half minutes. Ian Anderson is no exception. He has been classified as a genius for his great musical achievements and left his mark in musical history.

The man, the myth, and the legend of Ian Anderson has been holding the reigns of the band Jethro Tull since 1968. Every bit of the way he has been pushing the instrumentalists hard, driving them into some unbelievable acrobats of musical performance. Along the way he perfected a certain style of playing the flute that was developed originally by Roland Kirk. Sort of a way of playing, singing, and humming into the mouthpiece at times to create a unique sound that can be soothing. Ian took it one step further, all while he standing on one leg. As time moved on, he has become a hell of a showman and developed into a tremendous flautist and musician.

Since the beginning of Jethro Tull there have been a lot of members in the band, really a lot more than other bands that have been around as long as this one has. There are misconceptions that that Ian Anderson is really hard to get along with, but that is just not the case. There have been a lot of factors as to why musicians didn’t stick around. Certain past members wanted to move in a different direction musically and left for all sorts of other reasons. Ian explains, “Where I was on pretty good terms with everyone, the other members may not have gotten along well with other members in the band. There were no major conflicts or anything like that.” Explaining further with a bit of a chuckle, “If you got all the ex-members of Jethro Tull together, no one is going to die.”

Certain members of the 1970’s lineup will probably be missed the most by the fans and Ian Anderson. Jeffrey Hammond has been a lifelong friend of Ian’s. When Hammond joined the band, he made it clear that he would only stay long enough to make enough money to pursue his passion of being a painter and artist. John Evans and Barrie Barlow both left to pursue other ventures and also will be missed by their fans and friends. Some of the past members from that time were given opportunities to rejoin their former band mates, but it never panned out.

Next to Ian’s side for most of the journey has been the guitar sensation of Martin Barre. Ian was asked if he would ever tour under the name of Jethro Tull without Martin. He replied, “Playing a show without him is not something we would normally do. Had to do it a couple of times.” Ian explained that recently Martin was opening a bottle of wine and gashed his finger on one hand. He played a show with some considerable amount of pain. During the concert his stitches began to open up and caused him to bleed quite a bit. Ian’s guitar player from his solo project, Florian Opahle, caught a flight and filled in a few shows for the injured Barre. Martin recovered and returned to his spot missing only a few shows. Although Florian is an incredible guitarist, the stage left spot is missing a familiar face when Martin is not there. It just isn’t the same for the fans or for Ian not to have this mighty guitarist ripping away on the guitar du jour. Jethro Tull without Martin? It should never happen other than in these extreme situations.

Over the years there have been all sorts of talks about a feud between Ian Anderson and Robert Plant from Led Zeppelin. When asked if they ever buried the hatchet, Ian clears up this nonsense that there “Never really was a hatchet.” A reporter made a bigger deal over something Ian had commented on in the early days, that with his lyrics and the music of Led Zeppelin it would make a really good rock band. The media ran with it and it turned into a large scaled war between the two bands in the newspapers. None of which was true other than the original comment. Ian really didn’t realize at the time that he had actually in a way insulted Robert Plant’s lyric writing, which was not intentional in any way.

Before Plant had joined Led Zeppelin, he actually sat in with Jethro Tull in the early days at a show. He came out and performed with the band for a song or two in the front man position, giving the young Plant a little bit of a chance to show off his skills. Ian left the stage and let Plant perform. “I was quite jealous of his skills,” Ian humbly admits. “He is a great performer and a great guy.”

During an early tour, Tull and Zeppelin toured together, with Tull as the supporting act. Ian proclaims that he was quite impressed with Led Zeppelin and that they were “Just amazing. Best rock and roll band in the world.” All of Tull seemed to get along well with everyone in the Zeppelin camp. Ian shared, that Jimmy Page was one of the first guys to have a Polaroid camera. He would take pictures and then show off what he had done the night before.

Anderson holds that he was a bit more reserved than that. “I was a bit of a loner and wasn’t into the sex, drugs, and rock n roll. I’ve never felt obliged to be pushed into it. Wasn’t a difficult decision. Wasn’t into unbridled sex. Not something I enjoyed. Saw people around doing drugs and suffering from it. Listened to Charlie Parker and knew his lifestyle killed him. I never could be convinced that recreational drugs are ok. Some people have addictive behavior. Always feared I was one of those people.” Ian spent some time drinking beer. He smoked cigarettes for about 30 years and finally stopped. He really never would have been able to last for over forty years if he had been involved in the drug scene that went on within the hippie culture of the Sixties.

Tony Iommi briefly was one of the few guitarists Tull got with after Mick Abrahams had left. Tony played as an opening act for Tull with the musicians that eventually became Black Sabbath. Ian went to Tony and said let’s get together, run through a few songs with no strings attached. Tull’s music didn’t suit Iommi’s playing style. When Tony lost his fingertips he had to create a playing style all his own. He tailored his playing to his disability which just really didn’t quite work for Jethro Tull.

Tony did sit in on the performance for the Rolling Stones Rock and Roll Circus where he played air guitar for Tull. They didn’t have the instruments plugged in for the show. All the musicians were just miming their parts. Ian sang over a backing track while the rest of the guys acted like they were playing. It was how things were done for some performances back then. Iommi was really quite ashamed of the fact that he wasn’t really playing. He had his hair pulled down in front of his face so you couldn’t see him.

Jethro Tull has played a few thousand concerts with a number of acts. They were an opening act, the headlining act, and every act in between. Some of their supporting acts they really liked and went on to be a big success such as; Yes, Mountain, Whitesnake, and the Eagles. Others bands just dropped by the wayside and were never heard from again. Tull also shared the stage with Hendrix during a few concerts leading up to The Isle of Wight. Ian recalls that Jimi “was overcome with issues he couldn’t control. He wasn’t able to tune his guitar. The audience was so noisy he couldn’t hear above the crowd and he wasn’t enjoying it.” Ian also mentioned “wished I would have played with Zappa. Never had a chance to meet him and then he was gone.”

Over the years Tull has played shows in places that just didn’t turn out to their liking. They were the first band to play at Shea Stadium after the Beatles and “it was just a terrible gig. Horrible place to play with the planes flying over, cueing up to land at LaGuardia.” They had a lot of the same issues that the Beatles had. Just a horrible sound system and couldn’t hear themselves or anything that they played.

More recently shows had come about where they also had shows they didn't enjoy. They played in Schpandau, Berlin in Germany at a place where a lot of bad things happened years ago. It was one of those places that you could feel the bad vibes of every horrible thing that has happened there bouncing off the walls. Ian proclaims “when you are playing those places you are using the music to help sanitize the place” and what better music to use.

Ian and the several different incarnations of Jethro Tull have written and recorded a large variety of music over the years. Some of his favorites are, “A lot of the songs as what the audience likes and looks for.” The songs “Aqualung” and “Locomotive Breathe” are still welcome pieces even after he has probably played them a few thousand times. He will bring out the occasional obscure song, but won’t do just a bunch of them in one show. Usually doing a song that is only going to impress the biggest of Tull Fans, the rest of the audience may not take it too well. He is there to play to the audience as an entirety, not just the one or two fans that want to hear songs like “Jack-A-Lynn,” “Back-Door Angels,” or something from The Chateau D'Isaster Tapes.

Certain works like A Passion Play they won’t go back and revisit. It’s not an album that they like as much as others. Musically it doesn’t separate out into sections like Thick as a Brick does. They brought it out in 1973 when it was written and played it a bit then, but never really came back to it. Ian stated that he “Still pulls it out every couple of years and gives it a listen.”

On the next U.S. tour Ian performs solo and will be bringing along some great new material. He will be pulling out some classics as well and making a nice mix of things. “Feel quite proud about some things I wrote when I was 23 or 24 years old,” songs that dealt with some of the worldly issues that they deal with now. It is amazing how subjects from songs stay a hot topic for years to come. Certain things that were happening thirty years ago are still happening today and still are the main news stories. These were the topics that started political discussions and wars throughout the past. Ian is hardly a clairvoyant man, but one who wrote passionately about some issues that were important to him and the issues really never went away.

The theaters selected for the upcoming shows are some of the smaller, off the beaten path places. These are the places that remind Ian of when he first started in music and was trying to get a break. These establishments will be graced with the magnificent runs on the flute. The halls will echo with the sounds of classical, folk, blues, and several other different types of music that has been blended into the vast Jethro Tull musical catalog.

Ian offers his advice to musicians starting out which is some of the same advice he received when starting out, “Don’t give up your day job. Applies even more today where everybody and his dog wants to be a rock star. With all the myspace pages, there are millions of people trying to make it.” There are some great people out there today and there is a bunch of stuff out there that is just bad. It’s a very competitive market and if you haven’t made it by the time you are thirty, your chances grow even more slim.

How long will Jethro Tull go on? “As long as it is possible and desirable,” says Ian. Doing the lengthy tours can be exhausting and tiresome, but they plan on going on. Most likely they will be doing half as many shows as done in the previous years so they can spend time with their families. They are deserving of some leisure time. As Ian and the boys decide to trim it down a bit, we the fans must remember that he deserves his free time after devoting most of his life to work for us. He has supplied some unbelievable works of art for our enjoyment. Rest assured, Ian won't be spending his time playing golf.

This legendary musical deity has been a one band man, entertaining his fans since 1968, and deserves to take a bow. Ian Anderson is a phenomenal musician and has made a huge influence on musicians around the world. As he calls the band down to the stage, he stands on his pedestal, on one leg, and looks down at all the friends he has made. Millions of people can’t be wrong about the man. He has produced nothing, but magical music.

The Neo-Futurists are at it again with the thought-provoking, baffling, irreverent, confuddling new play “Daredevil’s Hamlet.” In true Neo-Futurist form this play offers more than their clever title initially implies.

Written by Neo-Futurist Ryan Walters, the play explores the work of Hamlet, led by the charming male members of the of the Neo-Futurist company including Walters himself, John Pierson, Anthony Courser, Jay Torrence, Brennan Buhl and even “the Intern-Trevor!” The play is a compilation of small scenes following the basic storyline of Hamlet, combining the acrobatic antics of ‘Daredevils!,’ the 2005 Neo-futurist play, all the while exploring the major themes of Hamlet: revenge, identity, masculinity, love, family, and death. “Daredevil’s Hamlet” is like a steady stream of consciousness; simultaneously flowing together while at the same time not having any rhyme or reason to the order of things.

Each player takes a scene or a theme from Hamlet and interprets it in their own unique way. One of the more charming and funny stories was Brennan Buhl, dressed in swimming trunks and wearing water wings, coming center stage to talk about a childhood memory involving some other boys with him in a kiddie pool where “wild time” vs. “calm time” were rules to follow. Brennan’s aunt would have equal time shared between these two times, 3 minutes each with “calm time,” designating everyone sit still, and “wild time,” letting the boys splash Brennan with no mercy. When his aunt ceases calling the different times to go into the house, his brothers “wild time” reigns and poor Brennan is left to fend for himself, with no relief in sight. During the play audience members actually get water guns to squirt Brennan while screaming “wild time” in order to recreate this childhood scene. This story, while seemingly random, equated to a central theme in Hamlet: justice and fairness. When rules are established and come down, what is a man to do? Does one rebel or follow the masses? What is fair and just and who decides this? And lastly, what happens when authority leaves and cooler heads don’t prevail?

Anthony Courser’s interpretation of masculinity called into play his favorite childhood character, Robin Hood. “Why would any child choose to be Hamlet, he didn’t even have a bow, or an action figure!” Anthony fires arrows using a Nerf gun in his makeshift cardboard archery armor to delve into the perception of masculinity in his mind versus that of Shakespeare.

Another Hamletisque theme, and a resurgent theme in today’s world, “Bromance” is explored when Jon Pierson, aided by Ryan Walters, describes a tender and intimate moonlit night with a male friend, staring out at the night’s sky and being within inches of one another, feeling a deep love and connection but not being in love. Can two men love one another without being in love as Horatio and Hamlet did? Is this experience still felt today?

These are just some of the interpretations provided by the fantastic cast of Daredevil’s Hamlet. There is no doubt, this play might leave you stumped for a quite a bit while you are watching it, but that is half the fun of visiting the Neo-Futurarium. This is the thinking man’s Hamlet, if Hamlet were to have been written with the philosophical jackass cast. Like the character of Hamlet, the players allow themselves to show their vulnerability, their faults and their frailties, and it’s because of this that Daredevil’s Hamlet is a success. It questions the crucial themes from the play; if your uncle killed your father, would you avenge him? Can two men share a deep plutonic love for one another without having to fear ridicule?

There’s nothing wrong in this state of Denmark, so make your way over to Ashland and Foster and see this charming play.

Daredevils’ Hamlet” runs through September 25, 2010 at The Neo-Futurarium at 5153 N. Ashland in Chicago. For more information or to purchase tickets, please visit www.NeoFuturists.org.

*Above photo - Jay Torrence, John Pierson, Trevor Dawkins, Ryan Walters,
Anthony Courser, Brennan Buhl; Ryan Walters performing "To be or not to Be" soliloquy from Hamlet

"The Bad Boys from Boston” returned to Chicago with a flair and command that could only be associated with Aerosmith. This time taking stage at the Fist Midwest Bank Amphitheatre in Tinley Park, singer Steven Tyler and company delivered a thorough set of classics opening the show with “Same Old Song and Dance” immediately followed with “Train Kept A-Rollin’” and “Love in an Elevator”. The large set included three large projection screens – one on each side and one above the stage, overhead panels to enhance the band’s light show that were lowered and raised, and a catwalk that protruded out into the crowd about 30 or so rows from center stage.

The band’s musical performance was pinpoint precise, with guitarist Joe Perry effortlessly nailing each lick and solo, while Tyler, dressed in classic Aerosmith frontman attire, danced around like a thirty-year-old and utilized his vocal range to perfection. The show included staple elements from the repertoire of rock and roll essentials such as a booming drum solo in which Joey Kramer pounded the skins with his hands in a thumping symphony of blistering beats. Perry also dueled his Guitar Hero counterpart (appearing overhead on screen) ultimately defeating him thanks to masterful fingerwork in a series of tasty progressions.

In addition, the band found themselves defending a crowd member at one point. Tyler reprimanded house security after they pinned down a woman who merely ran up to toss a pink boa onto the stage when the band went into the song, “Pink”. “Leave the woman alone,” shouted the famous singer before continuing with, “Security must not get laid around here.”

Included in Aerosmith’s fun-filled set were favorites “Livin’ on the Edge”, “What it Takes”, “Rag Doll”, “Sweet Emotion”, “Cryin’” and a superb rendition of the Beatles’ “Come Together”. The band also integrated a couple more obscure numbers before finally ending the show with a bang, performing encores “Dream On” and “Walk this Way”.