Items filtered by date: November 2007

Stridulum is the new EP from Zola Jesus on Sacred Bones Records. Much like the voice of Nika Roza Danilova (also known as Zola Jesus), songs like “Night” and “I Can’t Stand” flow with a haunting darkness and dreamlike warmth, much in the vein of ZJ’s earlier material that included the very spellbinding “Clay Bodies”. With a sound described as anything from experimental to gothic rock, the 21-year-old artist based out of Phoenix, Arizona certainly seems headed to break new ground with a uniqueness of her own.

 

Fresh from performing at SXSW, Zola Jesus is currently touring, which includes a Chicago date on June 27^th at Schuba’s, before heading to the west coast followed by dates in Europe.       

 

Buzz - You have a very unique sound. Did it come naturally for you and how would you describe it?

Nika - I can't explain it, the sound is whatever comes out of me. Sometimes it's one thing; sometimes it's the other. It's schizophrenic and idiosyncratic. That's the best I can do to describe it.

Buzz - I can hear a bit of PJ Harvey in your sound. Is she one of your influences?

Nika – No

Buzz - Who would be musicians that inspire you?

Nika - The Residents, Tina Turner, Throbbing Gristle, Stockhausen

Buzz - You come from Phoenix. What is the music scene like there?

Nika - I don't know. I didn't grow up there. I grew up in Northern Wisconsin, and the music scene was dead and bastardized.

Buzz - What is the story behind “Clay Bodies”? It is such a haunting song.

Nika - There is no story, really. It was a song I wrote for The Spoils... it was written during a troubling period of my life.

Buzz - What do you like about being on the road?

Nika - Visiting new places, being pulled away from comfort zones and familiarity... it makes you see things differently.

Buzz - What will you be working on next?

Nika - My next record, and some other projects I hope to find time for.

Buzz - How have you been received overseas? Do they get you as much as they do here?

Nika - My overseas fans are very supportive and really very incredible. I feel very fortunate.

Buzz - Your vocals are very strong. I read that you took opera lessons. Is that true?

Nika – Yes

Buzz - What can someone who has never seen Nika Jesus expect at one of your shows?

Nika - Passion is all I can account for.

 

jun 17 - Toronto, ON - Sneaky Dees (NXNE)
jun 18 - Toronto, ON - The Garrison (NXNE)
jun 19 - Brooklyn, NY - Glasslands Gallery (w/ EFFI BRIEST, Nice Face)
jun 25 - Minneapolis, MN - 7th Street Entry (w/ Dada Trash Collage, Jabon)
jun 26 - Madison, WI - The Frequency (w/ Dada Trash Collage, Jabon)
jun 27 - Chicago, IL - Schubas (w/ Dada Trash Collage, Jabon)
jul 03 - Des Moines, IA - 80/35 Festival
jul 09 - New York, NY - South Street Seaport (w/ Bear in Heaven)
jul 13 - New York, NY - Terminal 5 (w/ Wolf Parade)
jul 17 - Milwaukee, WI - Radio Summer Camp (w/ Wolf Parade)
jul 24 - Seattle, WA - Capital Hill Block Part
jul 25 - Portland, OR - Holocene (w/ Pete Swanson, Slaves)
jul 30 - Oakland, CA - Fox Theatre (w/ Wolf Parade)
jul 31 - Los Angeles, CA - Wiltern Theater (w/ Wolf Parade)
aug 01 - Los Angeles, CA - The Echo - Part Time Punks
sep 06 - Glasgow, UK - O2 ABC (w/ Fever Ray)
sep 08 - London, UK - Brixton Academy (w/ Fever Ray)
sep 09 - Paris, FR - La Cigale (w/ Fever Ray)

The Court Theatre’s revival of Athol Fugard’s classic Apartheid-era polemic Sizwe Banzi is Dead is the culmination of the collaborative Chicago Fugard Festival (other works were performed by the Remy Bumppo Theatre Company and TimeLine Theatre). The play is a stark look at the impact of South African Apartheid policies on the lives of individuals, told in an unconventional narrative by very different lead characters. 

Banzi’s narrative weaves the story of its titular character, an unemployed South African forced to leave his wife and children in search of work in a larger city, together with those of two men who impact his life. The piece opens with an extended monologue by Styles (played with gusto by Chiké Johnson), the proprietor of a small photography studio specializing in personalized postcards. Styles tells a sprawling tale of his journey from the factory lines at a local Ford automobile plant to self-made business owner, and in the process gives the audience an introduction to the social climate of Apartheid-era South Africa. Johnson’s over-the-top performance serves the role well, from his mimicry of the uptight white factory foreman Baas Bradley in his clumsy interactions with the African workers to the re-enactment of a long Old West-inspired shootout with petulant cockroaches at Styles’ newly acquired storefront. Just as Styles is seemingly established as the story’s protagonist, he receives a visit from a bewildered stranger who introduces himself as Robert Zwelinzima and asks to have a photo taken for a postcard to send to his wife. After an amusing  portrait session, Styles fades abruptly into the background and the focus shifts to his mysterious customer.

The customer, as it turns out, is Sizwe Banzi himself (Allen Gilmore). A work-seeking migrant to the South African township of New Brighton, Port Elizabeth, Banzi has been discovered as an unregistered worker under Apartheid laws and marked by white government officials for expulsion from the city. Banzi reveals in a note to his wife that “[he] is dead, in a matter of speaking,” and the story flashes back to his attempts to hide and then shed his identity with the goal of remaining in New Brighton to find work and earn money to support his family. Banzi finds shelter in the home of Buntu (also played by Johnson), a family man with an anti-authoritarian streak and a desire to help Banzi find his way. After a night of drinking, the two men stumble upon the body of a dead, presumably murdered African man, and Buntu hatches a plan for Banzi to assume the identity of the dead man (Robert Zwelinzima) and continue living in New Brighton. Banzi’s struggle to retain his identity while facing the loss of his name (or worse) becomes the heart of the piece, and ties his story with those of Styles and Buntu to the larger theme of black Africans’ fight for equality and self-actualization in the white-dominated South Africa of the 1970s.

At its core, Sizwe Banzi is Dead is about the performances of the leads and their interaction with the audience, and director Ron OJ Parson takes a mostly hands-off approach. The performance-friendly direction allows the actors, Johnson in particular, to fully inhabit their characters and create a sense that the lives we see on stage have real physical and cultural histories. There are times when Parson could rein in the action on stage – while Banzi was conceived as an interactive piece dependent upon the connection between the characters and the spectators, one digressive sequence in particular sees the leads lingering a little too long in drunken conversation with what seems like every member of the audience. Scenic designer Jack Magaw utilizes a spare, effective stage setup consisting of little more than a camera and tables and chairs, and the actors are game for miming parts of the environment that Magaw leaves to the audience’s imagination. The backdrop consists of photos of South African citizens with their government –issued passbooks. While the decision to incorporate famous images (notably Mandela and Bishop Desmond Tutu) with those of anonymous South Africans is occasionally distracting, it adds a touch of familiarity for the audience and is a reminder of the far reach of Apartheid-era policies.

The performances are excellent. Johnson’s versatility is a wonder – the almost Vaudevillian antics and exaggerated facial expressions of Styles satirize the cultural climate of Apartheid so heavily that the performance toes the line of parody. In a stark contrast, his Buntu is a picture of quiet determination and fierce intelligence, a physically and emotionally solid presence in a play full of movement and uncertainty. Gilmore’s Banzi alternates between sheepishness, defiance, and desperation with relative fluidity. Gilmore is particularly effective in portraying the conflict in Banzi’s impossible decision to leave his family, and the resultant fear that the character feels in spite of his physical strength is played out in a particularly heartbreaking moment.

The production effectively merges humor and emotional weight to create a relatable story that, while confined to a specific era and geographic location, is identifiable to anyone who has been moved by forces beyond their control, or driven to desperate measures to retain their identity and dignity. The continued resonance of a story in such a specific, potentially outdated political and social context is testament to the power of the performances and of the piece itself. 

They might have become men over the past several years, but we still know them as New Kids on the Block, or more recently, NKOTB. Call them what you want, but they are back and, yielding to cliché, better than ever. Currently on their Casi-NO Tour the one-time mega popular boy band recently returned to Chicago where they played three sold out dates at The Venue, located in the Horseshoe Casino, in Hammond, Indiana. Though the actual venue is plenty large enough to accommodate big-name acts – and does with regularity – I half expected the New Kids’ set to be scaled down with minimal props and lighting. However, that was not the case at all. A large riser took center stage while a wall of lights that would constantly change per beat stood as the backdrop. The show was big, and the band was jammin’, thanks to a Chicago-based drummer and a guitarist who looked like he’d fit in better with Slayer.  

 

Jordan Knight, Donny Wahlberg and Joey McIntyre took turns singing the leads just as they have always done, only this time with more mature and seasoned vocals. They would later take turns performing their own solo numbers in which Joey sang a steamy rendition of the Eurythmics’ “Sweet Dreams”. Danny Wood and Jonathan Knight contributed with perfectly tuned harmonies and backing vocals to round out the New Kids’ sound, while also busting some very impressive moves.

 

NKOTB did not disappoint the crowd that was mostly comprised of 25 to 35-year-old women, playing a set that included “The Right Stuff”, “Step By Step”, “Full Service”, “Favorite Girl” and their ever so popular ballad, “I’ll Be Loving You”. The dancing was well choreographed and even better – youthful and fun. The boys also played an acoustic set with Danny taking on the guitar in which “Please Don’t Go Girl” set the mood along with the soft, light-filled curtain that fell behind them.

 

One concert highlight was when all five New Kids’ walked through the crowd, still singing and waving their arms through the air. Once in the swarm of fans, the five separated, making themselves accessible to most of the main level while Donny took it up a notch and headed closer to the rear of the venue where he balanced on a seat with the help of a few eager helpers.

 

The night finally came to a close, but not before NKOTB performed one of their top hits, “Hangin’ Tough”, ending the show on a high note and sending the fans home asking when the tour would hit Chicago again.          

 

  

We hear music during TV shows and movies all the time. Sometimes we remember a scene forever solely because of the music chosen to play beneath it. When that takes place, the music supervisor has done a fantastic job. Liza Richardson has made that happen numerous times. Richardson is a successful music supervisor and certainly has the ear for the job. Music is as important to a film or TV series as any other component. It is of the most important tools used in conveying what the director is feeling. Needless to say, the music chosen to accompany a TV show or film can make or break the project. The songs used in a soundtrack can leave us with a long lasting impression or, if done improperly, could fail to evoke viewer emotion during a powerful or moving moment.

 

Richardson is currently working on the Friday Night Lights soundtrack and has worked on several other TV series including “Parenthood”, “Melrose Place” and “Life”. She has also worked on such feature films as the music supervisor or consultant as “Nacho Libre”, “Curious George”, “Syriana” “Failure to Launch”, “Lords of Dogtown” and “Push”.   

 

Buzz – Right now you are currently working on the soundtrack for Friday Night Lights. You’ve worked on so many projects as a music supervisor or music consultant. What comes into play when putting a soundtrack together?

 

Liza Richardson – Well, every one seems to be different for whatever reason. Obviously there are commonalities so films are different than doing television and ads are totally different. The difference is that, as a music supervisor, when I work on ads I’m strictly doing research and handing in a ton of tracks but I don’t usually get involved with negotiations or deal making. Whereas you work on films for a long time and there’s a lot of thought and labor put into it and things change, but for the most part it’s a long process. Television is more ephemeral - more immediate. It happens quickly. But all three of those mediums are totally different. I’ve never worked on a video game or anything. I don’t know what that’s like.

 

Buzz – So let’s take Friday Night Lights for example.

 

Liza – Basically in the beginning, which is a long time ago – about four or five years ago now - you get together with the show runner and the director and editors and the people that are working on the show and you kind of formulate what the musical landscape of the show is going to be. And then what I do is put together a collection of tunes – usually pretty big, like 300-500 songs that I think are in the ballpark for the show. Like on Friday Night Lights we use a lot of hard rock for football, we use some twangy country, we use a lot of indie rock for montages or score-like songs. And we use a lot of hip-hop for the more urban or ghetto type things that are happening. So you just put together a lot of university music and then as the show goes along I’ll get scenes given to me by the editor and I’ll work on them and try to suggest stuff from that pool of music that I gave him because it’s a lot of music for them to go through. So each scene that goes across my desk - I get ideas from that, or maybe I have some new ideas that I throw in and I’ll usually present between three and seven ideas per scene. I’ll pitch them and maybe they’ll choose something from that, but it doesn’t always work out like that. It’s all very collaborative. A lot of times the editors bring songs to the table or the director who’s working on the director’s cut will want to try something.

 

Buzz – So do they ever come back to you and say, “Uh uh, this is just not going to work?”

 

Liza – Oh, yeah. Sometimes they just give me a scene and they’ll just say, “Here’s the scene!” But they won’t have time to say what they are looking for and I’ll just have to interpret it without any direction and sometimes – yeah, I’ll get it wrong and I’ll just have to do it again.

 

Buzz – Is it easier to work on a feature film because it may not go off on as many directions as a long-running TV series?

 

Liza – Feature films are like…the bigger the budget the less work it is because you probably have back up on clearances and that kind of thing, whereas if you do an independent film you’re responsible from everything from soup to nuts. So the lower the budget on a film the more work it is. But I don’t know if I would say easier. There are certain films that are easier and there are some TV shows that are really a pain and some that go smoother.

 

Buzz – Do you ever find a great song for a scene and then go to the artist and they’re like, “No, I don’t want my music associated with that project.”

 

Liza – Oh, absolutely, which is the job of the music supervisor to navigate that whole thing for the producers. The idea is that you are so on top of the music you are pitching and that it comes from these reliable sources that are known to be ok with it. It happens. Songs are denied all the time and sometimes it’s for budget reasons and sometimes it’s for creative reasons.

 

Buzz – How often does a friend of a friend of a friend somehow get their music to you thinking it may be something you could use in a soundtrack?

 

Liza – Everyday. Constantly. I mean, it’s a constant situation that I try to navigate – who’s giving me what and keeping track of it and making sure I know where I found it – making sure I tag all my mp3’s with the source of it so that I can find it when I need it. I’m constantly getting pitches everyday. I don’t know how to quantify, but emails, digital downloads…

 

Buzz – Have you ever used a song from a no name band that made its way to you?

 

Liza – Yeah. Oh, yeah, totally. All the time. I met a girl at a party last year and we got into a conversation and – sometimes I just do it to be polite – “Oh, yeah, send me your stuff.” Because so often you get music submitted and it’s terrible. But I met this girl and thought she was cool and checked out her tunes and they were really beautiful and I got her a really cool spot in Friday Night Lights. So it happens all the time.

 

Buzz – Wow, that’s great. So you are also a DJ on a radio station. What kind of show do you host?

 

Liza – Yeah. I’ve been a DJ on KCRW since 1991. I’ve had various shows on the station and for about the last ten years I’ve been on Saturday nights from 8pm-10pm. The evening starts off from 6pm-8pm with Henry Rollins so he plays a lot of punk rock and intense world music – really wild and challenging. I come on after him with my show – I think – in the hopes challenging as well. It’s totally different than Henry’s show. I play a lot of indie rock, jazz music, world music - a lot of African music, reggae… It’s just sort of a jam session – a lot of current stuff and a lot of retro stuff. It’s just really fun. I just totally love it. It’s just once a week. I dedicate my Saturday to it. It’s not what I do for a living though.

 

Buzz – I read that you were selected as the DJ for the Academy Awards.

 

Liza – I was! In 2007 they decided to try having a DJ in the house. I guess the problem in the past was that during the commercial breaks a lot of people get up and move around. They just wanted to make it a little bit more inviting to stay in the theater so they wouldn’t have to rally everybody to get back into their seats after the break. So that was the concept. It was fun and it was an honor. I had a great view of all the celebrities and it was really, really fun.  

 

Buzz - You were previously and A&R scout for Geffen Records.  That seems like something you would take with you into music supervision.

 

Liza – Well, it all comes with DJ-ing. I started DJ-ing about twenty years ago - at least. I spent so much time with music – and had the time. My first couple radio shows I was on midnight to five Monday through Fridays in Dallas, and that gave me a lot of time to learn and explore music. When you think about it, when you’re on the air at four in the morning, who’s listening? So why not throw on this folk record or this blues record…? I had a lot of time to dig in and learn about music. So I think everything in my musical career started from that. It’s not so easy to make a great living in radio so I was trying to think of other ways to bolster my income and stay within my passion, which is music. So then I made a presentation and got a job as a scout for Geffen. But I am glad I never took A&R as seriously and switched over to music supervision.

 

Buzz – There are probably a few things in common with those two jobs, I would imagine.

 

Liza – Oh, yeah. You’re always looking for the next thing. They’re very similar. Both jobs are about discovering music, but A&R is more about developing it and turning your talent into a real record or real artist, whereas music supervision is more about taking something you find and finding a place to use it.     

 

You can check out the Friday Night Lights soundtrack at http://www.fridaynightlightsvol2tvsoundtrack.com/.

 

          

 

The weather was in question with thunderstorms almost certain to blanket Chicago the entire night. Still, the ominous report of storm-like conditions didn’t keep the fans from coming out in droves to see classic rockers Kansas, Foreigner and Styx at the outdoor concert venue, Charter One Pavilion, located between downtown and the lake on Northerly Island. On the way to the venue, the rain was light but threatening. Men, tried hard to keep their dates dry, but were often seen batting their heads in the process of balancing the umbrellas over their heads more so than their own. When arriving at the gate, everyone was told to leave his or her umbrellas behind in which a flimsy poncho was given for protection from the rain. Those umbrellas were not to be seen again by their rightful owners. 

 

Kansas was the first act to play and had to do so during only a light, warm mist. It seemed the weather was beginning to cooperate. Rich Williams patented guitar sound cut through the stadium taking the crowd back to the 1970’s when such a tone was such a familial earful for many and a time traveling expedition for others. Playing such notables as “Point of Know Return” and “Dust in the Wind”, Kansas got the dampened audience in the rock and roll spirit before sending them to the next band up, Foreigner, with their ultra-classic “Carry On My Wayward Son”.

 

When Foreigner took to the stage to the stage the rain had disappeared and the air was balmy, setting a perfect picture for an evening concert. Kelly Hansen’s vocals were spot on while guitarist Mick Jones went from one song to the other with effortless perfection. The band churned out one favorite after another including “Urgent”, “Hot Blooded”, “Feels Like the First Time”, “Cold As Ice” and “Double Vision” before ending on a triumphant note with a commanding performance of “Juke Box Hero” accompanied by fun animations of a cartoon band on the backdrop.

 

Styx then followed and began their set with an instrumental medley of their songs including, “Mr. Roboto”. Somewhere in their 7-8 minute opening number, the weather began to shift in which a gentle rain began to fall and light gusts of wind made themselves known from out of nowhere. However, both band and crowd didn’t skip a beat and the concert continued. Styx went into “Grand Illusion” before changing the tempo with the more upbeat “Too Much Time on My Hands” from their Paradise Theater album. In the meantime, the rain would take turns falling heavily until everyone scrambled to put their ponchos on, then, just as they were somewhat secured, almost come to a complete stop. Styx ignored the weather as the temperature suddenly dropped a good 15-20 degrees and the winds picked up. The rain also became steadier as the band played “Lady” and Tommy Shaw went into “High Enough” from his days with Damn Yankees. By the time James Young got to front the vocals for “Miss America” the rain was falling sideways and a crew of three members was trying to hold the swaying overhead speakers in place from the gusting winds. At the same time, the stage lights were also swinging from left to right. Heavy airstreams made it difficult to provide cover from the rain and ponchos were seen flying through the air like kites in failed attempts at putting them on one’s self spread like an epidemic. Just as the song ended, probably about a third through their set, Shaw announced to the crowd that the authorities that be were calling it a night and thanked everyone for sticking around as long as they did.  

 

It was a gutsy performance but the weather finally won. Bottlenecks of people traffic made the mass exodus a very sluggish process, and the non-agreeable climate made the walk to the Red Line even slower.        

 

      

 

 

Creedence Clearwater Revival was responsible for several hit songs during the late 1960’s and early 1970’s. They had songs that were full of energy, power, and became great party standards for years to come. The band broke up almost forty years ago and their music will live on forever. The band all went their own ways leaving behind a legacy of songs within their library that most musicians would only dream of. Some of the great songs such as; “Proud Mary,” “Bad Moon Rising,” and “Midnight Special” would become classic rock favorites around the world.

In 1995, Stu Cook and Doug “Cosmo” Clifford joined forces and decided to start playing the old songs once again. As they decided to revisit the music they called the new endeavor Creedence Clearwater Revisited. “We actually could’ve used the original name, but what we were doing was revisiting the music,” says Stu. The new name really makes more sense.

They never really had any intention of playing for the public, but a friend of theirs wanted to promote a couple of concerts. They got talked into it, but didn't know how well it would go over. Their initial plans would be to do some parties and special occasions to have some fun at it playing the songs that they both loved. Their performances were really very well received and the band soon was in demand again right where they left off.

The new group found some incredible musicians to fill the vacant shoes of the original members. John Tristao, Steve Gunner, and Tal Morris round out this now five piece group in style. Tristao has an amazing set of pipes that are filled with warmth. Gunner jumps in on guitar and keyboards wherever needed with style and grace. Morris completes the band duplicating the tricky guitar licks.

The band now is playing in halls, arenas, and doing festivals with an audience ranging from a few thousand upward to approximately fifty thousand. The group keeps playing the old hits and is having a great time at it. You won’t hear any new music at these shows as, “To add to it would just add confusion. To be honest, I’ve just been too busy to be a creative writer,” says Cook.

“We were all lucky with CCR. We worked hard, got incredibly successful very fast, and the music made a huge impact. The songs were easy for other people to learn and play. The music was kept alive by other musicians and in motion pictures. It was a huge dose of luck and classic rock radio helped too.”

The new CCR has lasted longer than the original version and now does about seventy-five shows per year. When asked how long do you think you can keep going, Stu replied, “No telling. We are all having fun. Unless there is some major health issues, we are going to keep going.” They are really enjoying what they are doing and what musician wouldn’t.

Stu has been a musician since grammar school when he started out on trumpet and then guitar. Eventually he found his place on bass guitar over forty-five years ago. Now playing some top of the line and custom basses, this man thumps out the old bass lines of classic rock history through a 750 watt amp with a matching pair of SWR cabinets. The bottom end of the group now has a new and improved sound.

Both Cook and Clifford are both very happy with their success with Creedence Clearwater Revisited. They both just turned sixty-five years old and they celebrated their birthdays playing the music that they always loved playing. Over four decades later Stu was asked if there was anything that he would change. He replied, “No. I don’t look in the rear view mirror.”

One of their most memorable moments since they reformed was in Argentina. They were getting ready to play in Buenos Aires and the audience was already one of the loudest crowds imaginable before they started to play. The audience continued on when the band hit the stage and when a band is in that kind of a position, “You never want to leave,” says Stu. These guys are and always will be classic rock icons to many.

The old CCR went through their break up and had their issues. Stu Cook does not hold bad grudges against his former band mate and former friend John Fogerty. He was asked if he would get on stage again with John and stated, “Sure why not. I’d get on stage with anyone. The stage is not a place to air your laundry.” As with Stu he doesn’t have bitter blood toward John, but the group reuniting with him is highly unlikely.

Although the group came from the old hippy days of peace love and lots of drugs, “We were never known as a band that was known for our position with drugs. We drank some beers, a nip of Jack Daniels,” but that was basically it. If they had been heavily involved with drugs Creedence might not have turned out to be as popular as they were.

Stu offers his advice to younger musicians starting out, “Practice hard. Make sure you want to be a musician. It’s a tough life. It’s not well rewarded unless you are lucky. You need to be prepared to be discouraged and disappointed.”

The band moves along now in its current form playing a lot of sold out shows. They released a live multi platinum compilation called, Recollection. Their continued success into the next generation has taken a lot of people by surprise including Stu Cook and Doug Clifford. As they catch a ride on their musical highway, you might be lucky to see this traveling band live. There is no time like the present and Creedence Clearwater Revisited is just phenomenal.

Catch CCR live June 12th at Harrah's Casino in Joliet. 

They say opposites attract. So what do you get when a recently divorced sportswriter and eternal bachelor acquires an uptight, compulsive hypochondriac as a roommate? You get a polarized reaction that is pure comedic gold.

Neil Simon’s The Odd Couple comes to life at the Raven Theater with a witty and irreverent cast. The play brings together best friends Oscar Madison, played by Eric Roach, and Felix Ungar, played by Jon Steinhagen, in a simple tale of tragic circumstances and true friendship. When Felix is thrown out of the house by his wife he stumbles his way to his best friends’ bachelor pad where Oscar, having recently been divorced himself and concerned for his neurotic best friend, takes Felix in. The easy-going and carefree lifestyle of Oscar is turned upside down when Felix’s compulsive tidiness and penny pinching thriftiness threaten to destroy his sanity and their friendship. Can this odd couple learn to live together? Can they get it together before they drive each other insane?

The Odd Couple first premiered on Broadway in 1965 followed by a film and a very successful television series. What makes this play timeless is the relate-ability of Simon’s work. Rumors have it that the play was first dreamt up when Simon witnessed the odd pairing of his brother rooming with a playwright But whether the play was created out of actual events or completely fictionalized, it’s the exposure of human weaknesses and the a portrayal of characteristics that define the American Experience theater that make this play worth seeing. It’s not prophetic, does not have some great moral conclusion, it merely reveals the frailties and familiarity of the human spirit, something that the Raven Theater grasps so accurately with this Odd Couple Cast.

With set designs that completely immerse you in a 1950s/60s bachelor pad, stale pizza and beer included, and the wonderful stage direction and character choreography of Michael Menendian, The Raven Theater captures the Odd Couple as spot-on as when it first premiered in 1965. Everyone has an Oscar and a Felix in their life, so take that special person to the Raven Theater, located at 6157 North Clark Street, for an experience that will leave you thankful that you can afford that one-bedroom studio all on your own.

Has your partner stuck your heart in a little plastic baggie, seasoned it, shook it up, put it in the oven and forgot it was in there? So, now, have you been burned and shrunk to the degree you qualify for a room with a single bed at the infamous Heartbreak Hotel?

You may have dashed off to vent to a shrink, who you caught checking his or her watch in an OCD-mirrored-manner, because he or she couldn't wait another second until your session was to be over and you'd shut the "f" up! If such a catastrophe of humanity has happened to you, the good thing is, there are musicians in existence whose shows can sew and mend a broken discontented soul. Are Cheyenne Mize and Bonnie "Prince" Billy (A.K.A. Saredren Wells) amongst the healers?

It's atypical to not have a feeling of satisfaction during hearing artists singing, well, lyrics of exactly how you are feeling at the present moment or have previously. That was the incredible gift I received from Cheyenne Mize and Saredren Well's performance the other night at Chicago's pleasingly mellowing lit "Uncommon Ground" restaurant and lounge. The first song they played was Cheyenne's "Waiting," with a line "Waiting for you to keep me, but not completely." If those aren't words everyone with a ticker can say "I can relate" while listening to them, I don't know what are. Plus, the song "Why Didn't Someone Tell Me?" that was written by Saredren carries the same weight, along with the majority of their others.

 

Furthermore, the performance of songs were from Cheyenne and Saredren's individual CDs, with the premise being love and relationships mostly. It was also coupled with them playing acoustic guitars together, but Cheyenne switched frequently during their playtime to use the fiddle. Cheyenne's voice was not always pretty, as a result, she showed she has the range to execute rawness and believable anger. Saredren's vocals were well projected while they both threw easy-to-decipher-lyrics up onto the laps of the audience.

Cheyenne and Saredren's material did not fall into the category of implementing only 3 chords, normally heard in songs. They have the versatility to also play upbeat songs, which they did so later in their set, and it made their performance not sound like just a pity-pot-party.Besides, Saredren's comment he made between songs that he named all of his 8 cats "Old Lady" resumes to make me chuckle! The fact the venue they played is called "Uncommon Ground" is an entertaining thought, as well. I'll tell you this: My logic leads me to conclude it is not "uncommon" for people to have difficulties walking on the unusual unlevel "ground" of the place, or tripping over unexpectedly planted steps, and coming so embarrassingly close to falling flat on one's face. While one lady walked the same pathway twice, she had to catch her footing, stealing the limelight from Cheyenne and Saredren for a few minutes!

In summary of Cheyenne and Saredren's performance, true love of old-time music is the key ingredient to the musical delights and helpings they serve to their audience. Cheyenne Mize and Saredren Wells play on the vinyl "Among the Gold," which has gotten critical acclaim, and is "a collection of parlor songs from 1915 to earlier (http://thinkindie.com 2010.") Cheyenne's own CD is "Before Lately," and worthy of its' small chunk-of-change price, and so is sweet Saredren Well's "Memories Are Hunting Horns." Saredren's CD is significantly darker and avant-garde than Cheyenne's in all aspects, and each song includes various string and horn sections. Nonetheless, getting each CD should be a "feel good purchase," not just for Cheyenne and Saredren's therapeutic spell-binding lyrics and harmonies, but since a fan passed around a can at Cheyenne and Saredren's gig for people to give them spare change. Lets get these appreciative-acting and starving devoted-to-their-craft-artists away from a daily diet of shrimp-flavored ramen noodles, to at the very least, a platter of Jumbo shrimp at Red Lobster!

Sources:

http://thinkindie.com

Certain things in life just go together, like Peanut Butter and Jelly, Arm and Hammer, Tequila and Jail…but Heavy Metal and Burlesque? Yep. That’s not a typo, Hot and Heavy Burlesque is like nothing you’ve seen before. Some of the most iconic heavy metal moments combined with the art of burlesque dancing. A friend of mine sent me a video of Hot and Heavy Burlesque’s tribute to The Wall. At first I was like, “Train wreck! How could Pink Floyd and nudey dancing NOT be a train wreck?”

I know, I’m so open minded. Not a snap judgment maker at all…

Well slap my face and call me Zsa Zsa while serving me up some hot steaming crow… because turns out I was wrong, and this was genius. Gritty, artistic, different and most of all FUN. This was actually better than the movie, and intrigued me to learn more about Hot and Heavy Burlesque. So I caught up with its creator Viva La Muerte (of course she doesn’t have a boring name like Jane Parker!) to get the scoop on this unique experience.

1. So first off, give us your definition of “burlesque” because people think it’s just stripping, or it’s something like the Pussycat Dolls. What is it really? Dance? Smut? Art?

VLM: True burlesque to me is anything but a regular strip like you might see in a strip club, and definitely not anything like what you see the pussycat dolls doing. A regular strip at a club or a pussy cat dolls thing in my opinion do very little to involve the KEY element of burlesque which is the art of the  TEASE, that type stuff just sort of "puts it all out there at once" for you to see. It's very wham-bam all the sexual goodies in your face, but no mystery, no build up, and not a lot of artistic merit beyond the very blatant sexual appeal. When we are talking burlesque, we are talking about girls who spend hours rehearsing and costuming so that when they are on stage they are giving a full on performance that may be a parody on something, or involve a storyline or character. Throughout the performance the audience is teased and titillated little by little as items of clothing come off, and the audience is yearning for that little peek at the end when the 'big reveal' happens. You give the audience that little taste they want, but always leave them wanting and dreaming of more.


2. Your tribute shows are pretty neat. I saw video of “The Wall” and it was pretty spot on. You recently put on Spinal Tap, and Dio is coming up. How do you decide on a body of work? What does it need to have to incorporate it into a burlesque show?

VLM: Thank you so much! I'm glad you enjoy our shows! From the start I wanted Hot & Heavy burlesque to go beyond the standard burlesque revue and have a theme and purpose for which we are well known which is Hard Rock/Heavy Metal and Horror Movie inspired shows. Metal and Horror are two of my biggest influences and inspirations in life, and Hot & Heavy burlesque is the brainchild which I use to express my passion for metal music and horror films. To make it a burlesque show is pretty easy, because we take what the old concept of burlesque was which is a variety style show and modernize it. We usually offer more than just stripping, and shows have had anything from singing to hooping to fire and live music weaved in with the burlesque acts. A well rounded show is very important to the Hot & Heavy mission!

3. What is the ultimate dream and goal for Hot And Heavy Burlesque. Headlining Vegas? Headlining National tour? What are you looking to break into?

VLM: I would LOVE to do a national tour, we are actually working now on taking our Pink Floyd or Spinal Tap show out of state this summer, it's really exciting! It's my hope that we can gain more national attention for our shows, and have people that want to bring us to their town. Vegas is definitely on the list too! I also love working with live bands, and in the future I'd also like to perform with some bigger acts at their shows. The sky is definitely the limit!

4. Ok, fantasize with me… the big break. Everyone in Hollywood wants to be in HAHB. Do you have guest stars? Why or why not? Is that “selling out" to go Hollywood?

VLM: If any big names want to come share the stage with us, that's fine by me as long as they have the moves! I don't think it would be selling out to involve a big, well known name in one of our shows. Or if someone "Hollywood" wanted to fund a project for us, I certainly wouldn't turn it away. To me the most important thing would be to remain true to our show style and the level of performance I require from people that work with my show. We have had local guest stars, but no one big and national yet. I'm sure that's on the horizon for us though.

5. Who would be the dream celebrity to have as a guest? You can’t say Dita Von Teese, because it’s a gimme. Who would be amazing in your show that you may not think of as “burlesque?” Who needs a set of tassels?

VLM: I'd put tassels on everyone if I could! haha  Funny thing is speaking of Dita, I think she would be too classic for one of our shows, so I may pass on her. Shocker, I know! It would be fun to have someone famous who seems more quiet and sophisticated do one of our shows, maybe Natalie Portman? I bet she would totally rock it! Or Grace Jones, that would be rad!

6. Three words that describe the Hot And Heavy Burlesque experience

VLM: Rock Opera Madness

7. What do you think of shows like So You Think You can Dance, and America’s Got Talent. Burlesque dancers have been featured in the past, would this be a vehicle for your troupe? Why or why not?

VLM: I've not really watched a lot of either show, but I do appreciate when burlesque performers have a chance to shine on a big national stage being on TV. It always make me proud when I see another performer do something big like that. As for our troupe ever breaking into a mainstream TV type dance show, it would be fun to do, but somehow I don't think the mainstream american TV audience is ready for our kind of heavy metal type show.

8. The one thing off limits in a burlesque show is _____.

VLM: I like to give my performers as much creative freedom as they need in my shows. As long as they stick to our heavy metal theme and song choices, I love to let them go free. As far as off limits, I never like to allow anything that is to overtly sexual or pornographic. There always needs to be tease and mystery to H&H performances. Not just some girl grinding and touching herself, or bringing out a box of dildos to toss around and do a regular strip club style dance, and definitely nothing crazy like penetration on stage (I know this happens at some shows in other parts of the country). That won't fly, it needs to be creative and tasteful so that our audience feels comfortable watching the show.

9. What kind of training do you guys do? Is there like a Burlesque Boot Camp, like the Dallas Cowboy Cheerleaders?

VLM: I would love a burlesque boot camp, that sounds fun! But there isn't anything like that out there at the moment. There are a few instructors in town that teach burlesque, and many newer performers take advantage of these fun classes. For more established performers like me I stick to a pretty rigorous rehearsal schedule that includes nearly daily practices of my acts, and watching a lot of footage online to learn from and going to as many shows as I can to keep up on what other performers are doing. There are even some instructional DVD's available that are pretty helpful for technique. It's a lot of rehearsal and studying your craft and history. Many people also take regular dance lessons like ballet or jazz to keep a good repertoire of dance moves.

10. If _____ showed up at one of your shows, you would freak out with star struck-ness.

VLM: Roger Waters, if you are reading this there is a front row seat for you when we do our tribute to The Wall when it starts again in January! I also wouldn't mind if the Red Hot Chili Peppers rolled up, John Frusciante may also have a front row seat! :)

Check out Hot and Heavy’s website for more info on upcoming shows
www.myspace.com/hotandheavyburlesque

Hot and Heavy Burlesque’s Tribute to Spinal Tap
June 4-6
Viaduct Theatre
3111 N. Webster
Chicago, Il
viaducttheater.com
Vivalamuerte.us
(for more info)

“Fuerza Bruta: Look Up” was hands down the most exciting, sensual, life affirming theater piece I have seen in years!

 

 From the moment you enter the theater, Fuerza Bruta, which means “Look Up”, takes the "fourth wall" and literally breaks it over the audience's head - explosive! When I got home I found confetti in my undergarments. It was awesome!

 

I knew this was going to be a different kind of show when I walked into the normally staid Auditorium Theatre lobby and found a full fledged bar and disco party going on. I love the feeling of disorientation that occurred as we were ushered into the theater and away from the seats right onto the stage. I had no idea we were about to stand for the entire hour and fifteen minute show. As we got onto the stage, which also had club music pumping, the crowd looked expectantly around at each other, some dancing, and most wondering where the set actually was. Suddenly out of the darkness, a spot lit, beautiful man in a white business suit appears walking purposely on a treadmill. Soon he is running at full speed and, with the help of a harness, is eventually jumping through solid brick walls, which explode into bits onto the audience and without any words really gives the feeling of the obstacles we face in modern life. 

 

The dances grow more and more intense including two dancers flying/fighting/dancing up a twenty foot, undulating wall of color and silver fabric. During intervals a DJ sprays the crowd with a fine mist of water while music pumps and a fog horn blows, almost as a cue for the crowd to start jumping up and down, turning the entire stage into a bouncing rave.

 

Without giving away all the spectacles, one of the most remarkable is a transparent latex sheet like a gigantic kiddy pool that holds five female dancers, clad only in childlike cotton shorts and tops slipping and sliding like playful dolphins over the audiences heads. The occasional breast innocently and sensually pops out as the latex swimming pool is lowered right down onto the audience’s heads.

 

I can’t say enough about how refreshing it is to have the fourth wall of the theater broken down so completely, actively involving the audience directly in every action that occurs onstage. It really gives the feeling of great sex with plenty of passionate “throw down” as the crowd is moved, seemingly effortlessly, in the dark through one set change after another. As you are moved from one spot to another and another, a dynamic stage full of dancers rises out of the darkness giving you that wonderful feeling of awe and wonder about what will happen next in the play and how in the world did I get in this position?

 

I loved the attitude of the dancers, they seemed to have a gusto for life and a saucy, get up off your asses energy that radiated through the audience, making us dance and respond where we would all normally be sitting quietly in our theater seats hoping not to be singled out into participating.

 

One of the most beautiful and surprisingly “wet” moments of the show comes at the end where a rain shower opens up right in the center of the audience, pouring down large warm round drops of water onto whoever is willing to jump in and dance. After a brief hesitation that my blouse might be turned into a transparent wet t-shirt like the dancers in the pool, I just jumped in and danced and was happily drenched by the heated rain shower in just a few seconds. I really felt transported to a party somewhere on a beach in Rio, everyone’s arms upraised, jumping and dancing with friends and strangers, free and unfettered by the any of the usual protocol of theater decorum or life in the city.

 

I can’t recommend seeing this show highly enough. My suggestion to really get the full experience is to go with some good friends, have a drink or whatever loosens you up before this show and wear comfortable shoes.  If you see Fuerza Bruta prepare to have your mind blown by some incredible dancing and acrobatics and be willing to get really WET!

 

“Fuerza Bruta: Look Up” is playing at the Auditorium Theatre through July 25^th. For more information on this amazing show, visit www.auditoriumtheatre.org.