Items filtered by date: November 2007

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.  

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”.  

Charlie Sheen is infamous for having call girls ring his bell. But, it was a real shocker to have seen Scorpion's rocker, James Kottak, smooching a blonde bombshell that, sadly, turned into a blow up doll (which, he was surprised by as well!)
 
It was a planned and previously videotaped gag the Scorpions ran for fans during their show at Chicagoland's Rosemont Theatre. And, that wasn't the only surprise the 80's rockers had in their bag of tricks.
 
I was taken aback by the thought of the massive amount of money that must have been spent for the endlessly enthralling high-tech stage design and lights with the drummer's set erected at least 20 feet high. There were generously sized screens behind the band playing good-humored skits and footage of their audiences back in the 80s from their first to last song performed.
 
I didn't imagine the Scorpions would execute a clearly well rehearsed production, either. Given the mastered performers each of the members of the Scorpion's were, and with so much staged, even a person with ADHD was likely to stay engaged.
 
The nearly senior citizens actually had pep from start to finish, too, proving they wouldn't be needing any canes, walkers or hip replacements anytime soon. Nor did the 40-ish aged fans display any problems with memory since most of them sang all the lyrics, and correctly, when the lead singer, Klaus Meine, extended the microphone out above the crowd.
 
Plus, the frequent interaction the German rockers had with the audience and the power, control and hold they had over them would have made sicko, Hitler, proud.
 
The sound was loud and clear with vocals and instruments rocked absent of a single glitch. I see now why the Scorpions have been reported as The World's #1 German Rock Band (www.the-scorpions.com 2010.)
 
Furthermore, they played all their biggest hits from the 80s plus some songs from their new album "Sting In The Tail," which were like totally awesome! As a matter of fact, "Sting In The Tail" turned gold a couple of months ago (www.the-scorpions.com 2010.)
 
Also, there were a wide array of lit lighters held by fans that would have probably made me have many thoughts of darting for the fire escape route, if I would have seen anyone in the crowd with highly ratted, hairsprayed and flammable hairstyles.
 
Yet, I was still disappointed to not have gotten a peep of any male fans at least stuffed in spandex with their eyes painted like cats and raccoons. However, I saw a few frauleins suited in head-to-toe-all-black-leather and they had their manes feathered.
 
My 30-year-old, buddy, who went with me to see the band was expecting a show gobbed with "cheesiness." He cut the word out of his vocabulary when describing the Scorpions after they played their first few songs, though. And, while his eye lids were completely rolled back into their sockets he said "This is a really good concert!"

Something I hate to hear is that the Scorpions will be ending their 35-year-old career (www.the-scorpions.com 2010.)
 
However, you can still see the Scorpion's "Sting And Blackout World Tour," if you missed them perform in the U.S. in other continents or if you just have to get more! (www.the-scorpions.com 2010.)
 
Lastly, I want to give the Scorpions a big hand for providing a show that was nothing less than grand.

For those in need of a good dose of metal, the “Rockstar Energy Drink Uproar Festival” held at the First Midwest Bank Amphitheatre in Tinley Park, hosted enough heavy, brain-crunching music to please even the most dedicated and hardcore of fans. Held on two stages, it was metal mayhem for nearly an entire day from openers New Medicine to its power-packed finish with Avenged Sevenfold and Chicago’s own, Disturbed.

The second stage, or the Jagermeister Stage, had bands New Medicine, Hail The Villain and Airbourne set the tone for the festival with HELLYEAH rounding out the action with a loud and furious set before sending fans to the Rockstar Main Stage.

Kicking things off on the main stage was Halestorm, followed by Stone Sour, featuring Slipknot frontman Corey Taylor. Packing in as much music as possible in their 45 minute set, Stone Sour opened with “Mission Statement” then went into an inspired performance of “Reborn” before squeezing in seven more songs and ending with their death blow, “30/30 – 150”.

As good as all the bands performed, it was Avenged Sevenfold that stole the show. Sharing the top billing with Disturbed, the tour opted to put the latter in the final slot, though either could be justified in handling the marquis finale spot – and that is not a knock on Disturbed, who also kicked major ass.

Avenged Sevenfold’s set began with a man falling to his death, noose around his neck, where he remained hanging front center stage throughout their opening track “Nightmare” from their newest album, which carries the same name. The band immediately kept the adrenalin pumping in the crowd as they went into a charged presentation of “Critical Acclaim” that had Sevenfold’s energetic singer M. Shadows leading the arena with repeated fists in the air and chants – a show of strong command as the eager fans followed his every direction in unison. Shadows, whose vocals were spot on, then acknowledge the newbies in the crowd with the apropos “Welcome to the Family” while guitarists Sinister Gates continued to blaze away, wowing the most snobby of guitar critics.

At some point in Sevenfold’s set, Shadows also made mention of the band’s former drummer, James Sullivan, otherwise known as “The Rev”, who had passed away last December of 2009. M. Shadows told the crowd how much he misses his best friend of eighteen years while a jumbo image of Sullivan appeared on the backdrop of the stage where it remained for the next few songs. Shadows later acknowledged, and thanked, drummer Mike Portnoy – an inspiration of Sullivan’s - for filling in and helping the band move forward. Avenged Sevenfold’s set also included “Afterlife” and “Unholy Confessions” before ending on a high note with “Almost Easy”. From beginning to end, the band gelled incredibly well with Zachy Vengeance accompanying Gates with intricate guitar harmonies and bassist Johnny Christ and Portnoy providing a thunderous rhythm section, infusing each song with that precise punch that Sevenfold is known for. Once again, Avenged Sevenfold has proven that their live show just keeps getting better and better.

By the time Disturbed took to the stage, the fans were already more than satisfied with what the Rockstar Energy Drink Uproar Festival had to offer, just making the finale performance that much more enjoyable. Opening with “Voices”, frontman David Draiman led the charge of heavily-driven songs amidst a startling light show and pyrotechnics. The band went on to play such songs as “Meaning of Life”, Stricken”, “Fire”, their Genesis cover, “Land of Confusion”, along with a few songs from the new release, Asylum, and finally closed out with the hard-hitting “Down with the Sickness”, making it a very memorable homecoming.

*Avenged Sevonfold pictured (top) and Disturbed 

8/20/2010 at the Metro

The last night of what seems to have been a bit of a bonding tour, Kevin Read from the Freelance Whales got up crowd interaction (lyrics and timing for a sing a long participation) with The Arkells, and played along with Tokyo Police Club, and then Greg Alsop of Tokyo Police Club came and played drums with Freelance Whales, you could feel the bond of the bands.

Freelance Whales hit the stage and I’m delighted with how many seem to know them. They seem to have gathered a following during the Lolla visit, just so you know they will actually be back late November/early December. They also recorded some songs with Marty Lennartz, who is the host of The Big Beat on WXRT 93.1 fm, Mondays at 10 p.m., this Monday 8/23 they will be on the program, if you don’t know them you should become familiar before they come back for their headlining tour. They are a group of multitalented, multi-instrumentalists, which keep the variety going on stage as they play a game of music instrument duck goose. They hit all the sweet notes (erratic, eccentric, irrelevant as they seem) but you don’t even realize all the effort that is required to make such a tranquil harmony of noises, cause really they make it look easy. They played most of ‘Weathervanes’, a highlight of the set included them being joined on stage by Greg Aslop , and adding even more to ‘generator ^2nd floor’. Really who am I kidding though, the way they are able to experiment even more with the songs as they wander, but wander together as a band, and keep the sound’s going that take you on a unique experience with them.

Tokyo Police Club enters the dark stage area, to an under current that resounds for the length of their stage time. They seem to ride this electricity for the performance, they even have a light show with them, and I think they have actually figured out mind control through keyboards, that’s just my guess though. They made people that had not moved for the entire show bob their heads, or people that were unfamiliar with the music feel familiar with it. They seem to have crowd interaction down to a science as they keep the crowd singing, clapping, and swaying the whole show and into the 2 song encore that ended this U.S. tour with a Weezer cover and ‘Your English is Good’.

Overall I would have to give this show an outstanding rating. When I arrived pre-doors at 7:45 the reader board said there was still tickets available, but watching the crowd fill in by band I would say that it was a sold out show by the time Tokyo Police Club was setting up for the performance. It was nice to experience such a harmonizing show.

This year’s Warped Tour brought variety, fandemonium and all of the teen-age angst that one could shake a stick at.  This year’s festival brought a variety of acts such as Andrew W.K., Reel Big Fish and pop sensation Michael Posner.  All of the acts held meet n’ greets and did whatever it took to get your money, and for good reason: most of the bands don’t get paid much money.  In fact, most of the bands on the Warped Tour literally only make money from selling merchandise and CD’s. The tour started June 25th in California and will end August 15 at the Washington Fairgrounds in Hillsboro Oregon.  With the bands almost practically playing a new show in a new city just about every day, this tour is known for being grueling and rewarding.  Along with playing their shows and holding their meet n’ greets, all of the bands are more than willing to hold interviews with the press to expose who they are and what their music is about.  I was able to get a few minutes with Andrew W.K. and Adam (formerly of Lucky Boy’s Confusion) from AM Taxi to discuss their comfortability and inspirations of creating music.

While I was waiting for my interview with AM Taxi, Andrew W.K. walked into the pressroom read my name off of the sheet of interviews and sat down for a quick interview about the blending of musical styles and his preference of playing the piano over other instruments.



Andrew W.K. walks into the pressroom wearing black Adidas pants, his own tank top that reads “party hard”, a black trucker hat and a pair of black sunglasses.  He is extremely proud of who he is and wants everyone in the
world to feel as good about themselves as he feels about himself.  He talks to everyone with extreme enthusiasm and makes you feel that you are most important person on the Earth.



Buzz:  You’ve been known for blending lots of music styles together.



Andrew W.K.:  Not jazz yet.  I haven’t gone into that realm as much.  There’s a lot of World Music that I haven’t been as familiar with.  There’s certain genres of rock, such as rock-a-billy or psycho-billy that are areas that I haven’t ventured.  But as straightforward rock n’ roll goes, I try to make it as exciting as I can and use whatever I can to get to that place.



Buzz:  What makes you want to use as much music knowledge as possible in each song of yours?



Andrew W.K.:  I never really thought of it that way.  I sit down at a piano and just start playing chords until they sound exciting and then I try to use whatever instrument I can to amplify that excitement on the recording.  I admire people who listen to different songs or different styles and want to make it a combination of those.  I always just thought, “What’s the most exciting guitar sound to me?”  For me, it’s just a very loud and over-distorted guitar.  What’s the most exciting keyboard sound?  Just a very loud piano/organ combination.  What other instrument combinations add the excitement?  For example, if you are watching a movie and you hear that orchestra kick, there’s power in those sounds.  That’s why I want to use them, because they work.  Whatever sound works is what I am interested in.




Buzz:  What is it about the sound of a piano that specifically interests you and why does the piano seem to calm you down the most out of any instrument?



Andrew W.K.:  It’s simply because that was the first instrument I ever learned.  So similar to your mom and being the first woman you ever see and you have that special bond with her.  Your dad is most likely the first man you see and the first man you ever likely got to be friends with, so you have this feeling for him.  Piano was the first instrument I ever learned.  Four and a half years old, I started taking lessons with my parents’ help and support.  It’s similar to that first book you remember hearing, like *Good Night Moon.  * You’ll always have a soft spot for the first thing that turned you onto that new venture.



Buzz: When do you hit that new venture with a song and say to yourself: “I want to place this song on my next album?”



Andre W.K.:  I am not sure I look at it that way, I think the song more or less tells you that it’s ready to heard by other people.  Most of my recording experience has been relatively solitary.  Of course you try to trust their judgment, as well as your own as to whether or not other people around the world should have the chance to listen to it or not.  At some point, I think the song tells you and it’s just a no-brainer.  It’s really not up to you.  It’s really clear that the song is meant to be heard.



The interview with Andrew W.K. closes as we are politely interrupted about time being finished from his touring manager.  Andrew W.K. is in high demand and is more than willing to take the time to talk to anybody and everybody. As Andrew W.K. starts another interview, I am aimed towards a quiet gentleman who is standing in the corner texting on his phone.  One can tell that Adam from AM Taxi is tired and exhausted.  He is a musician who has great passion and allows his music to do the talking for him.  He can easily be missed if you don’t know who he is or what he looks like.  I was able to interview Adam with five minutes left of AM Taxi’s interviewing time.



Buzz:  How has the tour been for you guys?



Adam:  It’s been great man.  We’re about two thirds of the way done with this thing.  About three quarters actually.  It’s been long and well worth it, a lot of fun.



Buzz:  What’s it like coming to your home city?

Adam:  It’s a little overwhelming to do the hometown stop.  It’s a lot of fun and always good to run into familiar faces.



Buzz:  On your band’s website, you say: “if it’s not broken, break it.”  What made you guys want to break your style of songwriting for the album “*We Don’t Stand a Choice”?*



Adam:  The method behind that is there are a lot of different ways of doing something.  Sometimes the first initial way of doing it isn’t always the best. I think it’s good for people to be open-minded and try things from different angles before making a decision. We could do it one way and that would be the obvious choice. We try different methods to find the smartest way of doing things.



Buzz:  So then do you guys always write collaboratively?



Adam:  Well, I write all of the lyrics, melodies and chords.  When it’s time to arrange them, the whole band comes in and puts in their two cents.



Buzz: Who were your influences behind this record and how did the writing process for this record differ than that of writing a song with Lucky Boys of Confusion?



Adam:  Not much has changed from the influence side.  I have always loved The Clash and The Replacements.  I wasn’t collaboratively working with anybody else, so it was 100% of what I was bringing.  We specifically try not to latch to any trends.  The influences are older, everything from Little Richard, to The Ramones or Weezer; bands that we would consider to be classics.



Buzz:  What was your main decision to make classic record rather than a current record or a record that uses trends?



Adam:  We look at it as though we are trying to do this for a while.  Anytime you try to jump on something that happens immediately, seems to go away.   What you are doing seems to be irrelevant.  Doing something like this, seems to be that people can pick it up five years from now and still get into and not sound like a record that came out in 2010.



Buzz:  That’s a smart and interesting way of looking at it.  What makes you decide that a record should be classic?

*photos from top (by Carl Burke)

The crowd at Warped Chicago

Andrew W.K.

Adam of AM Taxi

Chicago Writer John Kramer interviews Chicago Comedian Shelly Gossman about Second City and her

SNL audition.

Shelly has recently become a Saturday Night Live Writer. Congratulations!

A BuzznewsTV Comedy Review Special Feature Presentation!

Special thanks to John Kramer!

See more of John HERE!

Click here for a total list of SNL Writers over 36 Seasons so far!

Enjoy!

August Comedy

Feature!

This August in Comedy on BuzznewsTV!

Featuring the works of Film Maker/Writer

JOHN KRAMER

Chicagoland Producer

John Kramer has a long-standing comedy career in Chicagoland receiving notoriety on CNN, FOX CHICAGO SUNDAY, The New York Times, and has even worked alongside comedy stars Jim Belushi, Chris Farley, and Tina Fey to name a few. 

John Kramer produces a variety of comedic material.

You can also see some comedy animations by John in a Buzz Cartoon & Animation search at the top of the page.

Enjoy. Stay tuned for another great episode next week.

Also Featuring

THE SONG A WEEK PROJECT

with

Matt Griffo & Andy Gailor

Enjoy!

Stay Tuned. More to Come.

Click HERE for more BuzznewsTV!

We all have certain memory triggers that have the power to invoke our past. For me, music has always been my greatest trigger- even allowing me to transcend time and revisit yesteryear.

Authority Zero came to town for a gig at the Cubby Bear to promote their new album, Stories of Survival. The ticket included performances from The Frantic, Lionize and Whole Wheat Bread. Each band brought something unique to the stage and on a whole delivered something spectacular.

I have to confess hearing Authority Zero was coming to town made me feel stoked and sentimental. Despite the passage of time, the band has been able to stay true to their original sound and reminded me why I fell in love with their music in the first place.

Here's my backstory with the band... My love affair with their music began during my first year at the University of Arizona. The boys from Mesa were asked to be an opening act for the annual Welcome/ Welcome Back show for the students.  My roommate and I, neither originally from Arizona, had never heard of Authority Zero before that night but quickly fell in love with their brand of reggae fused skater/pop punk. Their charisma was electric and surged through the audience in a way most bands will never experience. Thanks to the mellow sounds of a dub guitar, infectious choruses and the uniquely haunting vocals of lead singer Jason DeVore, Authority Zero stole the show and walked away with a new legion of fans. The boys were always gracious and indulged their fans with kind words, autographs and pictures. Their music a captivating live performances proved to be a major bonding point for my roommate and I (so much so we went to all of their local shows and in store appearances at Zia Records).

For close to two decades, Authority Zero has been creating Latin and reggae infused skate punk music that has helped solidify a strong following while insuring survival through the rocky tides of the skater/pop punk genre. With heavy influence from bands like Bad Religion, Pennywise, and Sublime, Authority Zero is able to deliver tracks that are both mosh and sway worthy. In the post millennium, many would argue the punk scene has become diluted and, for lack of a better word, stagnant. However, Authority Zero continues to shine thanks to their talent, passion and willingness to incorporate many different genres to create their sound.

Thanks to a spellbinding performance, I was able to revisit my college glory days and be reminded why Authority Zero is one the best live bands around.

Suggested sampling of Authority Zero's music:

1). Over Seasons

2). One More Minute

3). Revolution

4). A Passage in Time

5). Super Bitch

7). The Remedy

8) Brick in the Wave

9). 12:34

10). Mexican Radio