The Agape Children's Choir want their voices heard!

The election, this November 4th, will probably be the most watched in the world and the one most Americans will have voted on in the history of our nation.  Even young children have taken an interest in the politics of our country.

My daughter, who’s in third grade, has asked me who I’m going to vote for in this presidential race. She’s often spoken with distaste about our current president. I don’t know if it’s from my influence or from either of her grandmothers but she’s savvy enough to know George W. has ruined America.

Her friend, asked me the same question as well. However, as I know her parents to be staunch Republicans, her mother has a picture of George W. up in her home office,  I turned it around and asked her, who her parents were voting for instead. As we were in a bookstore at the time and a book on Obama was in front of us, I wasn’t surprised when she pointed at it and said, “Well, not him!”. Being a Democrat, I just smiled and walked away. No use debating with an 8 year-old, with possible repercussions from her parents.

However, 8 year-olds do want to be heard, even if they are influenced by their parents. Therefore, The Agape International Children’s Choir and Little Engine Productions have created a video called Change My World, with a non-partisan view, at encouraging voters to take an interest in our children’s future and taking their voices to the polls.

The Agape Children’s Choir, has been known for its eclectic array of musical genres ranging from jazz to ancient hymns with an emphasis on peace and non-violence, therefore songs encompassing a civic minded theme would be in keeping with their varied repertoire. The lyrics, for the video, were written by Emmy nominated composer Tree Adams and producer Gina Matthews. The emphasis of the words is on sending a positive political message while transcending party lines. Fifteen year-old Ayanna Stokes, who joined the choir at age ten, sings the lead vocals. This isn’t the first time Ayanna has used her musical talent in a political arena, as she was also a featured soloist for programs honoring Dr. Martin Luther King Jr.

Stacy Peralta, an award winning documentary film maker known for such projects as Dogtown & Z Boys and Riding Giants, directed the video. While Matthews, of Little Engine Productions, who’s produced such high profile films like What Women Want starring Mel Gibson and Helen Hunt along with 13 Going On 30 starring Jennifer Garner and Mark Ruffalo, not only helped with the lyrics but did the producing. Their collaborative goal was to use music as an inspiration, while using the voices of kids, to encourage voters to consider children and their future when they cast their ballots. Despite the fact that the members of the choir are minors, who can’t vote on November 4th, their efforts on this production will ensure that they and their peers are represented. So listen to their voices and vote!

Willy Russel's Blood Brothers at the Whitefire Theater

This is a review by guest critic, Jeremy Lake.

Willy Russell’s BLOOD BROTHERS, continues to live on despite the 25 year span from its London debut. Bryan Rasmussen, directs this version of the Olivier Award-winning and Tony-nominated musical, at the Whitefire Theater in Sherman Oaks.

Rasmussen, successfully integrates a complicated testimony of the battle between British social hierarchies while using a talented, multi-ethnic cast of Los Angelenos . It’s an eerie correlation between the economic clash in the play to our country’s current financial crisis with this American cast.

This is the story of a struggling lower class mother, Mrs. Johnstone (Pamela Taylor) who burdened by financial strains gives up her newborn twin boys, Mickey and Eddie, to her barren upper class employer, Mrs. Lyons (Judy Norton). The twins, played by Eduardo Enrikez and Ryan Nealy, are raised in separate social classes despite growing up in the same neigborhood but through fate, become best of friends. Over the years, their bond is tested by economic stresses and the rivalry over the love of a woman named Linda (Sita Young).

The era of the play is noticeable in dialogue and musical style. However, it’s a bit like drinking a fine wine with new grapes from an old vine. One must note its history to appreciate the flavor.

The Whitefire production is well cast with plenty of musical talent. The set design of the stage is simple and open, with the musicians tucked away in the upper corners of the catwalk. The lighting arrangement is useful in dividing the stage into smaller sets for various scenes and the props are minimal so as not to distract the audience with the scurrying stage hands.

It’s definitely a smaller budgeted version of the play, nevertheless, the heart behind the performances is enough to keep the audience engaged. Of particular note, Eduardo Enrikez’s portrayal of Mickey is commendable. He captures the carefree joy of a young boy growing up on the inner city streets as his playground. He beautifully transitions this emotion into tragic hopelessness, as he ends up a broken and downtrodden man.

As it was the musical’s opening weekend, there were some kinks in the production such as issues with sound.  Some of the actors were mic’d and others were not, therefore at times it was difficult to hear the dialogue. Be careful though, if you lean forward to hear the actor’s interchange, the use of firearms in some scenes are very loud and can cause you to jump out of your seat, if you aren’t expecting it.

Overall, I expect this rendition of BLOOD BROTHERS, to be successful despite its opening weekend jitters. The play is long, with a 2 1/2 hour running time, but if you allow this powerful story to slowly boil and come to life, the payoff is a wonderful tear-jerker which will leave you emotionally satisfied as it has for audiences around the world for over two decades.

The play will run through November 23rd, with evening performances at 8pm on Fridays and Saturdays, along with matinee showings at 3pm on Sundays. The tickets are $25 dollars per seat and can be ordered at (866)811-4111.  The theater is located at: 13500 Ventura Blvd. Sherman Oaks, 91423.

For fathers who fool themselves, violence is the only truth.

Deano’s crime-free life comes with a frustrating price: A wife who doesn’t excite him and a son whose softness is embarrassing. What’s an ex-heavy to do? With ill-health advancing, our patriarch is forced to take stock of his swapped life sooner than he thinks when the elder son bursts onto the scene with some demons of his own.

There is perhaps no relationship more complex and combustible than that between father and son.

It’s a life bond based on honor and tradition, as much as it’s steeped in envy and competition. But let’s not diminish the ‘dames.’ This is a domesticated gangster yarn where women quietly take control by falling apart at the calculated time.

What transpires is a gripping sequence of intimate moments filled with confrontation, remorse and “yes!”, oral sex. Act I takes its sweet time assembling the chaos to come, where Act 2 plays like a fast motion fishbowl as the characters are crammed together knowing that an unlucky few will soon float on top.

The actors circle and stalk each other in a naturally stylized way, the only false moment occurs in a brief grapple between the male leads that has surely smoothed during the show’s run. Fine work by Stephen Gifford (Set Designer) who has created a cat & mouse maze allowing the players to dump their emotional baggage on different levels, as if plugging random holes in a sinking ship.

The cast ricochets off each other with gruesome glee. There are fine performances all around, as the character portrayals are seemingly divided into two groups: The fierce and the farcical — which lends an air of delightful unpredictability.

deSantos draws fine performances from all especially Laura Gardner (Ruth) whose boozy/bawdy portrayal of Deano’s 1^st wife is part Jean Smart, part bulldozer on brandy. Edward Tournier (DJ)the softer son that begs to beaten with his own lunchbox solidly plays off 2^nd act standout, Jack Maxwell (Rocco)Deano’s wayward heir who puffs and paces like a trapped animal too blind to realize the cage door swings both ways.

Both entertaining and engrossing “RAZORBACK” is Richard Fancy’s (Deano) show – embodying a man who must define his past in order to defy it. John Pollono (Playwright) builds a bold story where the onstage menace evokes real fear and stinging laughs – both in equal measure.

“RAZORBACK” was overwhelmingly chosen to be produced through ROGUE MACHINE’s unique festival event ‘Rogue’s Gallery Play Reading Festival’ and marks the 3rd main stage production (following the critically acclaimed West Coast Premiere of “AMERICAN DEAD” by Brett Neveu and Jeffrey Hatcher’s “COMPLEAT FEMALE STAGE BEAUTY” for LA’s most innovative new theatre company.

ROGUE MACHINE proudly presents the World Premiere of “RAZORBACK”written by John Pollono directed by Elina deSantos produced by John Perrin Flynn

ROGUE MACHINE 5041 Pico Blvd., LA, CA 90019

Performances thru Nov 2, 2008 — Thurs-Sat at 8pm/Sun at 7pm.

$25 Tix Call (323) 960-7726 or go to www.roguemachinetheatre.com

“Arpsnarpflarpbarpgarpnarpdarpmarp means, ‘I love you.’” If you’re an alien in Jonas Oppenheim’s debut musical Earth Sucks.

This latest stage play, from the award winning playwright, is a fun trip back to teenage love and an adventure with people from “a galaxy far, far away”.

“The story was inspired by The Carpenter’s song ‘Calling Occupants of Interplanetary Craft’ and David Bowie’s Ziggy Stardust concert”, said Oppenheim, during an interview after Sunday night’s show.

A large cast, of over a dozen characters, are squeezed onto the cozy Art|Works theatre stage. Echo Bell, played by Emily Stern, is an all American teenage girl. She’s tired of her loser boyfriend, sick of home life and thinks everything on Earth basically sucks. With her head in the stars, she’s visited by a runaway rock band from space, the Citizens of Earth.

Echo quickly and humorously falls in love with the band’s lead singer, played by Lucas Revolution. Along with help from Echo’s scientist father, wonderfully played by Christopher Fairbanks, they battle the most feared woman in the universe, Ulinia Swords. Ulinia, played by Nakia Syvonne, is a misunderstood solo artist from space who has sold her soul to the devil or, in this case, to an evil alien. The alien, with an extremely oversized cranium and lust for fame and fortune, has brainwashed Ulinia and is set on enslaving the universe using her hypnotic lyrics and melodies. Earth is the next stop on her sinister tour and now Echo and friends hold the world’s fate in their hands.

Earth Sucks is a campy musical with solid performances in ridiculous alien costumes. The original music is filled with funny lyrics and dances, uniquely performed through a successful fusion of a live rock band and a musical cast.

“I thought it would be funny to have a real band interacting in the play”, Oppenheim said. Everyone, including the back-up dancers and stage hands, are interwoven into the plot so the audience’s attention is never pulled away from the story during song/dance numbers.

Another difference with this musical, compared to many, is that the majority of the songs have an alternative 80’s rock sound that Oppenheim explains, “come from old songs I had written over the past 10 years while in a band, but hadn’t used.” This gives the whole production an indie feel that is fresh and enjoyable to watch and listen to.

The story of Earth Sucks is decently paced and what it lacks in suspense, it makes up for in sheer wit. My only qualm with the play is, at times, some of the banter and campy dialogue feels a bit juvenile in its level of humor. The overall story wraps up so hastily and nicely for the good guys in the end. Even Echo’s long absent mother, who has nothing to do with the plot, makes a random call home to reconnect with her abandoned daughter in the final scene.

Some of the content and language would prevent this show from being considered suitable for children but I would gladly recommend it to anyone else, as a welcome escape from the daily norm and status quo of life here on Earth.

Art|Works Theatre 6569 Santa Monica Boulevard Hollywood, CA 90038

General Admission $25/Students $15

Oct 4th- Nov 2nd Fri & Sat 8pm/Sun 7pm

Get tix @ www.earthsucksmusical.com or call (323) 960-7744

The Nightmare Before Christmas cast enjoying their 3-D premiere!

Tim Burton’s The Nightmare Before Christmas, is playing in Hollywood this weekend at Disney’s El Capitan Theater. To make this Halloween entertainment even more exciting, they’ll be showing this version in 3-D!

I’ve never been to this venue but its reputation has me intrigued. I’ve heard it’s quite an experience. I’ve also been told it’s worth it to pay the extra price for a VIP ticket, so I bought one. The price was $22 dollars, along with a $2 dollar processing fee.  Included in the cost will be a drink, popcorn and a reserved seat I chose myself on the El Capitan website.

After seeing the Haunted Mansion at Disneyland decked out in Nightmare style, I wanted to see this movie again, especially with the added effects. You can enjoy them too, as the film will be playing there from the 16th to the 22nd. You’ll have another opportunity on the 30th and on Halloween night. Wouldn’t that be an ideal way to get your tricks and treat!

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Entering Knott's Halloween Haunt.

For young children or for those of you who are young at heart, Disneyland during Halloween is ideal. However, for those of you that prefer a little more terror in your All Hallow’s Eve, then perhaps Knott’s Scary Farm is the “it” place to be.

Knott’s Berry Farm is celebrating the 36th year of its annual Halloween Haunt. It’s an autumn celebration of all things horror. The Haunt, with its realistic ghouls and nightmarish apparitions, is definitely not for children under thirteen or for those of you that are feint of heart. But it’s definitely for die-hard fans of fear.

The park is full of attractions and monsters willing to get your heart racing. Every aspect of the park becomes your worst nightmare or perhaps your best thrill. Knott’s is known for their extreme rides so adding the horror factor just ups the ante.  

A pair of ghouls help with Halloween!

There’s a maze there that makes the movie Children of the Corn seem tame, especially because you’re not lounging at home in front of the TV. Instead your dodging creatures of the night and getting lost in the darkness which makes it all the more fun.

The event, of course, is only open at night and pre-sale tickets are a little cheaper than buying the day of the event. The tickets range from around $48 dollars to about $53. It’s a reasonable price to pay to find your inner fear factor.

The park can get extremely crowded, if you go at the wrong time. However, Ultimatehaunt.com has tips to help you enjoy the experience better. They tell you what nights are best and give pointers on how to choose which attractions you’d like to participate on.

Knott’s Berry Farm is located near the 91 and the 5 Freeways in Buena Park. So if your up for a little fear or just seeking a thrill, head down to Knott’s Scary Farm to celebrate Halloween! 

Knott’s is located at: 8039 Beach Blvd
                                  Buena Park, California 90620

Halloween at Disneyland!

It’s my favorite time of year, Halloween! Ghosts, witches, skeletons and best of all candy. What better place for the child in you than to spend it at Disneyland?

On Friday, September 26th, the happiest place on earth kicked off the holiday season with their tribute to Halloween. The focal point of the day was at the Haunted Mansion which has gone through a transformation in honor of Tim Burton’s Nightmare Before Christmas. Every aspect of the mansion, from the exterior to the ride itself, glorifies the eccentric but lovable film.

For those of you that love Jack Skellington and are a fan of Tim Burton’s animated movie honoring Halloween and Christmas, you’ll find Disneyland did a fantastic job in its dedication. This annual metamorphosis of the mansion was well attended not only by the public but a conglomerate of radio stations broadcasting live from just outside the mansion. These broadcasters came from all over the state, from Sacramento and Fresno in the north to San Diego in the south.

Not only is the mansion decked out for Halloween but the entire park as well, from the parking structure to the popcorn vendors, there are Halloween decorations galore. The letters “A” in the California Adventure sign have been turned into giant candy corn in the signature triangular yellow and pale orange stripes plus everywhere you look there are pumpkins. Even the popcorn machines have a little goblin inside them turning and churning the mixture. You can also indulge in decorated treats as the candy shop has plenty, including candy apples, festooned in edible Halloween decor.

In October, the park is also offering a special event called Mickey’s Trick-or-Treat Party. This is ideal for parents with children, especially young ones. It’s held at California Adventure and costs $29 dollars per ticket, if purchased in advance. There will be trick-or-treating, crafts and special activities, along with your favorite characters dressed for the occasion. Attendance is limited and some of the dates have already sold out. The price is perfect and affordable for families and includes free parking for one vehicle.

If you’re a Halloween fanatic like myself or you just love Disneyland, take a trip on down to the Magic Kingdom this holiday season!

Gaining most of their mainstream popularity from scoring the film, Little Miss Sunshine, DeVotchKa had finally been able to reach the masses with their unique take on American punk and folk roots. This four piece band, however, goes far beyond what’s expected of a rock band. Exhibiting their credibility, all multi-instrumentalists flourish together as they weave in and out of Greek, Mariachi, and Slavic notes. I wondered, will Los Angeles embrace them tonight as much as world music lovers or those so called sophiticated hipsters? I was about to find out.

As always, there is an opening act and they always go on a whole hour after you get there. (Tip: If a concert at the El Rey is to start at 8, get there before 9.) The opener of the night was Rupa & the April Fishes, a band who I really found myself to enjoy. It’s always interesting to think about how the headliner chooses their warm up the crowd band. Most of the time, the opener plays a similar style or genre and tonight was no different. Rupa & the April Fishes exuded a similar world music sense in her French lyrics and the band’s pulsating rhythms which spanned from Latin to Indian to Gypsy. There was a particular growl in Rupa’s voice that made me admire her musical aggression but their music also had enough of a swing to it that I could imagine their CD filed between my Amélie and Fiddler on the Roof soundtracks. (Yes, at some point, I did own a Fiddler on the Roof soundtrack.)

Another thing about most concerts and particularly the El Rey, is that there is at least a half hour wait after the opening act. After the first band has warmed you up, do what you have to do before the main act takes the stage. Wait in a ridiculous long line for the bathroom (sigh… the downfalls of being a female), or go out and get some fresh air in the small roped off section where smokers will eliminate any hopes of executing that plan.

After I paid two dollars for two cups of tap tasting water, DeVotchKa finally took the stage and they took it by storm. The violin was enchanting, the drums were never played with such a balance of delicate dynamics and powerful drive, the accordian transformed into a cool instrument, and I was completely surprised with the brightly lit sousaphone (a wearable tuba – one with red Christmas lights this night) and string quartet. The lighting was dramatic as their sound and the vocals of lead singer, Nick Urata, (who happened to be the very good looking man I had mistaken to be some sort of Latin soap opera star during the break) were just so on point to top off the orchestrations underneath. Watching the band members continuously switching instruments kept my attention as well. There was even a tapestry trapeze artist to introduce us to the encore’s first song. Fitting, although the acrobatic moves were a bit distracting and the music was no longer the feature of the moment.

As they played their Little Miss Sunshine hits, “The Winner Is” and “How It Ends,” fans roared with approval and as the band continued to play their multi-instrumentalist arrangements, I imagined scenarios within a film’s plot line. I was able to pick a certain chord progression in my head and match it with a particular theme or choose a crescendo-filled chorus and pair it up with a dramatic turning point. And friends, if you can do that with music as it swirls around you, that’s what it’s all about. The music has served a great purpose.

Photo by OtterFreak

Free theater performances, catered food and wine, kids scene, marketplace, live music and a whole lot more. Get there early - the tickets go fast!

Free theater performances take place between 11 am and 6 pm.  Tickets will be available at the Ticket Booth at Theatre Circle (on Lankershim Blvd., just south of Magnolia) and will be given away starting at 11 am on a first-come, first-served basis.

Relax at the Food and Wine Garden while watching great entertainment on the Outdoor Stage (no tickets required) between 11am and 8 pm.

Visual artists will take over Lankershim Boulevard, creating an Artists Village.  Walk through a beautiful blend of art and experience how art is made - LIVE! - at the demonstration booth.

Kids Scene is where 7 to 14-year olds can check out the latest dance steps; learn how to sing or play an instrument; or take a free acting class.

Stroll through the NoHo Scene Marketplace to discover treasures and discounts from local merchants and one-of-a-kind boutiques.

NoHo is North Hollywood’s unique Arts District, home to over 30 theaters, dance and music studios and art galleries.  Lankershim Boulevard will be closed to traffic between Magnolia and Hesby for the event.  Double Decker buses will shuttle visitors to theaters not within walking distance.

Highlights of the NoHo Scene include:

THEATER: Free performances will be offered throughout the day between 11am and 6pm and include a sampling from 16 theaters and acting companies, including several full-length plays:

• Actors Forum Theatre
  • the Tony Award-winning The Belle of Amherst, playwright William Luce’s stunning theatrical event based on the life and poetry of Emily Dickinson, directed by Tony Sears and performed by Kate Randolph Burns. (Full-length matinee)
• Actors Workout Studio
  • Musical numbers from the Whitefire Theatre’s upcoming production of Willy Russell’s long-running West End hit musical, Blood Brothers
  • Dina Morrone’s solo show The Italian in Me, an accelerated full immersion Italian lesson about Cinema, Sex, Saints and Frederico Fellini
• Antaeus Theatre Company
  • Lovers, Gamblers and Fools, a full-length program of three classic one-acts: Infancy by Thornton Wilder; Hello Out There by William Saroyan; and Welcome Home, Bus Riley by William Inge.  (Full-length matinee)
• Avery Schreiber Theatre
  • Total Improv for Kids is a one of a kind school that uses the art of theatrical improvisation to offer kids a fun and exciting means of tapping into and expanding their imaginations. (Longform improv)
  • One Night Stands, the Sex Comedies is made up of eight vignettes hosted by an alcoholic Cupid who has given up making people fall in love. There is no nudity. 18+ only.
  • Sphere presents the first in a pair of comically tragic one acts collectively titled Little Black Lies. The Ointment by Steve Stajich is a new-fashioned morality play in which the bad guys just might not live happily ever after.  (One act)
• Deaf West Theatre
  • ASL Story Time - Professional deaf actors perform well-known children’s stories in American Sign Language, with spoken English translation for hearing children and parents.  Audiences learn new signs and how to change written words into living characters.
  • NeO-FiEd - a modern variety show with a fresh hip twist that will introduce NoHo Arts District to the next generation of top performers - twelve incredibly talented 14 to 17-year olds.  An afternoon of singing, dancing, comedy sketches, hip-hop, pop and rock ‘n roll.
• El Portal Theatre
  • Carol Lawrence and Donna McKechnie

  will make an appearance on the Outdoor Stage, where Los Angeles City Councilmember Tom LaBonge will present the two Broadway legends with a special award for their contribution to American Musical Theatre.  Later this month, they will perform together in the West Coast premiere of Girl’s Room at NoHo’s historic El Portal Theatre.

WHEN:
Sunday, October 5 from 11 am - 8 pm

WHERE:
NoHo Arts District in North Hollywood.

• Lankershim Blvd. will be closed to traffic between Magnolia and Hesby
• Free theater tickets at the Ticket Booth just south of Magnolia starting at 11 am on a first-come, first-served basis.  Get there early - the tickets go fast!  (No tickets necessary for the Outdoor Stage, Kids Scene Pavilion, Artists Village or Marketplace.)

ADMISSION:
All events and activities are Free

PUBLIC TRANSPORTATION:
The Metro Orange and Red Lines take you right to NoHo.
(Use the Metro Trip Planner at www.metro.net)

INFORMATION:
818-980-6646 (818-980-NoHo) or www.nohoartsdistrict.com

Being given the chance to interview an innovative and amazing talent like Al Doyle is a dream for any music enthusiast.  A truly significant part of the awesome, quirky and danceable Hot Chip and a critical piece of LCD Soundsystem, Al Doyle makes great music and is a well spoken music buff.  BeatCrave had the opportunity to join in on a conference interview with other music writers nationwide on Wednesday, September 17.  Knowledgeable music writers and the, dare we say, genius of Al Doyle should have been the perfect combination for a well rounded, in-depth look at one part of the awesome Hot Chip.  Unfortunately, no, interestingly, the combination resulted in a voyeuristic experience in music snobbery, technical difficulty and a Britt’s uncanny ability to make it all worthwhile.

All good stories start, where they should, at the beginning.  Calling into a conference interview is like visiting a speak-easy on the phone: one must give a code, wait for an indeterminable amount of time and then, suddenly, a voice let’s you enter the forum while introducing Al Doyle. No one but Al Doyle can be heard unless it is your turn to ask a question and depending on how quickly one dials *1 determines when the opportunity to ask a question will be granted.

For a while it seemed no one was going to say anything, and so Al Doyle simply started talking.  First Doyle spoke about the hold music which reminded him of being on hold for the bank then about the awkwardness of the silence.  Finally, a person was given the chance to ask a question.

“What is the main difference between being a part of Hot Chip and being a part of LCD Soundsystem?” Asked the interviewer?

“That’s a good question.” Stated Doyle, “LCD Soundsystem is certainly more of a dictatorship.  James Murphy is the final say in what happens with LCD Soundsystem.  Hot Chip, on the other hand, is more of a democracy, with some members feeling they have say in that democracy than others.”

Good.  First question underway, things are going in the right direction.  Hoping I would be next in line (I did, after all, push *1 quite quickly), I was preparing to ask my well thought out question, one that I just knew other people were curious about when…

Silence.  Silence and then, more silence.  Al Doyle, started talking again.  This time about the sunny weather in Los Angeles and then about the fact that it’s a good thing this interview wasn’t on the radio because dead air was a definite taboo.  Then more silence.

The silence was broken by the interview coordinator,”Next question will be asked by Steven So Cool” (to save the reputation of this person the name has been changed, you know who you are).

“Your music is so clever and has a great sense of humor; do you find it easy or difficult to continuously meet this high standard of writing?” asked Steven So Cool.

Al Doyle responded, “I don’t have much to do with the lyrics.  I—”

“I know, I know.  I meant if you found it difficult to make music to match the clever humor of the lyrics.  I have been a fan of Hot Chip for a long time.”

Al Doyle went on to answer this question and was, yet again, interrupted by Steven.

“You guys definitely have fun on stage,” commented Steven.

“Yeah. We—”

“I mean, people are so surprised when they leave your show that they danced at a concert.  I mean this guy and his girl will come out and the guy will be like ‘whoa’ I danced at a concert.  I live in Chicago and…”

Steven So Cool goes on, and on, asks another question, interrupts and goes on and on.  It became a bit confusing as to who this interview was really about.  Finally through the wonder of a “technical difficulty” Steven was cut off and someone else (no, not me) was given the opportunity to ask a question.

More questions were asked and then Sue So Scene (not her real name but, again, you know who you are). Stated the following:

“Hot Chip is part of the large movement of electro pop music.  How do you feel about the bands that primarily use technology to create music?”

“Synthesizers have been for a long time.” Al Doyle informed.  ”Depeche Mode, New Order, etc. have used synthesizers in their music.  I don’t know if this is necessarily a new, new wave, it’s more of a continuation and evolution of music —”

“Yes, but I mean bands that use only technology and don’t play instruments.  I saw Mogwai last night (so what.) and this band Fuck Buttons —”

“Yeah, yeah, I know Fuck Buttons, they were playing with—”

“You know Fuck Buttons, oh, huh.  Well, I had to close my eyes for a while during their set to try and appreciate what they were doing. But, I mean, they don’t play any instruments.”

Al Doyle, once again, graciously answered Sue So Cool’s rudely phrased “question” and the interview continued with someone else being given a turn to ask a question (fingers crossed but still, not me).

“Maybe I won’t get cut off this time.” What the heck? Steven was back and I still had yet to ask my super cool question.  Steven cut in front of me and was now bogarting more of our precious time with Doyle.  Steven went on and on and on about something to do with his fandom and reassured all of us that he was a bigger fan of Hot Chip, knew more about the band and was far more knowledgeable about all things music than any of us possibly could be.  Lame.

More people asked questions and Al Doyle answered all of them with wit and intelligence.  Never, however, was my amazing question given the opportunity to find its way into the forum. Then, without pomp or circumstance, Al Doyle simply stated, “I am hanging up the phone now, cheers.”

And so it ended.  It was fun really, to learn all about Steven’s amazingly vast knowledge of Hot Chip and Sue’s experience at the Mogwai concert.  That was the purpose of the call anyway, wasn’t it?

Fortunately, Al is a gracious interviewee and even with the overwhelming arrogance of Steven and Sue, was able to get one thing through to us quite clearly, Hot Chip is about fun and, if it wasn’t fun, he wouldn’t be doing it. Take a lesson Steven So Cool and Sue So Scene, music is for enjoyment and never should be used as a tool to “prove” your coolness (not that it was proven).

As for my awesome question: next time I’ll push *1 much, much faster.

Enjoy all of Hot Chip, without Steven or Sue (I hope, for everyone’s sake), this Sunday and Monday night at The Wiltern (Map) at 8:00 (buy tickets).  Also, take a listen to their awesome new live EP, “iTunes Live: Berlin Festival” exclusively on iTunes

Photo by: Redheadwalking

We have always been told not to judge a book by its cover, but we are all guilty of doing it, and we are victims of others’ judgments. So if people are going to judge regardless, I might as well have a little fun with it and share my own judgments with you. In this new series, I will tell you what I think about a music artists’ choice of fashion and what it seems to say about them. Not wasting any time, I will be starting off this series with a group whose song about what they want to be when they grow up has successfully been playing in my head for the past week.

The Pussycat Dolls, whose song, “When I Grow Up,” can be heard blasting on the radio, say they are all about self-confidence and female empowerment, but what is so empowering about the way they dress?

With bras, garters, and hosiery as their replacements for tops and pants, I would say that this group is degrading itself, rather than striving for the respect they deserve. It is hard to take them seriously as a musical group, much less an icon for female empowerment, when all they seem to be promoting is sex.

With skirts and tops that look more like leftover scraps of fabric than actual garments, the Pussycat Dolls appear more trashy than classy.

It is understandable that as a burlesque dance troupe, such racy, body-baring clothes would seem appropriate. However, now that the group has been re-cast as a recording act, don’t their outfits deserve a make-over too? As their name implies, they are supposed to be flirty and sexy gals, but why sacrifice classy for sexy when you can have both?

There are many young girls who look up to this group, and society does not need any more scantily-clad teen girls than there already are. If you want to represent true female empowerment, trade in the undergarment for a sexy bandage dress like that of Rihanna (see picture) or a body-hugging corset dress. These dresses still exudes sexiness and confidence with their body-hugging sillohuette, but rather than looking like a highly-paid hooker, you will look like the star you want to be.