On November 10, I went to see Conor Oberst and the Mystic Valley Band
perform at the 9:30 Club in D.C. Oberst (formerly the lead singer of
Bright Eyes) and his fellow band members gave the crowd an hour and
forty-five minutes of quality music and intelligent conversation as they
jumped around on stage and snuck in a few comments on the recent
political events.
Before singing Corina Corina, a Bob Dylan cover, Oberst dedicated the
song to “our adopted homeland, Mexico” and voiced his strong feelings
against building a wall along the U.S./Mexico border. To introduce the
song “I Don’t Want to Die (In the Hospital)” he commented, “Maybe if
they give us health care then we can afford to die in a hospital.” His
comments were met with mostly positive cheers from the seemingly
pro-Obama crowd.
The relatively small 9:30 Club was packed with Oberst fans young and
old, all cheering in response to Oberst’s songs and statements. It was
interesting to see people of so many different races and ages reacting
similarly to Oberst’s political views. I left the concert appreciating
that Oberst didn’t find it necessary to censor himself to please others –
he spoke his mind like he should in our democratic country with freedom
of speech. He spoke to his fans like equals rather than speaking down
to them or ignoring what the true pressing issues of today are.
If you’re interested in checking out Conor Oberst and the Mystic Valley
band in action, NPR.org has the entire concert available to listen to.
http://www.npr.org/templates/story/story.php?storyId=97559029#stars
Also here’s a video from the concert with Oberst performing two of the
songs from his album, NYC and Souled Out:
http://www.youtube.com/watch?v=Zpr3pJFpL3o&feature=related
Monday, December 8, 2008
Thursday, December 4, 2008
Oberst and Mystic Valley Band at the 9:30 Club
On November 10, I went to see Conor Oberst and the Mystic Valley Band
perform at the 9:30 Club in D.C. Oberst (formerly the lead singer of
Bright Eyes) and his fellow band members gave the crowd an hour and
forty-five minutes of quality music and intelligent conversation as they
jumped around on stage and snuck in a few comments on the recent
political events.
Before singing Corina Corina, a Bob Dylan cover, Oberst dedicated the
song to “our adopted homeland, Mexico” and voiced his strong feelings
against building a wall along the U.S./Mexico border. To introduce the
song “I Don’t Want to Die (In the Hospital)” he commented, “Maybe if
they give us health care then we can afford to die in a hospital.” His
comments were met with mostly positive cheers from the seemingly
pro-Obama crowd.
The relatively small 9:30 Club was packed with Oberst fans young and
old, all cheering in response to Oberst’s songs and statements. It was
interesting to see people of so many different races and ages reacting
similarly to Oberst’s political views. I left the concert appreciating
that Oberst didn’t find it necessary to censor himself to please others –
he spoke his mind like he should in our democratic country with freedom
of speech. He spoke to his fans like equals rather than speaking down
to them or ignoring what the true pressing issues of today are.
If you’re interested in checking out Conor Oberst and the Mystic Valley
band in action, NPR.org has the entire concert available to listen to.
perform at the 9:30 Club in D.C. Oberst (formerly the lead singer of
Bright Eyes) and his fellow band members gave the crowd an hour and
forty-five minutes of quality music and intelligent conversation as they
jumped around on stage and snuck in a few comments on the recent
political events.
Before singing Corina Corina, a Bob Dylan cover, Oberst dedicated the
song to “our adopted homeland, Mexico” and voiced his strong feelings
against building a wall along the U.S./Mexico border. To introduce the
song “I Don’t Want to Die (In the Hospital)” he commented, “Maybe if
they give us health care then we can afford to die in a hospital.” His
comments were met with mostly positive cheers from the seemingly
pro-Obama crowd.
The relatively small 9:30 Club was packed with Oberst fans young and
old, all cheering in response to Oberst’s songs and statements. It was
interesting to see people of so many different races and ages reacting
similarly to Oberst’s political views. I left the concert appreciating
that Oberst didn’t find it necessary to censor himself to please others –
he spoke his mind like he should in our democratic country with freedom
of speech. He spoke to his fans like equals rather than speaking down
to them or ignoring what the true pressing issues of today are.
If you’re interested in checking out Conor Oberst and the Mystic Valley
band in action, NPR.org has the entire concert available to listen to.
Papermoon Possibilities
by Caitlin Reidy
The PEZ containers shelved across the wall of the entry way sent a slight hint I was not stepping into an average diner. The Papermoon Diner, located at 227 W. 29th Street in Baltimore, offers a delicious variety of food and an entrancing atmosphere.
At first glance, no one would be capable to take in all the restaurant’s atmosphere has to offer. What struck me first were the walls, each painted in a different vibrant color. Plastered on the walls and drooping from the ceiling is almost anything and everything imaginable. Too name a few: action figures, chairs, dolls, doll houses, baskets, and a sled. Even the fans are decked out in unique décor, with the blades covered in assorted buttons. No table is hand painted with the same design; no one chair matches the next. One cannot possibly notice all of the decorations the first time through. I would know; a bald mannequin I didn’t notice at first scared me half to death as I exited the restroom.
The food ranges from breakfast dishes to sandwiches to diner dinner favorites. The service is fast paced and helpful. Living on a college budget, I found the pricing very affordable. If you are looking for a new place to eat, I recommend Papermoon Diner. You’ve probably never seen anything like it.
The PEZ containers shelved across the wall of the entry way sent a slight hint I was not stepping into an average diner. The Papermoon Diner, located at 227 W. 29th Street in Baltimore, offers a delicious variety of food and an entrancing atmosphere.
At first glance, no one would be capable to take in all the restaurant’s atmosphere has to offer. What struck me first were the walls, each painted in a different vibrant color. Plastered on the walls and drooping from the ceiling is almost anything and everything imaginable. Too name a few: action figures, chairs, dolls, doll houses, baskets, and a sled. Even the fans are decked out in unique décor, with the blades covered in assorted buttons. No table is hand painted with the same design; no one chair matches the next. One cannot possibly notice all of the decorations the first time through. I would know; a bald mannequin I didn’t notice at first scared me half to death as I exited the restroom.
The food ranges from breakfast dishes to sandwiches to diner dinner favorites. The service is fast paced and helpful. Living on a college budget, I found the pricing very affordable. If you are looking for a new place to eat, I recommend Papermoon Diner. You’ve probably never seen anything like it.
L'Expérience Française
by Trisha Lombardo
When it comes to a college student’s potential dining spot there are three criteria that need to be met. First, is it affordable? We are all living on a budget here at school and blowing twenty five or thirty dollars just to eat simply will not do. Secondly, the meal has to be filling. There’s nothing worse than paying for food and leaving the restaurant feeling almost as hungry as you did walking in. And the most important of the three, it has to taste great! If you do not like what you’re eating, there’s no point in eating it. So, where in Baltimore can you look to get all of this and still be able to experience a foreign culture? Look right down North Charles Street for Sofi’s Crepes. Sofi’s Crepes is a cozy little dining retreat that takes you away from the usual Italian or American cuisine that is found on almost every street corner of Baltimore. With two locations on North Charles Street that can be found open Monday through Saturday, and one of them being right in the theatre district, it could not be a more convenient stop. Crepes, which are traditionally a French cuisine are very thin pancakes made of wheat flour. That does not sound filling in the least I know, but owner Ann Costlow proves you wrong because that is where her menu comes in. You have the choice of either savory, which are the meal crepes, or sweet, which are the dessert crepes. The selection of savory crepes range from “The Godfather”, which is stuffed with pepperoni, mozzarella, salami, roasted red peppers, and spinach, to a basic crepe filled with ham, gruyère, and Dijon mustard; none of which exceed eight dollars. When it comes to the savory crepes, you can indulge in the sweetness of Nutella, caramel, cinnamon, and many more which are combined into a list of delectable dessert options that peak at six dollars. With such a flavorsome and inexpensive menu, the atmosphere of Sofi’s Crepes only adds to its’ appeal. The best part about the welcoming, warm environment is that as you wait for your order, you can watch it being prepared right in front of you. Sofi’s Crepes provides you with location, atmosphere, foreign culture, affordability, and most importantly flavor. So, next time your stomach is craving something filling and foreign go to Sofi’s and pick up a crepe, it is a trip you will not regret. Bon appetite!
When it comes to a college student’s potential dining spot there are three criteria that need to be met. First, is it affordable? We are all living on a budget here at school and blowing twenty five or thirty dollars just to eat simply will not do. Secondly, the meal has to be filling. There’s nothing worse than paying for food and leaving the restaurant feeling almost as hungry as you did walking in. And the most important of the three, it has to taste great! If you do not like what you’re eating, there’s no point in eating it. So, where in Baltimore can you look to get all of this and still be able to experience a foreign culture? Look right down North Charles Street for Sofi’s Crepes. Sofi’s Crepes is a cozy little dining retreat that takes you away from the usual Italian or American cuisine that is found on almost every street corner of Baltimore. With two locations on North Charles Street that can be found open Monday through Saturday, and one of them being right in the theatre district, it could not be a more convenient stop. Crepes, which are traditionally a French cuisine are very thin pancakes made of wheat flour. That does not sound filling in the least I know, but owner Ann Costlow proves you wrong because that is where her menu comes in. You have the choice of either savory, which are the meal crepes, or sweet, which are the dessert crepes. The selection of savory crepes range from “The Godfather”, which is stuffed with pepperoni, mozzarella, salami, roasted red peppers, and spinach, to a basic crepe filled with ham, gruyère, and Dijon mustard; none of which exceed eight dollars. When it comes to the savory crepes, you can indulge in the sweetness of Nutella, caramel, cinnamon, and many more which are combined into a list of delectable dessert options that peak at six dollars. With such a flavorsome and inexpensive menu, the atmosphere of Sofi’s Crepes only adds to its’ appeal. The best part about the welcoming, warm environment is that as you wait for your order, you can watch it being prepared right in front of you. Sofi’s Crepes provides you with location, atmosphere, foreign culture, affordability, and most importantly flavor. So, next time your stomach is craving something filling and foreign go to Sofi’s and pick up a crepe, it is a trip you will not regret. Bon appetite!
Friday, November 14, 2008
Baltimore Dishes.. They'll Grow on You
Trying to find the one meal that is Baltimore? You know, the one all natives devour? Look no farther. It doesn’t exist. Baltimore brews diversity; the cultural menu seems endless. No one person, culture, or dish can give you a taste of all Baltimore has to offer. If you blend them together, though, Baltimore will emit a spice like no other city.
One uniting ingredient sprinkles itself atop all Baltimorean dishes. No, not Old Bay. Culture.
You are what you eat. Become Baltimore.
One uniting ingredient sprinkles itself atop all Baltimorean dishes. No, not Old Bay. Culture.
You are what you eat. Become Baltimore.
ENCOUNTERING WEST AT THE BMA
An exhibition of the work of the contemporary Austrian artist Franz West opened at the Baltimore Museum of Art on October 12, 2008 and will be on display until January 4, 2009. The exhibition is called To Build a House You Start with the Roof: Work 1972-2008. Having visited the museum, I can say that this collection is thought-provoking, to say the least.
I think Franz West makes everyone rethink the idea of art. We live in a modern, technological world that is pushing boundaries in so many ways, and we seem to think that we are comfortable with the world of contemporary art as a natural extension of our modern world. After all, we understand that art is a form of expression, and we live in a forward-thinking society. But Franz West’s work threw me off guard. His art confronted and startled me—sometimes in a positive and unexpected manner but more often in an uncomfortable manner. Apparently, I do have certain expectations of what art should be, and I would assert that we all share this to a certain extent. Therefore, walking through and reflecting on this exhibit offers a challenging and interesting experience for those who dare to take on West’s works.
I can appreciate many of West’s pieces as works of art. His sculpture The Ego and the Id impressed me the most. It is composed of two colorful sculptures of aluminum welded together in such a way as to form a kind of angular piping that soars roughly two stories up into the air and then curves into steep dives back to the floor wherein the sculpture either ends in the form of a seat or turns back up to the ceiling only to plunge down once again. This work is whimsical and fun to contemplate. One woman described it as “Seuss-like,” and I couldn’t agree more. But perhaps what is most striking about this work and West’s art in general is its interactive quality. This sculpture was meant to be walked through, touched, and sat upon. West invites you to participate in a lot of his work; it is as if you are supposed to be part of it.
This interactive quality is something unconventional and surprising. That people are expected to physically engage with his work challenges our understanding of art. We are used to being on the outside of a piece of art, but West literally brings you into many of his. The most extreme example of this is a collection of pieces called Adaptives. It consists of four heavy, irregularly shaped, plaster forms with metal rods stuck through them. You are supposed to take an Adaptive with you into a little room with a mirror and essentially play around with these strange objects. I gave it a fair try, but it was an awkward experience. The Adaptives were somewhat difficult to handle, and I felt lost trying to interact with them. Perhaps this is the feeling West wants to produce, yet I could not help but think to myself, “Is this art? Could swinging around a rod skewering a blob of plaster be art? I feel like an idiot.” One thing is for certain, he presents a strange and provoking approach to the concept of art.
While I was making my way through the exhibit, the question “Is this art?” popped into my head on several occasions, and I do not think this would be an uncommon reaction among most people. A number of his smaller sculptures look like something an elementary class might turn out after a paper mâché lesson, and I was not always sure as to what to make of his non-sculptural work either. It is often sexual in nature and features distortions and perversions of the human body. Depending upon the piece and your perspective, these works could seem disturbing, humorous, or a combination of both. Franz West is an artist with no limits. You never know what you may find among his pieces. His works are undoubtedly original and often larger-than-life. Most importantly, West’s work has the potential to change the way you think about art.
I think Franz West makes everyone rethink the idea of art. We live in a modern, technological world that is pushing boundaries in so many ways, and we seem to think that we are comfortable with the world of contemporary art as a natural extension of our modern world. After all, we understand that art is a form of expression, and we live in a forward-thinking society. But Franz West’s work threw me off guard. His art confronted and startled me—sometimes in a positive and unexpected manner but more often in an uncomfortable manner. Apparently, I do have certain expectations of what art should be, and I would assert that we all share this to a certain extent. Therefore, walking through and reflecting on this exhibit offers a challenging and interesting experience for those who dare to take on West’s works.
I can appreciate many of West’s pieces as works of art. His sculpture The Ego and the Id impressed me the most. It is composed of two colorful sculptures of aluminum welded together in such a way as to form a kind of angular piping that soars roughly two stories up into the air and then curves into steep dives back to the floor wherein the sculpture either ends in the form of a seat or turns back up to the ceiling only to plunge down once again. This work is whimsical and fun to contemplate. One woman described it as “Seuss-like,” and I couldn’t agree more. But perhaps what is most striking about this work and West’s art in general is its interactive quality. This sculpture was meant to be walked through, touched, and sat upon. West invites you to participate in a lot of his work; it is as if you are supposed to be part of it.
This interactive quality is something unconventional and surprising. That people are expected to physically engage with his work challenges our understanding of art. We are used to being on the outside of a piece of art, but West literally brings you into many of his. The most extreme example of this is a collection of pieces called Adaptives. It consists of four heavy, irregularly shaped, plaster forms with metal rods stuck through them. You are supposed to take an Adaptive with you into a little room with a mirror and essentially play around with these strange objects. I gave it a fair try, but it was an awkward experience. The Adaptives were somewhat difficult to handle, and I felt lost trying to interact with them. Perhaps this is the feeling West wants to produce, yet I could not help but think to myself, “Is this art? Could swinging around a rod skewering a blob of plaster be art? I feel like an idiot.” One thing is for certain, he presents a strange and provoking approach to the concept of art.
While I was making my way through the exhibit, the question “Is this art?” popped into my head on several occasions, and I do not think this would be an uncommon reaction among most people. A number of his smaller sculptures look like something an elementary class might turn out after a paper mâché lesson, and I was not always sure as to what to make of his non-sculptural work either. It is often sexual in nature and features distortions and perversions of the human body. Depending upon the piece and your perspective, these works could seem disturbing, humorous, or a combination of both. Franz West is an artist with no limits. You never know what you may find among his pieces. His works are undoubtedly original and often larger-than-life. Most importantly, West’s work has the potential to change the way you think about art.
Invisible Inc.
As one of the most notable young spoken word poets, George Watsky has earned his title of “Undisputed Back-Talk Champion” on many instances, being a six-time Youth Speaks Grand Slam finalist and also as a feature on season six of Russell Simmons Presents Def Poetry. Beginning at the age of sixteen, the charismatic performer has been bringing his unique blend of teenage angst and profound political insight to new heights, even performing at both the Democratic and Republican National Conventions this year. Watsky has also used his influence to promote environmental activism, working with Robert Redford at Sundance and also with Greenbuild Chicago.
Born in San Francisco, CA, Watsky now operates mainly out of Boston, where he attends Emerson University. While not in class, Watsky tours colleges and universities across the country performing poetry, promoting his respective causes, and beefing with look-alike/George Watsky impersonator Michael Cera. Even outside of his native context, Watsky’s work has translated and manifested itself in new and exciting forms including: a one man stage show called “So Many Levels”, a book and CD set titled after his moniker of “Undisputed Back-Talk Champion”, and his genre-defiant rap group Invisible Inc.
Invisible Inc. was formed in 2007 when Watsky recorded the band’s debut CD with fellow Bay Area performers Daniel Riera and Max Miller-Loran. Riera, a student at Berklee College of Music, is the bands producer, flutist, and bassist – offering an eclectic blend of top-production computer loops and expert musicianship. Featured at both the San Francisco Jazz Festival and the San Jose Jazz Festival, Riera sports an impressive repertoire which includes being named a Young Jazz Composer by the Association of Songwriters, Composers and Publishers in 2004.
From left to right: Max Miller-Loran, Daniel Riera, and George Watsky (not Michael Cera)
Watsky, of course, brings his sharp-witted tongue and playful diction to the group as lead emcee. Together, the group takes on a unique sound combining the creative juices of hip-hop and jazz to make a delicious cocktail for the ear. Their superb musical talent is showcased in such songs as “Five Finger Discount”, a song entirely in 5/4 time, all the while Watsky’s rapping flirts more with poetry than mainstream hip-hop. “We’re taking it back from whack Cadillac dudes bustin’ shots over silly crap (brrrrrrrrrrat) are you seriously feelin’ that? Let us take a crack at it.” Miller-Loran wonders on the groups’ self-titled debut, showing separating Invisible Inc. from the endless flow of disposable “gangsta” rappers who dominate the scene today. After all, what’s so gangsta about suburban white musicians from San Fran fronted by a half-Jewish emcee with a lisp? N.W.A. never had a flutist.
Invisible Inc. also delves into the realm of politics, offering the insight of three young minds on the forefront of their respective creative engines. The groups’ message is understandably liberal, given their college roots in the Democratic Northeast and pro-green ideals – but their opinions are well-formed and mature. Still skeptical? Check out Invisible Inc.’s self-titled debut on iTunes or MySpace and leave comments below. Also, pick up tour information, check out blog entries and get updates on Watsky’s upcoming solo album (due in 2009) in his website.
Miller-Loran has also performed at the San Jose Jazz Festival as well as being featured on the 99.1 KCSM, the Bay Area’s Jazz Station. He plays the role of beatmaker/trumpeter/keyboardist/emcee in Invisible Inc., utilizing his Berklee education and stint as a member of the Latin Jazz Youth Ensemble of San Francisco to round the group into a formidable wave of creation.
Born in San Francisco, CA, Watsky now operates mainly out of Boston, where he attends Emerson University. While not in class, Watsky tours colleges and universities across the country performing poetry, promoting his respective causes, and beefing with look-alike/George Watsky impersonator Michael Cera. Even outside of his native context, Watsky’s work has translated and manifested itself in new and exciting forms including: a one man stage show called “So Many Levels”, a book and CD set titled after his moniker of “Undisputed Back-Talk Champion”, and his genre-defiant rap group Invisible Inc.
Invisible Inc. was formed in 2007 when Watsky recorded the band’s debut CD with fellow Bay Area performers Daniel Riera and Max Miller-Loran. Riera, a student at Berklee College of Music, is the bands producer, flutist, and bassist – offering an eclectic blend of top-production computer loops and expert musicianship. Featured at both the San Francisco Jazz Festival and the San Jose Jazz Festival, Riera sports an impressive repertoire which includes being named a Young Jazz Composer by the Association of Songwriters, Composers and Publishers in 2004.
From left to right: Max Miller-Loran, Daniel Riera, and George Watsky (not Michael Cera)
Watsky, of course, brings his sharp-witted tongue and playful diction to the group as lead emcee. Together, the group takes on a unique sound combining the creative juices of hip-hop and jazz to make a delicious cocktail for the ear. Their superb musical talent is showcased in such songs as “Five Finger Discount”, a song entirely in 5/4 time, all the while Watsky’s rapping flirts more with poetry than mainstream hip-hop. “We’re taking it back from whack Cadillac dudes bustin’ shots over silly crap (brrrrrrrrrrat) are you seriously feelin’ that? Let us take a crack at it.” Miller-Loran wonders on the groups’ self-titled debut, showing separating Invisible Inc. from the endless flow of disposable “gangsta” rappers who dominate the scene today. After all, what’s so gangsta about suburban white musicians from San Fran fronted by a half-Jewish emcee with a lisp? N.W.A. never had a flutist.
Invisible Inc. also delves into the realm of politics, offering the insight of three young minds on the forefront of their respective creative engines. The groups’ message is understandably liberal, given their college roots in the Democratic Northeast and pro-green ideals – but their opinions are well-formed and mature. Still skeptical? Check out Invisible Inc.’s self-titled debut on iTunes or MySpace and leave comments below. Also, pick up tour information, check out blog entries and get updates on Watsky’s upcoming solo album (due in 2009) in his website.
Miller-Loran has also performed at the San Jose Jazz Festival as well as being featured on the 99.1 KCSM, the Bay Area’s Jazz Station. He plays the role of beatmaker/trumpeter/keyboardist/emcee in Invisible Inc., utilizing his Berklee education and stint as a member of the Latin Jazz Youth Ensemble of San Francisco to round the group into a formidable wave of creation.
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