Amplified - Volume 1, Issue 1

HORACE MANN

January 2010 www.hmamplified.com We talk to

RODRIGO Y GABRIELA

WOODSTOCK

REVIEWS + Jay-Z

ALSO:

Forty years after

U2 360 Tour Taylor Swift Kings of Leon The Horrors

+ Monsters of Folk + Dr. Dog + Girls

KID CUDI We investigate a new era of hip-hop

PHOENIX With 2009’s ‘Wolfgang’ , They Perfected

POP

and Finally Everyone is Listening

by Rachel Bernstein with Charlotte Christman-Cohen

MEET THE EDITORS

EVAN LOW Editor-In- Chief

Dear Readers,

Welcome to Amplified, Horace Mann’s music magazine. We are back with a new staff, and we’re bigger and badder than ever. Music is hardly front and center at our beloved school. Academics are a priority—and they should be—but music deserves some attention too. The community has made a good start. The first assembly of the year was all about music, featuring acts by both students and teachers.

Students have responded to the growing enthusiasm by starting their own bands— which are in some cases, pretty successful. To accommodate the new groups, there is more opportunity than ever for these young musicians to display their talent.

Students can perform in front of their peers at the new senior initiative, Fridays on Fischer Terrace, or in two yearly student run concerts, Ampléfest and Urban Aid. In this issue, we give props to our homegrown bands, but of course, we also feature today’s up and coming musicians and biggest stars, including Kid Cudi, Taylor Swift, and Phoenix. The HM music scene needs a boost. To start, we’ve brought Amplified back…Enjoy.

-Evan Low

GIDEON BROSHY Managing Editor

IAN SINGLETON Managing Editor

PAMELA MISHKIN Layout Editor

RACHEL BERNSTEIN Managing Editor

STAFF WRITERS Hallam Tuck Hannah Jun Haley Marber Megan Lu Allie Bienenstock Gabe Ibagon Jessica Skoczylas Miguel Alonso Lubell Mckenzie Foster Sam Torres Antonio Irizarry Charlotte Christman Cohen Kim Sarnoff Layne Montgomery Noah Landesberg Cover and Table of Contents designed by NICK GERARD Faculty Advisor REBECCA BAHR

ALEX MA Copy Editor DAVID YASSKY Managing Editor

ZOE KESTAN Layout Editor

PROFILES

JANUARY 2010

REVIEWS

Lady Gaga and Kanye West had a tour planned for this summer, but at the last moment scrapped it citing “creative differences.” We take a look.

GRACE MERRIMAN, “GAGA/WEST TOUR CANCELLED,” 4

10|Kid Cudi

by Ian Singleton

30|Jay-Z The Blueprint 3

by Mckenzie Foster

5|Amadou & Miriam

by Noah Landesberg 14 Interview: RODRIGO Y GABRIELA Gideon Broshy talks to the fiery Mexican acoustic-guitar duo--their thrash metal roots, wanting to get famous, and celebrating a world full of music.

By Gideon Broshy

23|The Horrors

by Layne Montgomery

32|Monsters of Folk Monsters of Folk

by Hallam Tuck

24 Music & Mud, Peace & Love Break out the cake! It’s Woodstock’s 40th Anniversary. Let’s take a look.

By Kim Sarnoff

29|Girls Album

by Gideon Broshy

34|Taylor Swift

by Allie Bienenstock

18 On The Cover: PHOENIX A look into their history, their music, and why they’re getting big now.

“PHOENIX RISING”

By Rachel Bernstein Plus: Charlotte Christman-Cohen talks about the live Phoenix Experience. p. 20

31|Dr. Dog Fate

by Ian Singleton

NEWS

GAGA/WEST TOUR CANCELLED GRACE MERRIMAN

Amplified

On November 10th, Lady Gaga and Kanye West were supposed to unite for the highly anticipated “Fame Kills” tour. When the tour was announced on September 18th, it was expected to be a combination of musical genius and innovative performance art. On October 1st, the tour was cancelled.

The previous tours administered by the artists (Kanye West’s “Glow in the Dark” and Lady Gaga’s “Fame Ball”), have given the two a reputation for hosting elaborate live events. West and Gaga were going to split the spotlight for this “Fame Kills” tour, with duets and new songs featuring both artists. It seemed like a perfect collaboration.

Although Gaga claims the tour’s cancellation was a mutual decision, it’s hard to separate the ending of the tour from the sudden public disapproval after West’s episode at the microphone at this year’s MTV Video Music Awards. It is quite possible that West was overwhelmed by the harsh criticism he received from fans and other celebrities, and on the September 14th premier of the Jay Leno Show, he said he needed to take time off to rethink his actions and attitude. Lori Ann Gibson, Gaga’s choreographer, has stated that the concert tour was cancelled due to “creative differences,” which seems plausible considering Kanye’s volatile inner diva.

No matter what the case, this is disappointing news.

The tour had the potential to be truly electrifying.

Lady Gaga’s solo tour is set to take place the week after the Fame Kills tour was scheduled, and she will feature songs from her new album Monster, to be released on November 24th.

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Amplified PROFILE

AMADOU & MARIAM Noah Landesberg

In the highly diverse genre of World music, Amadou & Mariam have prevailed as standout musicians and innovators on their five albums. Their latest, 2008’s Welcome to Mali, has been their breakthrough in the States, and for good reason. They offer a spirited new sound that reaches across categorical lines, and in the end, proves to be immensely danceable. Accompanying their latest album, the Grammynominated duo has been touring around the world, leaving a trail of buzz and satisfaction in their rambunctious wake.

Amadou Bagayoko and Miriam Doumbia were both born near the Niger River in Mali just blocks from each other, but didn’t meet until their stays at the Institute for Young Blind People. There they began their collaboration, galvanized by their love for music and their shared disability; they married in 1980, and have made music together for the last three decades.

Both enjoyed music at a young age, being introduced first to traditional African tribal music and, over time, expanding their horizons. While they credit Damon Albarn, the producer on their latest album, for much of their edgy and modern sound, they have woven many of their own culture’s traditional rhythms, sounds and textures into the vivid quilts that are their full-length records or live shows.

The couple began singing in the Malian language Bambara, but they branched out in order to get through to other tribes near them, singing in Dogon, Tuareg, Tamasheq, Senufo, Songhai, Soninke, Malinke and Khassonke.

With global ambitions, they began to sing in French, and finally in English. By singing in many languages, Amadou and Mariam have been able to reach a wide demographic and appeal to an audience whose diversity matches that of the music. Their melding of nationalities and cultures, both musically and linguistically, flows and transitions naturally, almost unnoticeably.

The duo, with a troupe of backing musicians, opened for Coldplay over the summer, following a June performance for their largest crowd ever at the Bonnaroo festival in Tennesse. Over ceaseless touring and recording, Amadou & Mariam continues to globalize their definition of international, all-inclusive music.

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KINGS OF OF LEON LEON KINGS

Izod Center, New Jersey / September 12th 2009

The crowd went wild as the Kings of Leon walked on stage under dimmed lights at New Jersey’s Izod Stadium. The set opened with “Closer,” a spooky tune with an eerie guitar riff and an authoritative drumbeat. Caleb Followill, the band’s singer, opened with his unmistakable scratchy voice, and was echoed by everyone in the crowd. The band followed with “Crawl,” a harder, more chord-driven song with a heavily distorted bass line and lyrics which send a clear message to our government: “The reds and the whites and the abused/ The crucified USA/ As the prophecy unfolds/ Hell is surely on its way.” (Caleb’s voice, one of the driving forces of the band, is torn so badly when he sings that he keeps bottles of honey on his amplifier to soothe his throat.) The set continued with songs from all of the band’s albums. The crowd sang along with every one of them, which impressed the band’s singer.

He told the audience, “It’s about time that y’all know our first f***ing albums.”

As the set came to a close, one thought lingered in everyone’s mind: Why didn’t they play “Use Somebody”? The track is without a doubt their biggest hit, and a large reason for their fame in the United States. After Kings of Leon walked off the stage, two minutes of waiting and chanting ensued, and the band came back for an encore. (Before they started, one of their tech guys walked on stage and handed Caleb a cup, which he quickly downed.

Right after, he said, “We have a day off tomorrow, so I’m getting drunk.” He paused for a moment and then said, “Just kidding, I get drunk every day.”) The encore began, and two songs in, they played “Use Somebody.” The track sounded much different live than it did on the radio. The meaning and musicianship that pours out of the song about longing for a lover

hit everyone in the crowd right when it started. At the end of the show, the band walked off to explosive applause. The members of the band must have enjoyed every second of the show, seeing as only six years ago, the boys had little hope of fame.

The Kings of Leon, four boys from a rural town in Tennessee, signed with RCA records in 2003.

The members, Caleb Followill (vocals, guitar) and his brothers Matthew (guitar), Jared (bass), and Nathan (drums), released their first studio album that year, called Youth and Young Manhood. Their southern garage rock sound was a breath of fresh air to rock lovers. In 2005, they released the brawny Aha Shake Heartbreak, and in 2007, they released Because of the Times. It became clear that with each album the Kings of Leon were getting better and better. Even with these three critically acclaimed albums, however, the Kings of Leon were relatively unknown in the United States. Their fourth and most recent album, Only by the Night, changed everything. The Kings of Leon were stars in Europe prior to the album, but with Only by the Night, the band tackled the final frontier: achieving superstardom in the US. The music video for “Sex on Fire” won a Grammy and “Use Somebody,” the most well-known and over-played track on the album, took American radio by storm.

When the Kings of Leon started their band, the stars were lined up against them. Success seemed unattainable. Yet the band members persevered and stayed to true to themselves and their music. They worked hard to be where they are now and have proven that anything is possible for a talented band with a dream and a vision.

-DAVID YASSKY

U2

Giants Stadium / September 23rd

“We’re going to do some funky things tonight,” shouted Bono as U2 launched into their 1991 hit “Mysterious Ways”.

In an absolutely electrifying two and a half hour set, played to a sold-out Giants Stadium crowd of around 80,000, the band covered almost all of its major hits, ranging from recently released singles “Get on Your Boots” and “Magnificent” (by far one of the better tracks off No Line on the Horizon, their twelfth studio album, released this past February) to classics such as the main set closer “Walk On,” “Where the Streets Have No Name,” and U2 staple “With or Without You.”

The band also included a few surprises within its set, among them the track “Your Blue Room,” released in 1995 with legendary producer Brian Eno under the pseudonym Passengers. Utilizing the giant circular screen suspended under the crablike structure that loomed over the stage, the band juxtaposed the song with a video

of an astronaut, recorded aboard the International Space Station. Playing in New Jersey on the day of Bruce Springsteen’s birthday, U2 took the opportunity to deviate from the main set and play a cover of “She’s the One,” a track off of his 1975 album Born to Run.

Bono and other members of the band split time patrolling around the track that surrounded the circular stage. Bono took a little boy up on stage for New York City-inspired track “City of Blinding Lights,” and proceeded to run with him around the outside of the stage throughout the entire song. The Edge and Adam Clayton also made appearances on the encircling track in order to get closer to the audience. Larry Mullen, Jr. even made it off the drum kit to march around with a bongo drum during the live performance of a remixed “I’ll Go Crazy If I Don’t Go Crazy Tonight.”

U2, nearing the thirtieth anniversary of their first studio album (Boy, 1980), ripped

through hits spanning the three decades of its existence. The band created an atmosphere that almost transcended reality. “Sunday Bloody Sunday” still had the same fervor that it does on the 1983 recording, “With or Without You” was just as majestic as it is on The Joshua Tree, and newer songs like seven-minute closer “Moment of Surrender” slid in perfectly with the others.

Towards the end of the set, as the band was about to emerge for a second encore, smoke began to fill the stage. Bono emerged out of the mist, red lasers from his jacket penetrating through the haze, muttering the opening lyrics to Ultra Violet (Light My Way): “Sometimes I feel like I don’t know / Sometimes I feel like checking out….” The rest of the band slipped into the main riff, Bono began to swing from his steering-wheel shaped microphone, and the night was captured in a single moment.

-ALEX MA

YO YO LA LA TENGO TENGO

Roseland Ballroom/September 25th

As opener John Oliver, from The Daily Show with Jon Stewart, left the stage, veteran indie rockers Yo La Tengo emerged from behind a dark red curtain.

Ira Kaplan (guitar, vocals, and keyboards), Georgia Hubley (drums, occasionally guitar, and vocals), and James McNew (bass, guitar, vocals) assumed their positions. The ecstatic crowd applauded well into the first song, and after a while we traded hand-claps for Yo La Tengo’s mellow sounds. By the beginning of the second song, which was about 11 minutes long and mostly instrumental, it was clear that the band was a fantastic live act, even after more than two decades of recording and performing. Additionally, the contrast between first opener and headliner was accentuated.

The Black Lips, Yo La Tengo’s first opener, were excruciatingly loud, unorganized, and unpleasant.

The first notes of their set bombarded the ears of the generally repulsed audience, and most either moved as far away from the stage as they could or went downstairs. I could see the people around me gritting their teeth and loudly expressing their impatience for Yo La Tengo to take the stage. When the singer of The Black Lips finally said his last thank you, the relieved crowd began to move toward the stage to get a good look at John Oliver and, eventually, the band they had all come to see.

After tolerating a horrendous opening set, we knew we were going to be generously rewarded. Yo La Tengo started their calm set with “From a Motel 6,” from 1993. The melodious indie rock was accompanied by a swirling, lively light show projected behind the band. Throughout the show the colors flashed and whirled in perfect time to the music, complimenting it gracefully.

A standing ovation upon Yo La Tengo’s final song was an exhilarated plea to get the band back out for an encore. After about five minutes of unbroken applause, the band reemerged and took their places once again. Said Kaplan, “I don’t think I have any guitars left with all six strings on them, so we’re just going to play ‘Autumn Sweater’.” The crowd cheered as the band broke into one of their most well-known songs, and Yo La Tengo took command of its audience at Roseland one last time.

-SAM TORRES

ELECTRIC ZOO Randall’s Island/ September 5th

As we pulled into the parking lot outside of the festival, my two friends and I were greeted by the loud thumping bass of the main stage. Everyone, from hipsters in tight jeans to shirtless Ed Hardy wearing bros, was pumped and ready to have a good time.

Various DJs at the festival performed on either the main stage or in one of three tents. The main stage was home to the house legends and big name trance producers that many came to see. The tents all had something different to offer and provided more of a dance-club environment, especially when the sun went down.

Chris Lake was up first at the Riverside Arena, the largest of the tents. In what turned out to be the least impressive set of the festival, Lake spun some great hits but flopped on many drops. Regardless, the sound system was epic, and we knew we were in for hours of jumping up and down and fist pumping. Next was Roger Sanchez, a great house DJ and Queens native, with whom we were all thoroughly impressed. We then caught a good 30 minutes of Busy P (A.K.A. Pedro Winter, Daft Punk’s manager) before going to the main stage. Busy P dropped a few electro house hits before ending his set with a Daft Punk staple, “One More Time.”

Kaskade and Deadmau5, two names synonymous with house music, were next on the main stage. The entire crowd flocked to the stage to see the DJs spin their best stuff. Kaskade got everyone on our feet with the ever popular “Move for me”, “I Remember” (both collaborations with Deadmau5), and a personal favorite, “Angel on my Shoulder.” His set was short but to the point, a perfect intro for Deadmau5, who has topped almost every DJ list in the past two years. Deadmau5 kept the crowd waiting for five minutes. When he came on with his blue mouse head the crowd erupted. The first 10 minutes of his set were plagued with a few “malfunctions” (Deadmau5 was visibly inebriated). The rest of his set, however, was nothing short of spectacular. After playing the worldwide hit, “Ghosts and Stuff,” he proceeded with other material from his soon to be released album, “For Lack of a Better Name.” By now the sun had set and the light show had begun. At the end of his set, Deadmau5 followed in the footsteps of the famous Youtube sensation and “Rick Rolled” the crowd. Rick Astley’s “Never Gonna’ Give you Up” was the perfect ending to a set full of musical wizardry.

After Deadmau5’s set, we went to see Steve Aoki and Benny Benassi, the producer of one of the most famous songs in electronic music history, “Satisfaction.” Aoki’s set, played at Respect Grove, one of the smaller tents, had the best crowd of any performance at the entire festival. His small group of devoted fans raved to the beats of electro artists like Crookers, the Bloody Beetroots, and Aoki himself. His set was the perfect transition into Benassi’s as he ended with two songs, the anthem “Warp” in which he got up on top of his equipment and screamed along to his vocal part in the song, and Benassi’s hit “Satisfaction.” Benassi’s set in the Riverside Arena was what prompted me to bring my earplugs the next day. An unbelievable performer whose infectious beats kept the crowd pumping every second, Benassi was the perfect end to our Saturday night.

After dancing non-stop for almost 10 hours, every step back to the car was painful. We couldn’t wait to be back at Randall’s Island the next day for more.

- MIGUEL ALONSO-LUBEL

Amplified PROFILE

KID CUDI Ian Singleton

Kid Cudi, aka Scott Ramon Seguro Mescudi, is rhyming his way into the repertoire of the best rappers of the last decade.

Critics have had difficulty branding Cudi’s unique sound, which has been marketed as “alternative hip hop” and “electro hop” because of its intricate melodic dance beats, which often heavily incorporate synths. As a rapper, Cudi is known for his impeccable flow, ear for melody, eclectic taste, and distinct and versatile tone, all of which magnify his basic but identifiable lyrics.

Cudi first caught major attention with the “Day ‘n’ Nite” single, which catapulted him onto the top ten on the Billboard Hot 100 and earned him a live appearance at the 2008 MTV Movie Awards.

Man on the Moon: The End of Day, Cudi’s debut album, has propelled him to a new level of a success and credibility after a career of guest appearances, songwriting credits and mixtapes. Cudi also has collaborated on some of the hippest tracks and with some of the best young artists of the year, having worked on or remixed “Welcome to Heartbreak” by Kanye West, “Memories” by David Guetta, “Best I Ever

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Had” by Drake, “I’ll Find A Way”

by Santogold and “Already Home”

by Jay-Z. The funky fashion guru, known for rocking colorful dunks, flat brim hats, and tight jeans atypical of hip hop stars, has also delivered fantastic live performances, having recently toured with Ratatat, Phoenix, and Asher Roth.

Born in Cleveland, Ohio to a Mexican-Native American father and an African American mother, Cudi grew up in a diverse musical neighborhood. At age 11, seeing the death of his father took a serious toll on Cudi’s personality and would also significantly affect his music. Mescudi began rapping

ing his first mixtape, released on July 17, 2008 as a free download in a partnership with the New York street-wear brand 10.Deep. Rap guru and producer Kanye West— whose influence on Cudi’s music and style is noticeable—signed Cudi to GOOD Music after being exposed to Cudi’s fresh sound.

Kanye was fortunate to have found the young star, who won the Urban Music award for best single of 2009 with “Day ‘n’ Nite” and was nominated for Best New Artist at the 2008 MTV Video Music Awards. Cudi became an important colleague in the writing of Kanye’s 808’s and Heartbreak,

Cudi’s lyrics are personal narratives that illustrate his turmoil as a lonely stoner, his desire to achieve happiness, and his partying. at the end of high school, citing rappers The Notorious B.I.G. and Tupac, and hip-hop groups The Pharcyde and A Tribe Called Quest as his chief influences. After an unsuccessful attempt at college at University of Toledo, Cudi moved to Brooklyn, NY. Supporting himself by working at clothing store Bape in the city, he began develop-

which achieved widespread success and acclaim, and he had an influential role in writing two of the most popular tracks on the album, “Heartless” and “Paranoid,” as well as being featured on “Welcome to Heartbreak.” Over the past year, more and more magazines have fawned over the young MC, and he has experienced a strong

Amplified PROFILE press buildup. The rapper has also had a strong TV presence in the last year, performing at the 2008 MTV Video Music Awards, on BET’s 106 and Park with Kanye West, The Late Show with David

validated Cudi as an enormous success after wallowing in the background of the hip-hop scene. Part of the reason why the album has achieved so much success is the fact that young people can eas-

Fitting in was not the main objective—Cudi’s goal is comprehensible self-expression, and it comes from a unique place.

Letterman, Jimmy Kimmel Live!, and Last Call with Carson Daly. In addition, MTV News spotlighted Cudi in a series of MC’s to Watch in 2009, building up the immense hype that anticipated the eventual release of Man on the Moon.

On September 15th, Cudi’s debut album was finally released on Universal Motown Records. The album received mostly favorable reviews, selling 104,419 copies in its first week, and eventually peaking at #4 on the US Billboard 200. A strong response

ily relate to Cudi’s lyrics, personal narratives that illustrate his turmoil as a lonely stoner, his desire to achieve happiness, and his partying habits. Cudi’s lyrics are peaceable and entertaining, while leaving out a political outlook. While they are not metaphorical and sophisticated, they convey what Cudi has to say in a clear, pointed manner. Cudi wanders far from the stereotypical rap sound by applying semicomplex instrumental melodies, with the occasional thunderous guitar solo from electro-rock duo

Ratatat. His hooks are infectious and his melodies are indelible.

Emile and Plain Pat, Kid Cudi’s producers, have admitted that Man on the Moon is “not the most Hot-97 friendly record.”

Fitting in was not the main objective—in making the record, chart success was important, but secondary. Cudi’s goal is comprehensible self-expression, and it comes from a unique place. The rapper, like many artists today, has a strong online presence, and introducing himself on his MySpace page, we learn all we need to know about this unique place: “Im jus Cudi u know?....im wierd...i love cheeseburgers and beer…my lifes goal is to live on the moon lol.... ima grinder jus like yall, so walk thru my grind wit me...i jus wanna make good s**t at the same time give others hope... ima Lover, ima Fighter.”

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Amplified INTERVIEW

RODRIGO Y GABRIELA BY GIDEON BROSHY

In September I had the exciting opportunity to interview Rodrigo y Gabriela for an article in Mexican literary magazine Personae . I wanted to share the fruits of this interview in an informal way for our much more modest Amplified, so that our readers can also get a look into the lives and careers of the thrilling duo. Here is the interview translated to English, with a new introduction.

Rodrigo y Gabriela are in the middle of an identity crisis. Right now the electrifying Mexican guitar duo is calm about it though, massaging their drained hand muscles as they sit with my mom and me backstage after their show at Manhattan’s Terminal 5 club. They just finished their high-power one and a half hour set to a crowd eager to absorb different kinds of energy and enjoy it all unquestionably.

To the outside observer, however, a Rodrigo y Gabriela concert is confusing. I exaggerated in saying they are having an identity crisis—they are quite secure with themselves, if you must know—but the question in my mind throughout the show was what is this? To think about that it’s helpful to learn about Rodrigo y Gabriela’s past.

Rodrigo Sánchez and Gabriela Quintero met in a Mexico City thrash metal band called Tierra Ácida (Acid Ground), and that genre, especially in the form of Metallica and Slayer, was their first and most powerful influence. Their main motivations were simple and predictable—get famous, rock hard. They are self-taught, and their breathtaking virtuosity, whose novelty is something that attracts unknowing audiences at festivals and stuns fans at shows, comes straight from the under-appreciated skill involved in thrash metal. When the scene in Mexico City proved stagnant for their band, Rodrigo y Gabriela took acoustic guitars (they were easier to travel with) and started working in hotels in Ixtapa, a Mexican beach resort. After a while they decided to backpack together around Europe and eventually settled in Dublin, where they currently live. Their traversing the continent proved crucial to their career, as their intentions shifted: they forgot about getting famous. Instead, as they passed through country after country, they worried about listening to more music and widening the scope of what they listened to, as well as improving their playing; as it seemed from interviewing them, Gabriela was especially eager.

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Amplified INTERVIEW Always wanting to learn and know more, they became cosmopolitans, playing their eclectic music on the streets of Dublin.

One more important change: Damien Rice discovered them, they started playing enormous festivals, and then they kicked Arctic Monkeys and Johnny Cash out of the top spot on the Irish charts with their self-titled album.

That album leaned heavily on Latin influences, even though they reject the flamenco stamp. Their newest, 11:11 (released this September on the ATO label), pulls from more styles. You can feel Rodrigo y Gabriela yearning for their rock roots—there are parts of the record that are more aggressive than their previous work, boasting fierce power chords and riffs (and a full on guitar solo on “Atman”)—but the range is far wider than just a mix of hard rock and flamenco. The duo highlight their increased musical diversity by dedicating each song to musicians, all whom have probably never appeared on paper together: they cite Jimi Hendrix, Spanish composer and flamenco guitar virtuoso Paco de Lucia, and Shakti, an Indian “world-fusion” band who combined traditional music with jazz. “We are some sort of music freaks,” says Gabriela.

Still, sitting on the balcony above the Terminal 5 crowd, I’m perplexed. This show is like no other. By the looks of it, Rodrigo y Gabriela still clung to some of their youthful aspirations: this is a rock show. There are flashing lights, devil horns, a general admission standing audience, and screams every time Rodrigo approaches one side of the stage. What’s different is that the audience shifts gears every song; the power-chord-and-wah-wah-infused pieces that feel naturally rock produce a different energy than the more latin-centric tunes, which induce jubilant handclapping and shouting “Ayyyyyyyy!”

Ubiquitous throughout the show is their staggering virtuosity. Rodrigo tackles complex melodic passages while Gabriela simultaneously strums and hits her guitar like an over-percussive, high-speed flamenco guitarist that hasn’t realized it’s not a drum. They also play with bewitching tone, feeling and dynamic contrast. After the show, I still don’t know who or what Rodrigo y Gabriela are, nor do I want to; their identity crisis makes them all the more intriguing.

There are various guest artists on 11:11. How did the collaborations come to be?

We met [guitar duo] Strunz and Farah in Los Angeles: we went to their performance. Strunz heard our record, and he sent us congratulations. We invited him. [Thrash metal guitarist] Alex Skolnick from Testament has always been an idol of ours. One day we received a message from him on MySpace, and we couldn’t believe it. When we played in New York, he was here and played with us. We’ve become good friends.

We told them our ideas and gave them solos of four or five Why did you decide to continue playing with acoustic bars, and they improvised. We took what we liked; what we didn’t like, we asked them to change, and then we started guitars?

We realized that, although the electric guitar is a great piecing it all together. instrument, the acoustic guitar is more complete. It has more What do you plan to explore musically in the future? sonic and rhythmic options.

We don’t know, right now we’re more relaxed. The album Where does the emphasis in displaying your virtuosity has been a whirlwind. But we will continue evolving. We let the music take us where it will; listening to a lot of it come from?

From thrash metal. It’s a genre with which you can’t hide keeps you fresh and makes you evolve musically. You have in feeling or image, and which requires a lot of energy and to maintain a close relationship with your guitar, continue technique. The skill in that genre is greatly underappreciated. playing. The body and mind will tell you where to go.

We don’t read music, so we just learned ourselves, by ear.

At first you avoided the tag “Latin”. How did you reconnect You are fully immersed in the rock scene—on blogs, in festivals, through the kind of press you get—hell, you with this influence?

In Mexico we didn’t appreciate it—we were metalheads. just played a rock club. However, your music is very When we left, we listened to different music. We learned different from the rest in that scene. Do you consider to value the compositions, harmonies and arrangements yourself rockers? present in other styles. Listening to more, we found that we Our situation is unusual, but we came from rock, we are rock love all music, and started playing other styles. However, musicians at heart. Although our styles meander, most of our we’re very careful to not fall into the role of “latin,” to be songs are structured like rock songs. And yes—they invite localized like that; often, people think that because we’re us to do these rock festivals like Glastonbury [in England] or from Mexico we are playing Mexican music, all together Bonnaroo [in Tennesee]. The rock attitude suits us. with other Mexican musicians. Music is not some local brotherhood, but a universal one.

How did living in Ireland spur your success on?

Without knowing it, we found the perfect place. Ireland is among the few countries in which traditional music is alive and progressing. We stayed because the public took us in as musicians; at first we played on the street, but almost immediately started playing in bars and clubs. We played all day, seven days a week, and it was a huge investment. As we kept playing we met many musicians and played with them, but the major turning point was when Damien Rice invited us to open for him at much larger venues.

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Amplified INTERVIEW

Recently, bridging the division between classical music and pop— “crossover”—has become very popular among adept musicians. You convey virtuosity and musical subtleties at a much higher level than most pop musicians, so do you think you would ever collaborate with classical musicians or appear in classical halls? Does that interest you?

Yes, that does interest us. [Film composer] Hans Zimmer has sought us out, and Danny Elfman [composer of “The Simpsons” theme] has invited us to do something as well.

You are international stars, and your style pulls from global genres. How much does Mexico mean to you?

We’re going back soon to play a show. It’s great that thanks to the Internet and all that has happened to us outside of Mexico, without need of Mexican promotion, we’ve opened markets and have enough of a fan base to have a great concert in Mexico.

Since it switched almost all the time, it is not specified who— Rodrigo or Gabriela—is speaking.

DAYS DIFFERENCE

The tire on their trailer fell off. One of their shows was canceled when a car hit their tour promoter. A soccer ball hit their drummer in the head giving him a concussion, and their bassist broke his collarbone playing football. Any sane group would have taken these occurrences as unwelcome signals from the music business. But this “tour from hell” only fueled Days Difference’s music, proving that their rocky start was only the beginning of this group’s adventure. Two years later, the band has toured with the Plain White T’s, All Time Low, and We the Kings. As the members of Days Difference await the release of their second album and prepare for a tour this fall, their achievements confirm that their previous mishaps were purely a rite of passage in the evolution of a successful, full-fledged music career.

In 2005, the promising quartet was born during a high school concert. Two of the future Days Difference band members, brothers Jeremiah and Micah Ricks, were preparing for a concert at their school, when, minutes before the show, they were alerted that their drummer and keyboardist were nowhere to be found. A mere coincidence, soon to be band members, brothers Jeremy and Jonathan Smith, were in the crowd that night and agreed to take the two missing members’ spots on stage. The resulting foursome “had such a great chemistry that we exchanged numbers and a few months later got together to jam. Jamming very quickly turned into writing and practicing and into a band,” said Jonathan, the band’s drummer.

Jeremy, Jonathan, Jeremiah, and Micah each came to love their respective instruments differently. For Jeremy, the piano was love at first sight, while Jonathan’s musical appreciation didn’t arrive as smoothly. “By the time I turned 14 I really wasn’t into the piano but my parents still forced me to play,” Jonathan said. “At this point, I decided the best thing to do was ‘get even’ with them. I would bang on the keys through every song to make it as loud and annoying as possible.

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Amplified INTERVIEW I became really interested in drumming and my parents allowed me to get a drum set... thanks to my ever annoying piano renditions.” Jeremiah, like Jeremy, connected instantly with the guitar. Although his brother Micah also loved it at first, he became uninterested in playing two years later. Yet, his father felt pursuing a musical passion was important, and gave Micah a bass, which he “loved the moment it touched my hands.”

Days Difference spent this past summer on two tours, one with the Plain White T’s and another with both All Time Low and We the Kings. In reminiscing about their long days on the road, the band’s fun-loving and relaxed personality emerges, only adding originality to their otherwise professional image. One of their favorite moments occurred during a much deserved night out with other bands after a long day. “Late one night a lot of the guys from All Time Low, We the Kings, and Boys Like Girls were just getting back from being out before bus call at 4am,” recounted Jonathan. “We had all gone to bed in our bus a little while back. Unfortunately, we forgot to lock our door and about 15 guys rushed onto the bus and into our sleeping area. They all started shaking it side to side chanting “Don’t be gentle, its a rental!” We thought that was pretty funny.”

Although other bands Days Difference has toured with are considered “alternative,” the band believes its music is more aligned with the popular genre. However, the group’s sound targets boys and girls of all ages. “Honestly, we’ve had a huge reaction from middle school and high school kids with new songs from this record,” said Micah, “We have always been able to appeal to adults but it’s great that we can relate to everyone closer to our age. We really feel our music speaks to everyone from age 12-55.” The band’s universal sound is a hybrid of their many influences including Coldplay, Rufus Wainwright, Muse, Jeff Buckley, Chris Isaac, and John Mayer. Jeremy, the lead singer and pianist, writes the band’s music, and for their upcoming album, decided to co-write with other musicians and writers including Tim Myers, a bass player for One Republic, Ryan Tedder, who co-wrote One Republic’s “Stop and Stare”, Andrew Frampton, Wayne Wilkins, and Stefanie Ridel. “Life and relationships are my biggest inspirations for writing,” he said. “I am currently really liking ‘Are You Happy?’.”

Arriving this October, the newest Days Difference album will be available on iTunes and the group’s latest single “Are You Happy?” will debut on radio in early 2010. This most recent album shows a definite progression from the band’s first album, entitled “Numbers.” “It has become more cohesive and has direction,” Jonathan said. “We really discovered a sound we like and feel is unique. We were all such big Coldplay fans. We worked out a sound we thought was different enough but then The Fray blew up and we decided we really needed to pursue something that sounded younger. We started messing around with a slightly electronic dance feel and felt that gave the music a nice young edge but still had a maturity to it.”

While achieving widespread success is one of Days Difference’s ultimate goals, the band’s true purpose is in connecting and leaving a lasting impression on its listeners. “We hope to make an impact and a difference in people’s lives,” said Jeremiah, “If we can cheer someone up, make their day a little bit better, then mission accomplished!”

How did you guys first get involved with music?

Jon: My mother made Jeremy and me start taking piano lessons when we were six years old. Jeremy loved it and stuck with it. By the time I turned 14 I really wasn’t into the piano but my parents still forced me to play. At this point, I decided the best thing to do was “get even” with them. I would bang on the keys through every song to make it as loud and annoying as possible. I became really interested in drumming and my parents allowed me to get a drum set... thanks to my ever annoying piano renditions.

Micah: My dad got me and my brother into playing. Jeremiah really hit it off with playing the guitar. I on the other hand hit a wall 2 years into playing and lost interest. My dad told me he saw me as a drummer or bass player anyway so he handed me a bass and I LOVED it the moment it touched my hands.

reach them. A mutual friend (Scott) had invited Jeremy and I to the show. Once Scott realized we were missing our drummer and keyboardist he informed us the guys that we could play and so we jumped on stage with them. We met on stage and then rocked it out. We had such a great chemistry that we exchanged numbers and a few months later got together to jam. Jamming very quickly turned into writing and practicing and into a band.

How long have you guys known each other? How did you meet?

Jon: We have known each other for 5 years. Jeremiah and Micah were playing a concert at our high school and our drummer and keyboardist happened to not show up that night. It was so uncharacteristic of them and we couldn’t

Tell us about your favorite off-stage memory from your tour.

Jon: Late one night a lot of the guys from All Time Low, We the Kings, and Boys Like Girls were just getting back from being out before bus call at 4am. We had all gone to bed in our bus a little while back. Unfortunately, we forgot

Are there any bands that inspired your sound? What genre do you consider your music to be?

Jeremy: Coldplay, Rufus Wainwright, Muse, Jeff Buckley, Chris Isaac, Chevelle, John Mayer, etc. We definitely consider our music to be Pop music. Sometimes we are also labeled alternative but Pop really is our focus.

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to lock our door and about 15 guys rushed onto the bus and into our sleeping area. They all started shaking it side to side chanting “Don’t be gentle, its a rental!” We thought that was pretty funny.

What were your favorite parts about touring with the Plain White T’s, All Time Low, and We the Kings?

Jeremiah: Our favorite part about touring with these bands was performing (of course) and then meeting everyone after the shows! That might sound like a cliche but those really were our favorite moments!

to perfect for live shows. While writing in the studio, Love Is Enough probably takes the cake.

How do you think your work has evolved since your first album?

Jon: It has become more cohesive and has direction. We really discovered a sound we like and feel is unique. We were all such big Coldplay fans. We worked out a sound we thought was different enough but then The Fray blew up and we decided we really needed to pursue something that sounded younger. We started messing around with a slightly electronic dance feel and felt that gave the music a Who writes your music? (then ask where the inspiration nice young edge but still had a maturity to it. for his songs came from and which song is his favorite?)

Jeremy: I do. For this album we decided to co-write with What has been your greatest challenge as a band? other musicians and writers. I co-wrote with Tim Myers for Micah: Our greatest challenge was the “tour from hell” the majority of the songs on the album. Tim played bass for we went on back in 2007. In a two week period, a tire on One Republic and wrote Stop and Stare with Ryan Tedder. the trailer fell off, a show was canceled when the promoter Some other people we wrote with were Andrew Frampton, got hit by a car, Jonathan got a concussion playing soccer, Wayne Wilkins and Stefanie Ridel. Life and relationships I broke my collarbone playing football, and we received a are my biggest inspirations for writing. I am currently really $500 parking ticket in NYC after a cop told us we could park on a certain street. Honestly, the toughest part at this point is liking “Are You Happy?”. making sure the bills are all covered month to month.

Which songs took you the longest to perfect? (vocally, What do you hope to accomplish with your music? lyrically, and musically) Micah: I would say Speakers has taken us the longest time Jeremiah: We hope to make an impact and a difference in people’s lives. If we can cheer someone up, make their day a little bit better, then mission accomplished!

Who do you think best represents your target audience? Who do you think your music speaks out the most to?

Micah: Honestly, we’ve had a huge reaction from middle school and high school kids with new songs from this record. We have always been able to appeal to adults but its great that we can relate to everyone closer to our age. We really feel our music speaks to everyone from age 12-55.

Do you have any advice for people who are thinking of starting their own bands or are already in a band?

Micah: Stay diligent and work hard! The most important thing you can do is find a great manager who knows how to take you to the next level. There is always a little bit of luck involved but if you have great songs, you will be going places in no time!

What’s up next for the band?

Jon: Well our record is set to hit iTunes at the beginning of October. We will also be on tour for the fall and will have the record with us. We plan on touring a ton this next year and our single “Are You Happy?” is going to go to radio beginning of next year. We’re really excited and can’t wait!

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Amplified PROFILE

THE HORRORS Layne Montgomery

It’s not the most surprising path for a band: a group of silly looking, stupidly named garage rockers put out a hit song, follow with a less popular album, and then fade back into obscurity. The Horrors had it pretty bad, even dubbing themselves with silly names: Faris Rotter (vocals), Joshua Von Grimm (guitar), Tom Furse (bass), Spider Webb (keyboards), and Coffin Joe (drums). They resembled a novelty band, bound to follow their pre-decided course with some sort of mediocre “experimental” or “serious” follow-up to the first record and then a disappearance into low-key ambient solo projects, DJ-ing, or unexciting normal life. So it’s quite strange that The Horrors broke this mold, coming out with an exceptional second record that not only brought back the old fans but also reined in the new, including previous skeptics. Entitled Primary Colours, it received universal acclaim, even getting the band nominated for a prestigious Mercury Prize in the UK. Not exactly what anyone expected from a band that were known for their clothing, their hair, and a song called “Sheena Is A Parasite.”

Primary Colours opens up with a minute-long electronic introduction, drawing you into the world of the new Horrors. Gone are the yells and frantic instrumentation; in their place a simple, repeating keyboard riff, a hypnotic bass line, and drawly vocals. Like Joy Division? Check “Scarlet Fields” for an even more melancholic update on “Love Will Tear Us Apart.”

Like My Bloody Valentine? Their infamous “wave”

guitar is all over this record. Particularly intriguing is “Who Can Say,” which could be described as the closest thing to a pop song the band has ever done. For some reason, the song also appropriates the lyrics from 60s pop hit “She Cried” by Jay and the Americans in the bridge. It’s a strange choice for the band, but it’s pretty much awesome. Elsewhere, “I Can’t Control Myself” brings back the unlikely combo carnival organ and garage rock that dominated their first record in a thrilling fashion and the title track even makes them sound like they’re happy. The first nine tracks already constitute a great album, but it’s the epic closer, “Sea Within A Sea,” that makes the album so special. The song begins with a dark, atmospheric intro, complete with droning bass line and swirling, far-off sounds, until singer Faris Badwan (reverted back to his real name) comes in with a very Ian Curtis-like vocal. Tension builds until a slight freak-out explodes in the middle of the song that eventually subdues, welcoming a lovely keyboard line.

From then on, the song becomes both exceedingly beautiful and sad. The synthesizers and guitars ripple high above what the song accomplished in the six minutes before, taking you away for a few brief moments.

With their new sound, The Horrors got haircuts and switched instruments; Spider Webb moved to the bass, and Tom Furse switched to the keys. Some of them changed their names back (Faris Badwan is almost as scary as Rotter). Most importantly, however, the Horrors unleashed their new identity and sound as goth-garage freaks—but first, musicians.

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PHOENIX RISING In 1997, four childhood friends from Versailles, France came together to form the band Phoenix. From an early age, Thomas Mars (vocals), Deck D’Arcy (bass), and Christian Mazzalai (guitar) have been playing music together, but it wasn’t until they recruited Christian’s brother Laurent Brancowitz that Phoenix began their path to success.

In 1997, Phoenix created its own record label under the title Ghetto Blaster, and began self-financing its own productions. Following acknowledged appeal of some of those recordings, the musicians were signed to Source Records. Artistic directors at Source tried to persuade the group to sing in French, but Phoenix insisted on keeping their lyrics in English, arguing that its music would not work with French lyrics; this was a shrewd commercial move, and much of the reason they are breaking out in the States now is because their music has always been in English. Phoenix went on to release its debut album, United, in June 2000.

Already popular in Europe, the band was assimilated into the rock branch of the “French Touch,” and spent the next two years touring on the international circuit. The band’s catchy singles earned the group a new following of fans, including Sofia Coppola, who used the song “Too Young” on the soundtrack of her film Lost in Translation, and the Farrelly brothers, who featured a Phoenix number in their film XXL. Phoenix’s second album, Alphabetical, was released in 2004. The album met mainstream success with singles “Everything is Everything” and “Run Run Run.” By the spring of 2004, the foursome was back on the road again, performing with a back-up band of six supplementary musicians. It’s Never Been Like That was released in France on May 12, 2006, recorded and produced by the band members themselves. The album retained the band’s signature sound, but went further—it was possibly the most refined, danceable, rock-driven pop album of the decade. Upon the album’s release, Phoenix was already busy rehearsing for a major international tour, which kicked off with dates in the U.K., traveling through Europe and then reaching the United States. The band headed to Japan before returning home to France for an appearance at the Rock en Seine festival at the end of August. They gave everything

they had and put themselves on the map.

After this marathon tour, Phoenix went straight back to work, writing material for its fourth album. The band’s popularity continued to extend beyond the French border, and Phoenix invited to perform on Saturday Night Live in April 2009. The band’s appearance was perfectly timed to promote its new album, Wolfgang Amadeus Phoenix, released worldwide this past May. The album debuted on the Billboard 200 at number 37 and remained in the Top 100 for several weeks, mostly due to the success of the album’s second single “1901.” The album features the band’s signature melding of organic synths, danceable rhythms, and powerful guitars creating an almost effortless melody. The album’s ten songs play well from start to finish, arranged and executed with excellence, chronicling the universal emotions of fear, confusion, disappointment, and misery. In the album, the band creates something both more elaborate and more simplistic than its previous records. At the core, Phoenix write the best kind of pop songs. On songs like electro-tinged slow jams “Fences,” and the sweeping and mostly instrumental “Love Like a Sunset,” they expand or transcend the genre.

The last few months have been tumultuous, exciting, and important for Phoenix. They have finally had their too-long-in-coming breakthrough on this side of the Atlantic and in the world as a whole. From countless TV appearances, positive reviews, commercial licensing, and above all, touring, the Frenchmen have lined themselves up to become the next superstars in a time when true musical heroes with mass appeal are few and far in between. Bonos and Bruce Springsteens don’t grow on trees.

Phoenix effortlessly communicates a sophistication and spirit in its records. Every album has brought a different sound to the table, but it is clear that over time the band has been able to grow into its sound, blending certain elements to reach a wider audience than ever imagined. Nearly ten years after Phoenix’s first album, the band has risen to greatness.

-RACHEL BERNSTEIN

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PHOENIX & PASSION PIT SUMMERSTAGE/SEPTEMBER25 CHARLOTTE CHRISTMAN-COHEN

On the last weekend of summer, flannel-clad hipsters and preppy high school kids, young and old, arrived to the sold out Phoenix/Passion Pit concert at Rumsey Playfield in Central Park. Just before sunset, the space was packed.

Passion Pit, a new electronic dance band, performed mostly new songs from their summer-released album, Manners. Starting off a little shaky, they opened with some of their less well-known songs from Manners’ predecessor, the Chunk of Change EP. As the sun fell, the energy in the crowd rose. They played favorite “Sleepyhead,” and frontman Michael Angelakos endearingly shrieked in his oh-so-high falsetto; the crowd enjoyed every minute of it. I was skeptical of how Passion Pit’s performance would be due to the highly synthesized nature of the music, but to my surprise, their live translation was possibly even better than the recordings. As Passion Pit closed with floor-stomper “Little Secrets,” the sun had vanished and the lights illuminated the faces in the crowd. The floor pounded and Angelakos sang, “I feel alive and I feel it in me/Up and up I keep on coming/higher and higher and higher.” I felt the same way.

On a post-Passion Pit adrenaline high, I was very revved up for the headliner. An unnecessarily long wait calmed us down; after about an hour, the Wolfgang Amadeus Phoenix banner came down, the cheers began, the neon lights flashed, and Phoenix had arrived.

Phoenix’s performance was just perfect. Perhaps it is because they are French, but I’ve never heard electronic sound so flawless, so perfected. Wolfgang Amadeus Phoenix, the band’s fifth album, has received much-deserved acclaim and popularity in the States, especially after their performance on Saturday Night Live in April. In contrast to Passion Pit, Phoenix’s sound is much more akin mainstream pop-rock, even though they are sometimes categorized under the same indie electro-pop umbrella. The entire Wolfgang

album has some great love songs, but avoids the mush, emphasizing incredible beats—beats that make you wonder why they aren’t a much more well-known band, or that justify the fact that they are on that path. Their powerful, simple, clear sound was translated brilliantly throughout the concert.

No one could resist dancing. The performances of new tracks such as “Girlfriend,” “Lisztomania,” “Lasso,” and “Fences” were immaculate but not lifeless. A nice unexpected touch was Phoenix’s performance of Air’s “Playground Love,” a tribute to the band they used to back and open for. After that, they brought out some of their old tracks, performing “If I Ever Feel Better,” “Run Run Run,” “Consolation Prizes,” and a few others.

I don’t think I’ve ever been in such a good mood after they exited the stage. Of course, they returned for an encore of “1901”, their infectious and ever-present single, which soundtracks a new Cadillac ad. It was spirited and smooth—almost overpowering. It highlighted the best part of Phoenix’s music: the simplicity that can be etched away to reveal a much more layered sound.

Overall the concert was an incredible experience.

I have never felt more energy in a crowd at a concert (especially during singer Thomas Mars’ stage dive during “1901”). Passion Pit’s performance was an excellent surprise and their dream-like abstract music balanced out the headliner’s first-glance simplicity. Phoenix was brilliant as well. As the lights slowly faded and the encore finished, I realized the enormity of the night—I had laughed, danced, screamed, cried (almost) and fallen in love (with guitarist Laurent Brancowitz). Although it pains me to know they are miles away in Europe performing as I type, I am counting down the days until their next performance, where I can laugh, cry, scream, dance and fall in love all over again.

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five places you can find the beatles - MEGAN LU

Most Americans think that the ‘British Invasion’ of the psychedelic 1960s ended along with the Vietnam War. Yet as of late, a new generation has revved up a surprising amount of enthusiasm for four lovable mop-top lads from Liverpool. The Beatles transformed the realm of music, recording twelve studio albums and thirteen EP’s from the early sixties until their breakup in 1970. John, Paul, George and Ringo charmed today’s parents and grandparents years ago, and now they’re back for a second go. Once more, the teenagers of America are surrounded by traces of Beatlemania—here’s where to look: 5. ON YOUR WII

In September, the creators of the popular Rock Band game released their much-anticipated Beatles videogame. It is the first of its kind, developed with the blessing and input of Paul McCartney and Ringo Starr (the only two surviving members) along with Apple Records, the Beatles’ production company. The son of George Martin, the Beatles’ longtime producer, and the son of George Harrison, deceased Beatles guitarist, also worked on the project.

The game’s “Story Mode” progresses in the same way as the band’s real career. They start out in Liverpool’s Cavern Club, and players get to see the Beatles’ progress to superstardom unfolding (and, more peculiarly, their evolution from clean-cut boys-next-door to long-haired bohemians).

The two guitars, the drums, and the three-microphone harmonies invite people to bring a dozen friends over to share the fun.

This game is a stroke of marketing genius because it places the music in context. People play games like Rock Band and Guitar Hero not because they like performing, but because they like the music and enjoy the challenges. The Beatles’ music has scores of devotees, and for those fans, the challenges are worth it. If you play well enough, the game reveals rare photographs, candid clips, rehearsals, records, and outtakes.

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4. AT THE ROCK AND ROLL HALL OF FAME ANNEX

The Rock and Roll Hall of Fame Annex is the SoHo extension of the well-known Rock and Roll Hall of Fame in Cleveland. Currently, the Annex houses a feature exhibit created by Yoko Ono, Lennon’s wife, called John Lennon: The New York City Years, which, according to the museum’s own description, “explores John Lennon’s passion for music, art, politics and film, with New York City as his backdrop.”

Everyone’s seen that famous photo of Lennon with his arms crossed over that New York City shirt; now, visitors to the Annex can see the iconic shirt itself for the first time along with the bloodied clothes in which Lennon was shot. Other never-before-seen features include private letters written by the likes of Joan Baez, Dick Clark, and John Lindsay, the former mayor of New York City. Lennon’s Telecaster guitar, original handwritten lyrics, photographs, and more are also on display.

3. AT HORACE MANN

Last year, the Middle Division staged a musical called Beatlemannia. The production was punctuated with musical song-and-dance numbers from the Beatles repertoire, and its dialogue consisted entirely of actual Beatles quotes.

The ensemble cast pulled it off successfully and managed to truly engage their audience, whose parents might not even have been born when the Beatles broke up. “Many kids knew the Beatles,” said Emma Laurence, the play’s creator and director. “It was reaching a new generation.”

And this year, Jordan Kolinski (11) and I decided it was high time to reintroduce psychedelia (minus the drugs) to Horace Mann in the form of a Beatles appreciation society, which is to be named Sgt. Pepper’s Lonely Hearts Club (for the 1967 Beatles album and its title track, “Sgt. Pepper’s Lonely Hearts Club Band”). “We planned on showing some of the original Beatles videos,” said Jordan, “and celebrating the music during the time of the Beatles as well.”

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2. ON YOUR TELEVISION

After the 2007 release of Beatles musical movie Across the Universe, starring Jim Sturgess and Evan Rachel Wood, fans flocked to download their favorite numbers from the soundtrack on iTunes, in lieu of the still-unavailable actual Beatles songs. The film featured characters with names like Lucy (as in “Lucy in the Sky with Diamonds”), Jude (as in “Hey Jude”), and Prudence (as in “Dear Prudence”).

Across the Universe was nominated at both the Golden Globes and the Academy Awards, and a New York Times movie critic claimed it should have been nominated for the Academy Awards’ Best Picture and Best Director, listing it among the top ten films of the year.

With all of the hype going on regarding the Beatles, VH1 and MTV will throw in a Beatles music video in between one of their “hit” reality TV shows.

So, the next time you’re watching Made hoping the nerd can become the prom queen, keep a lookout for the Beatles.

1. REMASTERS

You can have the films and the exhibits and the swarms of tourists at the Strawberry Fields Memorial, but the unyielding truth is that you can’t have great musicians without the music. Asher Baumrin (9), who starred in last year’s Beatlemannia, says that these peripherals “are excellent and exciting ways of getting our generation interested in The Beatles, but if you ask me, there’s nothing better than listening to the Magical Mystery Tour album or watching one of their original movies.”

Good news for fans like Asher: the entire Beatles catalogue, as of September, has been extensively remastered and re-released on CD, now with improved sound quality and accompanied by mini-documentaries. Out of the sixteen albums in total, the first four have never been released on CD before.

They also appeal to many parents, like Asher’s, who frequently play Beatles songs about the house or in the car, which is how most younger generation Beatles lovers have come to be. “I’ve grown up with those songs,” Asher says, “and they mean a lot to me.” This re-release shows that, although the Beatles might not be with us any longer, their music continues to find a new lease on life with listeners of all ages. As Julia Goldberg (11) put it, “Whatever mood I’m in, I know there is a Beatles song that will fit perfectly.”

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HAPPY 40TH, WOODSTOCK Music and Mud, Peace and Love: Woodstock 40 Years Later KIM SARNOFF

It is the dawning of the Age of Aquarius. The sun rises on a horde of music worshippers, music pilgrims. They have come from all over, have spent months saving money, and have waited in milelong traffic jams to reach this music mecca. They are hungry, have nowhere to sleep, and no way to stay clean. Weed wafts and love flows freely through the crowd as they wake to another day of rock.

This is the Woodstock Music and Art fair, a festival that will come to define an era.

2009 marks the 40th anniversary of the original Woodstock festival, held in Bethel, New York from August 15th to August 18th, 1969. Though Woodstock was originally intended as a moneymaking venture, the love fest resulted as an icon of the cultural revolution of the late 60s and early 70s.

Logistically, Woodstock was a nightmare. The unexpected influx of people caused twenty mile long traffic jams and turned into a free for all, once ticket selling became impossible. Max Yasgur’s 600 acre farm became home to 500,000 music enthusiasts. It rained for three days, and the festival was plagued by technical difficulties, no food, shelter or sanitation. It was all about “make love not war,” the hippie motto that so much of American youth was chanting 40 years ago. People from many different backgrounds and different beliefs came together. Despite the chaos, Woodstock became and remains a tribute to the power of music.

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Woodstock featured well known folk and rock artists Creedence Clearwater Revival, Janis Joplin and The Band. Carlos Santana’s performance of “Soul Sacrifice” is considered one of his best. Jimi Hendrix’s performance of the “Star Spangled Banner” is still remembered for its powerful anti-war message. The Who solidified their presence in the music world after Pete Townshend threw his smashed guitar into the crowd. Joni Mitchell’s “Woodstock,” inspired by the festival, became one of Crosby, Stills, Nash and Young’s greatest hits.

There were several celebrations commemorating the festival’s 40th anniversary. A concert at Woodstock’s original location in Bethel, New York, presented the Levon Helm Band, Big Brother and the Holding Company, Jefferson Starship, and Mountain, among other festival alumni. Downtown NYC landmark Castle Clinton hosted “Four Nights of Peace, Love & Music,” a free series with performances by Richie Havens and Arlo Guthrie and tributes to Sly & the Family Stone and Joni Mitchell. Woodstock was in the air this summer: Ang Lee released a film called Taking Woodstock, which tells the story of the hotelier who found a new site for the festival after Walkill, New York’s residents closed it off. A four hour director’s cut of the concert film Woodstock: Three Days of Peace and Music and Lang’s book The Road to Woodstock were also released.

The closest this generation will ever get to a real hippie love-in is the revival of “Hair” on Broadway, or leafing through your parent’s photo album of back in the day, but the legacy of the music totally lives on. And that’s the power of music: it transcends generations and life styles. As Crosby, Stills, Nash and Young sang 40 years ago, “It sets your soul free.” Happy Anniversary, Woodstock.

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Horace Mann may not always be thought of as the most nurturing environment for the creative mind. Yet, the school actually houses many inspired and unique musicians, who have built their own musical communities outside of school. Between assembly performances, Urban Aid concerts, and other shows, Horace Mann provides students with many opportunities to showcase their talent. “There’s always some sort of music happening at school,” Ethan Karetsky (12) said, “[It’s] always fun to perform and see everyone else who gets up there.” While a large portion of the student body may think they’ve seen the majority of musicians at Horace Mann, there is, in fact, an entire circuit of extraordinarily talented and successful young musicians who are not involved in the school’s music programs and have never been seen or heard by the student body.

One such band is Static on the Airwaves, featuring HM tenth graders Antonio Irizarry and Gabriel Ibagon, sophmore Corey Sherman (American Studies at Lehman) and senior Mike Torres (Cardinal Spellman High School). “I think we have a really talented and diverse music community at HM,” said Gabriel Ibagon, guitarist and vocalist for the band, “and though events like assemblies and Ampléfest give students a

chance to showcase their talent, there’s a world of musicians that never mix their music with the school.” Static on the Airwaves has played several gigs at the Bronx Underground, Don Hills, and Crash Mansion. The band’s unique alternative-pop sound and iTunes EP has made them one of the most successful bands at Horace Mann.

The band Von Singleton, featuring guitarist David Yassky and bassist Ian Singleton, both Horace Mann juniors, has also displayed its rock-pop music at well-known venues such as the Stephen Talkhouse and Piano’s. The twoyear-old band has made a demo and will soon record their first album.

Some artists, like senior Ethan Karetsky, prefer to work solo. Karetsky has made a name for himself by playing at the Orchard House Café and releasing an EP on iTunes entitled “Because They Didn’t” in February of 2009.

Christian-rock band Cornerstone, featuring ninth-grader Chris Kim and sophomore Thomas Kim, has performed at the Dwight Englewood School. Cornerstone is hoping to play at a few larger venues this year as well as begin the recording process. Although the class of 2013 does not yet possess as many successful bands as the older grades do, talent is not short among freshmen.

Horace Mann students have built their own vibrant musical communities through their mutual love of music and performing. Hopefully in the future, the HM community will be privileged to hear the music that these talented musicians have dedicated so much time in creating.

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Amplified FEATURE

from the depths of my basement: gabe

mike

antonio

corey

the STATIC ON THE AIRWAVES experience sick nasty drawing by Zoe Kestan

gabe ibagon

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I

play guitar for Static on the Airwaves.

When we play, I share the stage with Antonio Irizarry (vocals, guitar), Corey Sherman (bass), and Mike Torres (drums). Since our formation in December of 2008, we have spent several months in the dingy depths of Antonio’s basement and Mike’s living room trying to establish our sound. We’ve focused on a mix of alternative and pop-punk with hardcore influences.

In April of 2008, Static on the Airwaves recorded four original songs. We realized that we wanted to be heard; we no longer wanted to be a garage band.

But what would make our EP stand out among the other thousands of bands that clog MySpace’s servers? We decided to have a studio polish our tracks, giving them a more refined sound. This would not only give us a leg up on other undiscovered acts, but would also command a little more respect from our target audience.

We spent countless hours searching for the right studio, and finally chose to record at Small Room Studios in Yonkers with producer Ant Bilancia (ex-guitarist of Longspur).

The studio seemed pretty legitimate, from the backline listed on their website, to the roster of previous recording artists, to the music experience of the producer.

After three excruciatingly long weeks, the first studio day finally came. I was amazed at the fluidity and confidence with which Ant operated the confusing mixer and recording consoles and programs (all while slurping on an extra-large Dunkin’ Donuts mocha). It was clear that he knew exactly what he was doing, and I was glad we were lucky enough to have him handle our work.

The recording process was brutal. Each member in the band had to spend a minimum of five straight hours in the spotlight tracking each song. Each of us had to play an infinite number of takes, usually until our fingers and arms were too sore to continue. No miniscule

Amplified FEATURE mistake escaped the ears of our producer.

Nevertheless, we still managed to have a lot of fun. The studio had a Nintendo 64 to keep the members of the band who were not recording entertained and nostalgic for the 90s. Sometimes I wondered if I was more excited to see the bass tracks done or to beat Antonio in Super Smash Bros.

The recording session lasted 24 hours, which were spread over 4 days. We finished the four songs with almost no time to spare, finishing off with my favorite part of the sessions, our gang vocals for “Sadie Thompson (You’re Such a Tease)” and “Two Years Gone.”

I left the studio awestruck by what Static on the Airwaves had just accomplished. I put on the shoes that many of my idols had worn in their own pursuit of musical success. Experiencing the recording process from the side of the artist put music into a different perspective. Only now do I understand how much work goes into making every song on my iPod as flawless as I’ve come to expect.

After our The Night in Flames EP was released on iTunes, Amazon, and physical disc, the band was seen in a new light in the NYC underground music scene. The album has been successful in both sales and reception. Static on the Airwaves has been featured on sites such as Eat Sleep Breathe Music and Bronx Scene. We have spent a large part of August and September playing shows around NYC, sharing the stage with touring acts such as Kids of Survival and A Midnight Tragedy.

With a successful EP and over 1,500 fans on the web, Static on the Airwaves has earned a position in the underground music scene. It is incredibly gratifying to see that many people have responded positively to our music after pouring hours and hours of hard work into it.

All of the hard work is worth it for one simple reason: We, as a band, our pursuing our passion and following our dream. Playing guitar for Static on the Airwaves has been the best experience of my life.

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Amplified PROFILE

THEM CROOKED VULTURES

Antonio Irizarry

It’s only every so often a supergroup like Them Crooked Vultures comes along. The powerhouse of talent, news of which abruptly slipped out onto a bunch of music blogs and spread like wildfire, restore the classic power trio format in a whole new way by bringing together the best of their kind. Josh Homme of Queens of the Stone Age takes on vocals and lead guitar, Dave Grohl of the Foo Fighters and Nirvana massacres the drums, and the legendary John Paul Jones of Led Zeppelin, pretends it’s the 70s on bass. Them Crooked Vultures is garnering a lot of attention in the world of music.

Having experimented with many groups and artists other than the band that made him famous and the band that he made famous, Dave Grohl has established himself as a multi-talented musician capable of bringing furious energy and skill to the table. In the early 2000s he worked on little-known heavy

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metal side project Probot, reining in guest vocalists like Lemmy of Mötorhead. In 2006, he appeared in Tenacious D’s movie Tenacious D and the Pick of Destiny and appeared on its soundtrack, portraying Satan. Grohl has also worked with Tony Iommi of Black Sabbath, Nine Inch Nails, and The Prodigy—he just wants to create great music, and Them Crooked Vultures is his latest venture. He shares the experience with the great John Paul Jones, who has been involved in many different projects since Led Zeppelin’s breakup in 1980 other than sporadic reunions: he’s made the rounds as a guest bassist and keyboardist, producer, and arranger. The sound-crafter in Them Crooked Vultures seems to be Josh Homme, who has become famous as leader of hard-blues-rockers Queens of the Stone Age and as a producer. The group aims at creating a riff-based, heavy sound that resembles mostly Homme’s work (which is, of course, heavily influ-

enced by Led Zeppelin), but which could only be captured with the perfect mixture of the three.

Them Crooked Vultures has played a few surprise gigs at festivals and secret club shows of their own, and have announced their Deserve the Future tour. It has already made history in the UK as one of the fastest tours to sell out, just on the merit of names, a few leaked snippets of songs, and YouTube footage of exclusive performances of songs like “Elephants” and “Nobody Loves Me and Neither Do I.” The band has not officially released a single song and is strategically keeping a low profile status until the release of their self-titled debut album, which they started recording for in July.

Though they are without much promotional material at this point, the group is gaining recognizable popularity and status in the US and the UK. With no release date set, fans and critics can only wait.

REVIEW

Amplified REVIEW

Girls made the perfect summer album, just as our last memories of it fade away. Album is ultra-melodic, ultimately simple, and brimming with 60’s San Francisco flower-love nostalgia.

Under its sunny, drug-fueled exterior lies a remarkable record.

Songwriter Christopher Owens had an unusual and difficult childhood, born into the extreme Children of God cult and sheltered from society. His songs are about love and life, deeply personal but often in a staggeringly grandiose way. Through it all they retain sincerity, mostly because of Owens’ voice, which calls to mind Bradford Cox of Deerhunter and Win Butler of Arcade Fire but really sounds like neither. His voice has such personality, evoking an earnest, confused, and introspective teenager. Without obvious brooding or self-pity, Owens sounds sad beneath his writing; perhaps it’s his unconventional past coming out in his voice, or perhaps it’s the reverb that embellishes it.

Album’s sound is defined by bright 60’s guitar jangle, high amounts of reverb, and melodic, flexible bass. On “Lust for Life,” Owens proclaims “I’m just crazy/Totally mad/Yeah I’m just crazy/I’m f****d in the head” over driving pop chords and loose percussion (shakers, maracas), and it already sounds fresh. Over the course of the next 11 tracks, Album’s reach extends much further beyond a cheap throwback.

“Laura,” a swinging, breezy march about a girl, starts showing evolution from the simple California formula, adding layers and a psychedelic touch, still San Francisco in essence. The stripped-down “God Damned” takes the flower formula, swaps the electric for an acoustic, and pairs it with echoing bongos. “Big Bad Mean M**********r” is a major turning point, entering and exit-

ing with an electronic swish from the future. In between emerges a reverb-and-distortion-washed, energetic 12-bar blues about a high school crush on a California girl, cool guitars and fast cars. Before we know it, we’re swept back from Fast Times at Ridgemont High to reality.

What follows—“Hellhole Ratrace”—is possibly the most ambitious song on the record. Beginning subdued, it emulates the beach through acoustic strums, reverberating electric guitar melodies and soothing traditional percussion. A majestic guitar with full-on shoegaze distortion creeps in as Owens pleads, “I don’t wanna cry my whole life through/I wanna do some laughin too/ So come on, come on, come on and dance with me” through a bold melodic line. An invigorating and exciting barrage of escalating guitars ensues, amplifying the tension, concern and passion in Owens’ voice. “Summertime” introduces synth to the album, redefining “soak up the sun, feelin’ the breeze” for a generation centered on electronics, and, building up energy, is ravaged by guitars, which, with help from the synth, wash out everything through pure, fuzzed-out noise. It eventually returns to simple, clean guitar—everyone knows the summer is just about a walk on the beach.

The second-to-last track, “Curls,” is centered on one E chord and travels through distanced reverb, hollowed guitar sounds and psychedelic melodies. What follows, “Darling,” is essentially the exact same song, but it takes away all of the subtleties and strides around San Francis -GIDEON BROSHY

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Amplified REVIEW

Fate, Dr. Dog’s latest album, is another masterpiece that rises to even higher levels than 2007’s We All Belong did. What else can we expect from the uber-creative and psychedelic group? After opening up for bands such as My Morning Jacket, The Strokes, the Black Keys, The Raconteurs, and Clap Your Hands Say Yeah, Dr. Dog has finally begun to receive the acclaim they have always deserved.

Dr. Dog heralded Fate as the album they were “destined to make,” “setting the highest expectations for us all.” The band did not lie; the Philadelphia-based group of five definitely met and exceeded those expectations.

As on past releases, Dr. Dog makes its magic through its harmonies, captivating melodies, and unique production that creates their unforgettable, eerie, folky classic rock feel. Dr. Dog’s powerful songwriting conjures more passion and soul on this album than ever before. The band’s sound is bigger and filled with more heart, although there is no apparent stylistic change in the sound. The musicianship on the album is fantastic, as we’ve come to expect from Dr. Dog’s past releases, and the creativity and craft of the songwriting is unrivaled. The tightly mic’d drums, the trilling organ, and the multiple guitars create a full sound that is supported by superior rhythmic combinations on bass

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and drums. Singer Scott McMicken kills the vocals on the whole album, evoking oceans of pain and emotion through his voice. As well, his lyrical scope and melodic tendencies throughout the record are catchy and distinctive.

The mid-tempo “Army of Ancients” is a notable track near the beginning of the album, and it attracts the ear with its vigorous keyboard playing, McMicken’s powerful vocals, and the addition of brass and strings. “The Rabbit, the Bat, and the Reindeer” succeeds which possesses a more traditional Dr. Dog sound with its unforgettable chorus and its key-led progression. “The Ark” is truly a work of art with a bold chorus powered by McMicken’s bolstering voice, which commands comparisons to the early Beatles sound.

The album closes off with the halted guitar-led stomps of “The Beach” and the infectious “My Friend.”

I challenge listeners to find a track on Fate that is not enjoyable to some extent. It deals with war and remorse, love and faith, and its creativity narrowly surpasses that of its predecessor We All Belong. The album will certainly slide in nicely as one of the best indie-rock albums of the last few years.

-IAN SINGLETON

Amplified REVIEW

Thirteen years after the release of his debut album, Reasonable Doubt, hip-hop’s long-time ruler Sean Carter, or Jay-Z, has released his eleventh studio album, The Blueprint 3. His latest maintains Jay-Z’s original and classic wit, but relies far too much on the technology developed since his first album. In songs like “Empire State of Mind” and “Young Forever,” he attempts to cheaply please the ears of listeners who once knew him as a deep and soulful poet.

Although catchy, these tracks do not make up for the loss of direction or statement that overwhelms most of the album.

The beauty and success of Jay-Z’s first album had much to do with his dedication to being an intelligent songsmith. Before all the fortune and fame, he was a young drug dealer from the streets of Brooklyn who dubbed his name from the J and Z trains on Marcy Avenue. On his first album, Carter makes references to the absence of his father, the stresses of life on the street, his regrets and his determination to stay true to himself and his music. His undeniable talent gained him the respect of some of the greatest rappers of the time, such as the Notorious B.I.G. Unfortunately, we can no longer expect the same cohesive, canny delivery that made Jay-Z a star.

Jay-Z’s once exciting lyrics have become predictable and boring, and to makeup for his loss of

creativity, he has relied on the studio to craft his sound.

Even if one were to ignore his repetitive lyrics, it is difficult to hear past the abundance of atrocious, overworked beats that resulted. The Blueprint 3 fails miserably at making any kind of statement both in its words and its sounds.

The Blueprint 3 is undoubtedly a letdown for many Jay-Z fans, and anyone who expected greatness from the third of his Blueprint series. Overall, it does pay homage to the origin and heart of hip-hop, soul and the streets.

However, he fails to convey the same intensity and energy with which he, in the Marcy projects and with Reasonable Doubt, spitted his witty, soulful rants. In 1996 he observed, complained, argued, and praised. In 2009, Sean Carter has sold us, and himself, short.

-MCKENZIE FOSTER

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Amplified REVIEW

Amplified REVIEW

WHERE THE MONSTERS ARE

Monsters of Folk, the group consisting of Jim James, Conor Oberst, Mike Mogis, and M. Ward, seems to have come from the alternate universe where the impossibly unlikely is very, very real. The only logical place for such a strange assortment of singer-songwriters to come together is in some lucky hipster’s daydreams.

That being said, the band seems to be able to hold its own. Although their self-titled album lacks a definitive sense of togetherness, there are enough cohesive tracks to sustain the suspension of disbelief necessary to properly listen to a record made by such heavyweights.

Individually, each artist has produced his own share of monumental albums. Yim Yames, My Morning Jacket’s ethereal frontman, is best known for the combination of his reverb-laden vocals and ferocious guitar arrangements. Mike Mogis and Conor Oberst both hail from the eloquent, if melodramatic band Bright Eyes, and M. Ward, of She and Him fame, is well renowned for his simplistic, drifting power folk.

Monsters of Folk falters where one would expect, though. The same influences that make the surreal combination so appealing are incredibly divisive. Ward and James, the album’s driving forces, don’t seem to mix with Oberst’s dramatic, lyric-heavy approach to music.

Oberst drags the album down in many places, where lyrics that would have fit perfectly well in a band like Bright Eyes seem both self indulgent and out of touch.

He’s still obsessed with some emotional inability to relate to other people (the opposite sex mostly) and he leans on the melodramatic speak-whisper that was so magical on his first three records. Frankly, it’s getting boring, and while Oberst never actively detracts from Monsters Of Folk all of the songs that bear his influence are bland and skippable. “Ahead of the Curve” Oberst’s ballad about losing part of himself is not only poorly suited to his strange singing voice but espouses cliché one-liners fit to be embroidered into a pillow by my grandmother.

There are saviors though, and they are named Matt and Jim (Yim?!). “Say Please”, the album’s first

single is powerful and raucous- in all the right ways.

M. Ward’s first, world-weary verse is magic, and those succeeding him are equally impressive. This is by far the most collective track on the record. Conor Oberst and Jim James support each other well, and Mike Mogis, well, Jesus, just listen to the guitar solo. It is followed by “Whole Lotta Losin’” which attains a different, but nonetheless sonically awesome, blend of voices. The track proves that M. Ward and Jim James are a match made in heaven. The harmonies they sing are a strange combination of CSNY and a conked out Uncle Tupelo, which gives the song an ethereal counter to the Everly Brothers-esque guitar swing.

A final highlight is “Man Named Truth” which finds Mr. Oberst finally working his magic. Mogis’s production is an ode to mandolin soaked R.E.M., and sort of halfway addresses the nature of the band. A band so ensconced in star-worship has to deal with their respective egos in a strange ways. Each of the so-called “monsters” has been put on a pedestal for their musical achievements, and deservedly so. “Man Named Truth” suggests that we shouldn’t necessarily trust these gold leafed gods of the Parthenon that is the independent music scene. Monsters of Folk after all, are in some way, just another self-indulgent group of musicians. The song, though, rights the ship. Eloquent, and yet stylistically terse, it suggests a struggle between carnal instincts and the urge to create something beautiful. The song essentially describes how empty you’ll really be once you finally get full.

As a whole the album has its flaws, but the high points are much more prominent. Although it never could have lived up to its unholy expectations, judged as just another piece of music, it fares well. Monsters of Folk aren’t real monsters; they lack the teeth and the fury of any truly superb group, but their particular brand of dreamy power pop is more than satisfying.

-HALLAM TUCK

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Amplified PROFILE

TAYLOR SWIFT

Jessica Skoczylas and Allie Bienenstock

At 19, Taylor Swift has crossed over to become the first country singer-songwriter to rock the globe.

Last year she was the top selling artist in the United States, according to Nielsen Soundscan.

Tickets for Swift’s headlining tour sold out in under two minutes at Madison Square Garden and the Staples Center. The band traveled to 52 cities in six months, and featured Kellie Pickler and Gloriana as opening acts.

On October 27th, as the tour neared its completion, Swift re-released her sophomore album Fearless with seven additional songs.

What is it about Swift’s music that attracts such a vast audience? Perhaps it is the sincerity and simplicity of her music, a breath of fresh air in an age of overproduced trash. Swift’s musical originality in part comes from her sheer honesty and lack of hesitation to disclose her most personal moments through song. This openness creates music that is popular because it describes what truly happens in real life, rather than glamorizing or exaggerating. In her debut self-titled album, then sixteen-year-old Taylor Swift combined stylings similar to LeAnn Rhymes and Britney Spears in ballads and quirky, upbeat songs. In her song “Picture to Burn,” Taylor retaliates against an ex-boyfriend: “To state the obvious, I didn’t get my perfect fantasy / I realized you love yourself more than you could ever love me/ So go and tell your friends that I’m obsessive and crazy/ that’s fine, I’ll tell mine you’re gay.”

In Fearless, Swift’s music grows more mature. The album includes the song “Forever & Always,” which she wrote following her breakup from Joe Jonas. But Swift doesn’t only write about boys—some of her songs speak about her family and her friends. “The Best Day” is dedicated to Swift’s mother, and “Fifteen” is about her best friend Abigail and the hurdles that plague a teenager’s journey through high school.

As Taylor became more successful, her music conformed to a more mainstream pop sound and she relied less on country melodies. This skyrocketed Swift to Britney Spears level fame. The only traces of anything remotely country on Swift’s universally popular songs are her slight southern drawl and the occasional fiddle.

Swift’s career is taking her beyond the music scene. She appeared in The Hannah Montana Movie starring Miley Cyrus, and will be featured in Valentine’s Day, scheduled to be released in February 2010, along with fellow cast members Ashton Kutcher, Jamie Foxx, Anne Hathaway, and Patrick Dempsey.

Swift’s fans love her personality. She updates her devotees through tweeting, blogging, and homemade Youtube videos. Taylor Swift is a role model for young girls, and parents love that she prefers to spend time in the kitchen baking cookies with her family and friends over frequenting Hollywood hotspots. Swift distinguishes herself in a sea of musicians whose music does not always connect to their real life. For proof skim the P.S. statement of her first album: “To all the boys who thought they would be cool and break my heart, guess what?

Here are 11 songs written about you. HA.”

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Johnny Winter @ BB 4 King club

Oy!Hoo Jewish Music Festival @ City Winery

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Gregg Allman @ The Wellmont Theater

Vampire Weekend “Contra”

Beach House: “Teen Dream”

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Vampire Weekend @ 18 Spoon; “Transference”19 Webster Hall (Sun @ United Palace, Tues @ Bowery Ballroom

Cheap Trick @ Irving

Bear in Heaven + Oh No Ono + ArpLine + The Jaguar Club @ Mercury Lounge (21+)

Lady Gaga + Kid Cudi + Jason Derulo @ Radio City Music Hall

The Drums + Surfer Blood @ Bowery Ballroom

The Levon Helm Band + Okkervil River @ Terminal 5

@ Terminal 5

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The Detroit Cobras + The Swinging Neckbreakers @ Maxwell’s

Campo- Formio @ the Silent Barn

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Go See Rock&Roll Hall of Fame Annex downtown!

Closes January 3rd

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ALL + Off with their Heads + Shot Baker @ Music Hall of Williamsburg

Gang Gang Dance + 15 The Cribs + Adam DJ/rupture @ Music Green + The Dead Hall of Williamsburg Trees @ Irving Plaza

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Lightspeed Champion + Spacecamp @ Bowery Ballroom

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VEGA + Nelson Flower @ Santo’s Party House

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Kid Cudi @ Irving Plaza

Between the Buried and Me @ Irving Plaza

Suzanne Vega @ The 28 Les Savy Fav + Vivian Girls @ Allen Room, Lincoln BAM Center

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13 Julian Casablancas 14

Babies + Total Slacker 6 + Beach Fossils + True Woomanhood + The Sundelles @ Glasslands gallery (21+)

january 2010

Truman Peyote + Many Mansions + Blissed Out @ the Silent Barn

Passion Pit @ Terminal 5 (also Friday/ Saturday)

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Dinosaur Jr. @ Music Hall of Williamsburg

White Rabbits @ Bowery Ballroom

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be sure to check out what’s happening this month in music!

Amplified Magazine Horace Mann School 231 West 246th St. Riverdale, NY 10471