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LL Vol. 22 Issue 26
RIBUNE
Published by the Students' Society of M cGill University since 1981
Tuesday, April 1, 2003
Synthetic Folk Hero to save the world from Kenny G Greg McKenna
I can honestly say that I had never heard anything like this before. Friday night at Casa del Popolo, the Synthetic Folk Flero, a.k.a. Leon Kingstone, fought a battle for folk music with his super-synthesizing pow ers. The saxophone player for local Montreal ska band the Planet Smashers took to the stage playing his own unique style of music, calling it “confounded rock.” “I kind of made that up,” said Kingstone. “I’m trying to describe what my music sounds like; it’s a mix of Ween, Zappa and They M ight Be Giants.” Arming himself with two saxophones, a synthesiz er, two microphones (one that is processed), four elec tronic devices and a cape, Kingstone becomes the Synthetic Folk Hero: singer, synthesizer and super saxplayer. Like all superheroes, he fights a relentless bat tle with the forces of evil in an attempt to overthrow the mighty supervillain. “M y nemesis is Kenny G,” said Kingstone. “I think he’s every sax player’s nemesis. You grow up and you study all these amazing sax players. Then you hear this guy Kenny G, and he’s fine and whatever, but you know that he’s making millions and all these other wonderful people are starving, so you end up hating the guy.” Kingstone’s performance was entertaining, amus ing and sometimes downright silly. Using cutlery and Barbie dolls, he takes time to explain to the audience key concepts in his songs, such as phagocytosis, invagination and spooning. It is impressive that Kingstone manages to create a good one-man show, given that he can neither play the keyboard nor sing well, and that the only thing he does exceptionally is play the saxophone. The Synthetic Folk Hero has been a side project for Kingstone over the past year. Originally accompa nied by a band, he was forced to go solo since he was always on tour with the Planet Smashers. Last week, Kingstone officially departed from the ska band so that he can devote all of his energy to this act. “I need to do this right now,” he said. “Who knows if I’ll go back to the Planet Smashers, we’ll see.” Now with more time as the Synthetic Folk Hero, he expects to put out an album by May, polish up his live act and work more on the creative process. “When I’m writing music, I throw all my ideas out there and then I arrange things accordingly,” said Kingstone. “I think my music is really deep and I do have a lot to say, though it is surrounded by quirki ness.” The song lyrics could be described as interesting and thought-provoking. They range from weird to goofy, stupid to serious, and then sometimes they are everything all together. In “The Sinking Feeling”, the chorus is insightful: “If it’s just me and my loneli ness/then why do I feel so all alone?” Whereas, the song “Morning Wood” is simply about having an erec tion. See CAPTAIN KINGSTONE, page 20
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NATHAN LEBIODA
No, that’s not Hunter S. Thompson, rather just another McGill student desperately anticipating the barbecue season.
The soul o f James Grohsgal
The Simpsons is in a class of its own. Eminent people have slammed the car toon as an exemplar of the dysfunctional American family, while the equally famous laud the show for its clear and bit ing wit. It helped define the 1990s as an age of irony and, despite the laurels heaped upon it by A1 Gore and The N ew York Times editorial page, praise has not caused the show to jump the shark. While television has trained viewers to accept some shows as “pro-family” (read: godly) and others as “irreverent” (read: satanic), The Simpsons manages to depict humans as they really are—a little good and a little bad. The greater the imperfection, the greater the empathy— thus, the viewers’ affection. However, sappy cartoons, such as
The Simpsons F am ily C ircus, are not funny. The Sim psons balances between love and laughter; its animated form allows it to avoid either maudlin sentimentality or simplistic slapstick. Nota bene\ there will never be “a very special episode of The Simpsons.” Hath not a toon... organs, senses, dimensions? When bullies drop Bart Simpson into a garbage can and roll him down a hill, the viewer can both chuckle and feel sympathetic, but were David Schwimmer to be mauled to death by wild boars, most Simpsons fans, while laughing uproarious ly, might feel a touch of shadenfreude. Animation distances the viewer from the physical constraints of form and time— See REDEMPTION, page 8
IN S ID E T h e Tribune’s year-end P h o to S h o w c a s e P a g e s 16 & 17
“ T h e w o r l d is f u l l o f p e o p l e w h o se n o tio n o f a s a tis fa cto r y f u t u r e is, i n f a c t , a r e t u r n to t h e i d e a l i z e d p a s t. ” — R o b e r t s o n D a v ie s