Issue 20 by tastemakers

issue 20

t he indie kid's guide to the zombie apocalypse a q&a with bad rabbits h

northeastern students on music

8-bit music 1

Kyle Risley President Katie Price Editor in Chief Anne Latini Art Director Andrew Phan Marketing Director Edwin Morris Web Director Bryan Berlin Features Director Alyssa Mastrocco Features Editor Em Cassel Interviews Coordinator Sammy Kaufman, Colin Peters Interviews Editors Dave Tscheigg Reviews Director Chris Stoppiello, Mel Bertoldi Reviews Editors Tom Casey Copy Editor Caitlin Kullberg Promotions Director Chrissy Bukalites Photo Director Staff Writers Dana Jensen, Kade Krichko, Jordan Munson, Madi Daigle, Meredith Balkus, Michelle Buchman

staff quotes "I put them on the naughty list and they never forgave me." -Anne Latini (Art Director)

"Make a wish, motherfuckers. I'm on my second energy drink of the day and the night is still young." -Nathan Goldman (Tastebud)

"Mmmbop." -Chrissy Bulakites (Photo Director)

Contributors Aadil Sulaiman, Adriel Tjokrosaputro, Ashley Jacobs, Bianca Falcone, Brooke Daly, Cassie Hebert, Chris Mack, Dan Arias, Dan Thompson, Dan Wilets, Dinorah Wilson, Evan Prawda, Felicia Gonzalez, Patricia Concepcion, Grace Munns, Harrison Seitz, Jake Rolf, James McKeon, Jay Cook, Jeff Lewis, Kate Lieb, Kirby Smyth, Lauren Moquin, Lauren Taylor, Leslie Fowle, Matt Baddour, Megan Pollock, Natasha Perez, Nathan Goldman, Nick Hugon, Olivia Zhou, Patricia Hunter, Patrick Duane, Patrick Torpey, Rachel Drudi, Rebecca Stadlen, Rebecca Timson, Runyon Colie, Sapphire Reels, Sean PierreAntoine, Shea Geyer, Sid Phadnis, Susie Conway Designers Chris Bowers, Nicole Laverty, Dana Jensen, Sid Phadnis, Chris Eddins, Charlie Doucette, Alex Taylor, Laura Crosson, Casey Wittner, Brook Camenoff, Kerry Rubenstein, Alyssa Sullivan, Abbie Hanright, Priscilla Dunn, Brian Cantrell, David Tscheigg, Alex Heldand Tastebuds Samantha Robinson, Nathan Goldman, Zack Brittingham, Tessa Komine, Laura Crossin, Paige Marz, Madena Mohamadi, Michael Gasiorek, Rebecca Timson, Nauchelle Martinez, Sophia Seawell, Jess Moloughney, Felicia Gonzalez, Evinne Dimmig, Brooke Kamenoff, Jenna Rosss, Shannon Murphy, Dan Arias, Emily Miles, Brandon Isaacson, Madeline Heising, Christina Han, Jessica Chiou, Harrison Seitz, Sachin Mitra, Cortnee Bollard, Ilana Olefson, Kevin Schubert, Rebecca Timson, Alec Taylor, Dave Tsai, Trevor Burns, the Eric Luke cover photo by Mark C. Hatch (mechanical engineering)

"Tastemakers is my favorite weeknight activity. Well, now that LOST is over." -Alyssa Mastrocco (Features Editor)

"Tastemakers goes America all over everyone's asses." -Caitlin Kulbuerg (Promotions Director)

> want to become a email us at tastemakersmag@gmail.com

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tastemakers music magazine 434 curry student center 360 huntington ave boston, ma 02125 tastemakersmag@gmail.com www. tastemakersmag.com

4 6 8 10 11 12

calendar

show reviews

local photos

make my heart go pitter-patterson

the devil wears prada

the indie kid's guide to the zombie apocalypse

vexed venues

keeping the world turning: sundazed music

above the clouds: the guru legacy

a q&a with bob crawford

the yellow bird project

a q&a with bad rabbits

the hipster's halloween style guide

8-bit music

cd reviews

just a taste of: all these elements

quad ambush: zombie apocalypse

etcetera

11.20 EOTO @ paradise by chris mackintosh (biochemistry) EOTO shows are the best dance party you can possibly go to... they’re 100% electronic music of all different styles (Dubstep, Funk, Drum and Bass, House, etc.) Every night they go out and improv for 2-4 hours, so no two shows are ever

11.11, 11.12 sufjan stevens @ orpheum by alyssa mastrocco (english) Sufjan Stevens is back in all his usual dramatic, theatrical glory beginning a new tour. Following the release of his “All Delighted People” EP, and acting as a precursor to the October release of full-length “The Age of Adz,” he’ll be playing a soldout Orpheum on November 10th and 11th, as well as dates in New York and Philly.

11.8 say anything, saves the day and motion city soundtrack @ house of blues chris conley of saves the day interviewed by katie price (music industry) “It’s a blessing that we are able to still be playing and growing with our audience and with these amazing bands. House of Blues in Boston is one of my favorite venues out there right now. We’re really It’s rare to feel so close to the audience in such a big space. We’ll see you at the show!”

GS toxic holocaust, tombs, razormaze, panzerbastard, skull hammer

28 29

HOB kt tunstall w/ hurrican bells

PA bruno mars

PA free energy w/ foxy shazam

PA tame impala

HOB reel big fish w/ aquabats

TD justin bieber

HOB la roux w/ far east movement, francis and the lights

14 RB ariel pink’s haunted graffiti w/ os mutantes

HOB sara bareilles

GS yokon blonde w/ the honors

WT the dresden dolls

HOB the script w/ joshua radin

PA blonde redhead

HOB circa survive w/ special guests

OT ben folds

TD dave matthews bland

RB the dandy warhols

get tacky » •

thanksgiving!

PA kate nash

HOB mumford & sons w/ cadillac sky, king charles

HOB matt and kim w/ javelin, fletcher c johnson

HOB brandon flowers

OT the allman brothers band

PA bang camaro

RB les savy fav

TD michael bublé

GS atlantic/pacific

GS the joy formidable w/ grouplove

RB dawes

november

12.10-12.13 nutcracker @ boston ballet by alyssa mastrocco If you’re looking for a little higher culture this holiday season, check out the Boston Ballet’s Nutcracker. Either you’ll enjoy some music and dancing that you don’t normally see, or you’ll take an expensive nap with sugarplums dancing in your head.

12.3 fun. w/ steel train @ royal boston by brian berlin (womens’ studies) Both fun. and Steel Train have been 2 of my 5 favorite bands of late. Luckily, they’re both playing at the same venue on the same night. If you missed steel train at northeastern or want to see them again, go to this.

11.21 wiz khalifa @ paradise by chris mackintosh (biochemistry) Especially after XXL reported that he was “bumrushed” during his headlining set at this summer’s Boston Urban Music Festival, all eyes are on “Kush And Orange Juice” enthusiast Wiz Khalifa as the rapper returns to the Bean, this time for a show at the Paradise on November 21. Wiz’s cannabis-inspired rhymes and everyday quality sparks a very tangible connection between he and his audience, as I experienced firsthand during his set at Rock The Bells back in August. I’ll definitely be there.

the same. If you’re a fan of music at all, an EOTO show is definitely something worth seeing.

BB the nutcracker

29 BB the nutcracker

28 MD zach deputy

26 SH boston holiday pops

SH boston holiday pops

HOB attack attack!, emure, special guests

SH boston holiday pops

OT weezer

SH boston holiday pops

CT jersey boys

WT minus the bear

NS a christmas carol

CC comcast center CH converse hall at tremont temple CT colonial theatre DCU dcu center GS great scott HOB house of blues ICC allston ICC

MD 6th annual yule ball w/ harry and the potters, draco and the malfoys, potter pupper pals and more

TT devils night out pres. gong show karaoke hosted by tommy somerville

12 SH boston holiday pops

TT devils night out pres. gong show karaoke hosted by tommy somerville

MU mustard plug w/ deals gone bad

AA agganis arena AH afterHOURS BB boston ballet BC berklee cafe 939 BO boston opera house BPC berklee performance center BS boston symphony

GS moe

PA soulive

SH boston holiday pops

HOB badfish, a tribute to sublime

CH andrew bird

RB fun.

christmas!

PA street dogs

SH boston holiday pops

PA killing jake

SH symphony hall ST somerville theatre TD td banknorth TT tt the bear’s WA wang theatre WT wilbur theatre

TT jason bennet & the resistance

MD freelance whales w/ miniature tigers

PA the antlers

MA mass art ME middle east NS north shore music hall OR orpheum PL palladium PA paradise RX the roxy

december

jarrod gorbel photo by rob petrini (music industry)

jarrod gorbel

@ great scott, september 12th by rob petrini (music industry) In a little bar called Great Scott, I had the great opportunity to see Jarrod Gorbel perform on September 12th. For many years Jarrod Gorbel played under the moniker of The Honorary Title, which until recently he has played with for most of his career. This was my first time seeing him without his supporting musicians and I must admit he had the same affect on the crowd as he always did. His atmospheric voice sent chills down my neck, breaking from a low lull to a powerful yell. As Jarrod progressed through his set, which included plenty of jokes and conversations with the crowd, he played many songs off THT’s latest release, Scream & Light Up The Sky. With his recent solo release, Devil’s Made A New Friend, he interlaced many of those tracks to give a glimpse of what he’s been working on apart from the band to slowly ease the crowd into his newer sound. At one point he asked the crowd what they wanted to hear, and throughout the noise he picked up the title ‘Cats In Heat,’ which was one of the best songs (in my opinion) off The Honorary Title’s debut album, Anything Else But The Truth. As he began to play the song, it reminded me of the first time I saw him live; back in junior year of High School, I bought tickets to their show at the Webster Underground in Hartford, CT. Upon arriving, we saw that we were the only two at the show, which gave us the perfect opportunity to meet and talk with both Jarrod and Aaron (keyboard/bass). We spoke for many hours that night and exchanged stories about different musical influences and the experiences he’s had so far as a recording artist. Fast-forward to Great Scott in Allston and it’s still the same humble man, just a little bit older, wiser and with more experiences to share with his listeners. After his hour or so set, Jarrod came off the stage and spoke to the crowd; we met up and spoke for a bit and to my surprise he still remembered the Doghouse Records “Secret Tour” as most of the bands dubbed it due to the poor turnout. With such a unique sound and outlook on life, you can see that Jarrod Gorbel will have much success in his endeavors, and if you haven’t gotten around to it yet, be sure to purchase his latest Devil’s Made A New Friend. You will not regret it. On the walk home that night, a feeling of nostalgia filled me to the brim; the only thing that seemed suitable that night was to throw on Anything Else But The Truth sit back and reminisce in my new apartment.

caribou photo by jacob mulligan (international business)

caribou with holy fuck and emeralds @ the paradise, september 19th by runyon colie (computer science/journalism)

Canada’s indie music scene has been thriving for the better part of the last decade, with bands like Broken Social Scene, Wolf Parade, and Metric receiving accolades and increasing attention. Few, however, are as critically acclaimed and innovative as Caribou, winner of the 2008 Polaris Prize for the best Canadian album (Andorra). Caribou (formerly known as Manitoba), the stage name of Daniel Victor Snaith, has been pumping out electronic indie rock since 2000. Caribou played the Paradise Rock Club and brought Holy Fuck, another stellar Canadian electronic band, along for the show. Unfortunately, opener Emeralds didn’t start the evening off on solid footing. They managed to

consistently make noise for their 25 minute set, yet went nowhere with it. Apart from one or two people, the floor crowd was obviously bored with the monotony and shrill keyboard work. It was up to Holy Fuck to revive the crowd, and they did so in style. I had seen them once before, during the summer, (visit tastemakersmag.com for more Holy Fuck coverage) and so I knew a bit of what to expect, but Holy Fuck still managed to impress. Bringing along their own strobe lights only encouraged the crowd. The set’s highlight came a little past the midway point with the stellar “Stay Lit” off their latest album, Latin. Screams of “Holy Fuck!” grew louder as the set closed. Backed by a series of flashing images, Caribou played as a tight four piece with the drums set only a foot from the stage. The recent album, Swim’s, dance-floor focus was one of the most immediately striking aspects of the show, and lent itself well to the energy that the second opener had created. Cuts like “Kaili” got the floor crowd moving and jumping, while the rest of the crowd admired the musical proficiency on display (including some dueling drumbeats from Snaith and his touring drummer). The regular set climaxed with new cuts “Odessa” and “Sun”, the latter setting off the three solid minutes of cheers before the encore. The band members were obviously excited by the energy, giving out high-fives freely to fans (including this one) as the set finished. Anyone interested in the future of electronic music would be remiss to avoid checking out the work of Holy Fuck and Caribou, as these two Canadian bands have both proven their ability to innovate while maintaining the visceral ability to move bodies and light up the dance-floor.

the disco biscuits with RJD2, MiMoSa, and raekwon @ bank of america pavilion, september 11th written by chris mackintosh (biochemistry) photo by ashley smith (communications)

The September 11th concert at the Bank of America Pavilion marked the first return of the Disco Biscuits to Boston since a broken-wristed guitarist, and an unheard of single set show, left fans more than a little disappointed. After that night at the House of Blues, I was eager to see the Biscuits come back and redeem themselves. The show started with a rather lifeless performance by Raekwon. I was kind of into it when he played Wu Tang songs for nostalgia reasons more than anything, but it was pretty clear that no one in the venue, including Raekwon, really cared. He ended his set with a desperate plea for attention, by telling the Disco Biscuits fans to go ahead and ingest a particular leafy controlled substance. MiM0SA was the second opening act of the night. Personally, I thought his music was absolutely dope, but I also thought that I too could load a list of good songs into iTunes and press the play button. I wasn't too upset though, I sat and listened to some filthy dubstep and waited for the Biscuits. By now it was around 8 o'clock, and you may have already detected that I was not having the best time at this concert. The Disco Biscuits did

not waste a secondÂ turning that around. The band opened with "The Overture," which served as a perfect introduction to the Disco Biscuits signature sound - tight dance beats, thumping bass lines and mind melting electronic textures, all with guitarist Jon "Barber" Gutwillig looking wasted and wailing on his guitar. It also displayed the Biscuits penchant for stretching/cutting/flipping/whatever else they want to do to their songs, as they played only the first half of the song (for 11 minutes). That song glided into the next one, "Pimp Blue Rikkis," a hip-hop and dubstep inspired melt-fest that has since become one of my favorite Disco Biscuits jams. Bassist Marc "Brownie" Brownstein stepped away from his guitar and jumped on the buttons while Barber delivered half-sung, halfrapped lyrics that blew Raekwon and MiM0SA out of the Pavilion. The first set finished with a delicious "Bombs" and "Astronaut" sandwich on bluesy "Little Shimmy on a Conga Line" bread. The second set started off with some seriously haunting synth sounds and deep bass grumbles. I spent a bit too long trying to figure out what Biscuits song it was before I realized it was "Run Like Hell" by Pink Floyd. The synth work was some of the most awesome I have ever heard, studio or

live. And what's more fun than the whole Bank of America Pavilion screaming, "RUN, RUN, RUN RUUUUN!" during the chorus? Next came an inverted version of "Portal to an Empty Head" (inverted is a typical Biscuits trick where they play the last part of a song first). The final song of the set was a short version of "Bernstein and Chasnoff," which featured none of the songâ&#x20AC;&#x2122;s verses, choruses or actual guitar parts, just an epic guitar solo by Barber. When the Biscuits went off stage the calls for an encore were probably the loudest I have ever heard, and the band did not disappoint. "Feeling Twisted" was a fun rock song, a solid choice for an encore, and the Biscuits crowd thoroughly enjoyed singing along Jon's reverb soaked chorus of "Hey Hey Hey! You're feeling twisted!" Overall I have to give this show a 5/5, no matter what I thought about the venue and opening acts. I went see the Biscuits, and they did not disappoint.

clockwise from bottom right:

every time i die by chriss bulakites (photography and music industry) paramore by chris bower (graphic design) bananapeel by dave tschiegg (graphpic design) the maine by amanda yee (communications) the flaming lips by katie price (journalism and music industry)

Makes My Heart Go

Pitter-Pattinson

written by sammy kaufman (communications) art by sid phadnis

Anyone capable of the simplest form of thought can tell you who Edward Cullen is. Depending on whom you talk to, the description may vary. Most girls would agree, however, with the following: he’s gorgeous, lives forever, sparkles in the sunlight, and wait, he sings? The entire male population might as well just drop dead; their existence is now basically useless. Okay, so it’s not exactly Edward Cullen with the newly discovered musical ability, but the actor who plays him: Robert Pattinson. Like many celebrities prior, Pattinson has dabbled in almost every aspect of the entertainment industry, beginning his career as a model and then moving on to a brief stint in musical theater. However, as his music gains more recognition it’s greatly possible that R. Patz will make the switch from actor to musician. Before you grab your pitchfork and rally up an angry mob, give the guy a chance. Unfortunately for him, any music he chooses to release enters an already biased audience. Either he’s automatically accepted as a musical genius by his blinded fan base of millions or is dismissed immediately as another wannabe actor turned singer. In actuality, Pattinson seems just as unenthusiastic about his music as you are. “I have no clue what they are doing there,” he responds when asked about his two songs featured on the Eclipse soundtrack. “They used one for one of the key moments, which is a little bizarre … it’s this little song with acoustic guitar.” Although he won’t bring it up, Pattinson was trained classically in guitar and has played piano his entire life, now composing the majority of his own music. Surprisingly, his ability is best showcased in a handful of rough, makeshift performances on YouTube. Pattinson performs with a style comparable to Ray LaMontagne, fueled by raw, genuine emotion and a voice powerful enough to stand on its own. Once you recover from your initial shock that he can actually sing you’ll spend the next hour glued to the repeat button. It’s okay; I was embarrassed too. The songs featured on YouTube are roughly recorded, pitchy at times, and yet somehow his potential seems to shine through. In fact it’s basically blinding. Whether it is natural talent or Pattinson’s ability to radiate a

level of emotion many artists fail to accomplish, there is no question about it; the vampire can sing. As of now, what is being referred to as the ‘Brit-Pack’ (Robert Pattinson, Bobby Long, Sam Bradley, Marcus Foster and Tom Sturridge) is doing its best to leave its mark in the music world through both collaboration and solo performances. Most recently Sam Bradley and Pattinson joined forces to create the song “Never Think” while Bobby Long and Marcus Foster wrote “Let Me Sign” both featured on the Eclipse soundtrack. Who said there was anything wrong with using Edward Cullen’s obsessive popularity to spread music throughout the world? At the end of the day, how you feel about this heart throbbing vampire is pretty irrelevant. Whether you want to end his immortal existence or are still hiding your shrine of Twilight paraphernalia in your closet, the man who’s seen as the epitome of perfection is now a musician. The worst part about it? He’s actually good.

Written by Jordan Munson (Music Industry) As the summer was coming to a close, so was The Devil Wears Prada’s “Back to the Roots Tour”. August 24th saw the release of the band’s Zombie EP, which has received a number of great reviews as well as debuting at number 10 on the Billboard 200, a rank that’s largely unheard of for metal these days. The concept behind the “Back to the Roots Tour” was to do a very long and expansive tour, playing smaller venues throughout the US, often times performing two nights in a row (playing Harpers Ferry two consecutive nights while in Boston). My conversation with the band on the night of their first Boston date was a bit unorthodox to say the least, though it began pretty routinely. We discussed something that had been on the minds and blogs of many people who were familiar with TDWP: their further exploration into a heavier sound. There were glimpses of the band playing such a sound on With Roots Above and Branches Below, but I’m not sure anyone knew whether it would stick around. Needless to say, Zombie helped confirm that the band truly was making strides toward being a heavier and faster band. The guys didn’t seem to have a lot to say about the matter, but it all boiled down to “it just felt right.” Soon the conversation wandered into the realm of “aren’t you going to ask me about X topic that

everyone else asks us about?” but I laughed it off, explaining that “I don’t see the point in asking you the same question you’ve been asked a million times before just so you can begrudgingly regurgitate the same answer once again.” They laughed and then I decided it was time to kick it up a notch. When I asked about the guys’ plan in the event of an actual zombie apocalypse it caught them a bit off guard. It took Mike [Hranica, lead vocals] a few seconds to start his answer, but he ultimately explained that there are two things that need to take priority over everything in the event of a zombie apocalypse: shelter and protection. Now you may think that is silly, since food and water are pretty important (which was my retort), but Mike calmly and confidently explained that food and water can be easily found once you’re safe. If there are zombies running around everywhere and you have no shelter or protection, you likely won’t last long enough to get hungry or thirsty. Point, Mike. Further discussing the idea of protection, I asked the guys what would be their weapon of choice. I expected a pretty cliché answer, but I again received a well thought out and planned answer. Jeremy [DePoyster, rhythm guitar/clean vocals] explained that as satisfying as it may be to wander around massacring zombies with a chainsaw, it’ll

get you killed. In an ideal situation, you’d have two weapons: one close-ranged and one long-ranged. For example: a spiked club and a shotgun. Mike chimed in, noting that weapons with ammunition are always risky since you don’t know when you’ll run out or when you’ll find more supplies. It’s a very real concern and something that nearly every video game or movie character encounters. I then asked Mike and Jeremy which of the band members would be first to die in the event of a zombie apocalypse and the two almost immediately responded in unison with “Andy [Trick, bass guitar]” then looked at each other and laughed. They went on to explain that Andy was perhaps the least spatially aware person they had ever met, so he would have absolutely no idea if there was a zombie just hanging out behind him, and which case he would be doomed. It’s a wonder they’ve never had any sort of catastrophes on stage. Needless to say, The Devil Wears Prada were really cool guys, and certainly knew their business regarding zombie apocalypses. If you weren’t already convinced after this, or after hearing the EP, you can always check out the official comic book that was released with the EP, illustrated by Kevin Mellon.

The Indie Kid’s Guide to The Zombie Apocalypse written by alyssa mastrocco (english) art by chris eddins (graphic design)

We all know it’s coming. Somewhere out there on the horizon, it’s just waiting for the perfect time to strike. It’s the Zombie Apocalypse. When it does come to bear down on us, even we indie kids need to be prepared for it. Don’t say we didn’t warn you. Here are seven steps to remember in order to ensure your survival:

Everyone knows how much we Indie kids love our tight pants. They’re everywhere: on girls, on boys, even on babies and unfortunate pets. But if there’s one thing guaranteed to be in a zombie apocalypse, it’s a shit ton of running. You may feel good in your tight pants just standing around judging people, but you’ll regret your decision when it comes time to run for your life. My advice? Change your pants. If you still want something tight, put on your little sister’s gym shorts from elementary school. Just make sure those knees are free and able to carry your frail, ironically hairy body to safety.

Say you don’t want to run anymore. A convenient thing to have around you is a functional vehicle. I’m talking to you, fixieriders. The hills of Boston and the surrounding zombie-infested suburbs will roll you to your death if you cant change gears and make it to the top before coasting back down to safety. If it has to be a bike, get something with at least 5 or 6 speeds. Your magenta fixie will be waiting for you back in Allston when you make it through on your less-cool geared bike.

You’re going to need to find food and drinking supplies eventually. Just because your high school gym teacher didn’t recommend them for hydration, doesn’t mean your favorite PBR tall boys should be abandoned with your fixie and skinny jeans. Look at it this way: it’s sixteen ounces of something that may as well be water for all its non-existent flavor, but will up the fun factor exponentially. Don’t forget to keep a Sigg of your favorite yet-to-be-invented super drink for when PBR gets to be so ten minutes ago, or if your girlfriend is just too drunk to continue.

If it’s not on Facebook, it didn’t happen, right? Don’t you want all of your friends to know about the super exclusive zombie party you threw at your overcrowded Allston pad? You may not be able to carry much in that ironic fanny pack of yours, but make sure the DSLR your parents bought you (just because they could) and various lenses are with you at all times. Otherwise, what’s the point of surviving if you can’t brag about it via social networking?

Choose your weapon carefully. Anything you can carry can protect you. Your U-Lock will be doubly functional, in locking up your precious bicycle whenever you need to stop, but it can also crush some skulls when the time comes to defend yourself. Your record collection may need to defend you also. If you had to throw one record into the hoard to save yourself, would you be able to? Which one would you choose? Something sharp would obviously be best. What it is must, ultimately, be up to you but keep in mind that these zombies won’t just walk away if you stare at them blankly. Just because you couldn’t care less doesn’t mean they’ll feel the same way. They have one thing, and one thing only on their minds: your brains.

Your keffiyeh is a fashion statement, I know. Don’t ignore its functionality for the benefit of looking good in a time like the zombie apocalypse. It can be used to carry your beloved DSLR or even your choice of weapon, it can be used to bandage wounds, to hold your collection of RayBans, or even to launch attacks on the approaching hoard if you get really creative. Now is the time to really let your inner artist out. That’s right, the one you keep telling your parents about when they ask you what they’re paying for every time a tuition bill comes around.

Don’t forget your phone charger, especially you smartphone users. Your Foursquare account will never be so useful. You can use it to find other survivors in neighboring towns, you can look for places to restock your food and beverage supplies, and you can even take advantage of the apocalypse and become the mayor of every establishment you enter for the simple reason that everyone else is dead! Use this wisely, and approach with caution, as some of the infected may still remember how to use their smartphones to trap unwitting survivors.

Use these seven steps as a guide, but be creative also. I mean, you are god’s gift to humanity, right? They may even name a survival strategy after you. Go forth, prepare and I hope to see you on the other side.

Vexed Venues

by dana jensen (music industry) and katie price (music industry/journalism)

Think about the venues you’ve seen. Imagine the endless amount of posters lining the narrow hallways leading into a room full of sweaty and screaming fans. Then stop and consider the possibility of those lurking that may never leave. It’s no secret that Boston is teeming with history buried deep in the cement of the buildings that have existed for hundreds of years. Much of that history is embedded in theatres that have been listed as having paranormal activity occurring throughout the years. You many not know it, but one night you may find yourself rocking out with a spirit from beyond.

The Orpheum Theater

Berklee College of Music

Built in 1952 as the Boston Music Hall, The Orpheum Theater has been host to hundreds of thousands of patrons. Some of the concert-goers have stuck around long after the encore to witness years of startling rumors prove to be full of truth. Many have claimed to see empty seats filled by people wearing clothes from the late 50s and 60s or heard voices in the bathrooms. According to employees, recordings of the voices exist on accident. During sound checks and interviews, voices have been picked up not belonging to those present. Many workers and performers have also had similar experiences in the dressing rooms hearing voices. Paranormal investigators have searched the building extensively and have yet to come across anything evil. They admit that there are spirits there, but that they are friendly and most likely music lovers - why else would they stick around? So on your next trip to the Orpheum, be sure to leave enough room for the spirits to get a taste of Boston’s newest music scene.

A few blocks away in Berklee’s Mass. Ave. dorms, you’ll find tons of aspiring musicians and students. Don’t be alarmed when the victims of a fire that occurred there almost a century ago wander the same hallways as the practicing artists. The building was at one time a hotel used by tourists and travelers in downtown Boston. It is said that the spirits of those who perished are stuck in the building, unsure of how to get home. Students claim to have seen apparitions in hallways and others have had victims of the fire living in their rooms. One of the most infamous personal accounts comes from the 80s. A student and his roommate were doing homework when the TV flew across the room, even though the windows were closed. The same two alumni also bore witness to a continuous knocking at their door, but no one present when the door was opened while the sound was occurring. In another turn of events, a student awoke to a smoky, blue lady in a nightcap sleeping above him. He screamed and the lady vanished. This same lady may be the source of the toilet flushing by itself or perhaps the bath tub mysteriously turning on with no one present in the bathroom. The building has been proven by paranormal investigators to be full of activity both good and bad.

Boston Music Conservatory Dorms Located just steps from Northeastern’s campus are the Boston Conservatory dorms. Listed in the National Register of Historic Places, these buildings have a rich history, serving as a hospital during the 1800s. The Victorian brownstones are home to a large amount of paranormal activity including footsteps, slamming doors, audible voices, missing items and door lucks stubbornly staying locked then flying open. Students often request housing switches due to the eerie occurrences. Paranormal investigators confirm that the building is indeed haunted by old patients and nurses from the hospital.

Emerson Majestic Theatre Built around the turn of the century in 1903, the Majestic lives in infamy as the most haunted place in the theater district. There are more sightings and presences felt in this theater than any of the others. The most frequently seen apparition is an old mayor of the city, who was also a devout patron of the arts and died in the theater during a performance. Which former mayor it was is unknown because several have died there, but he is still today seen sitting where he supposedly passed. A young girl has been rumored to accept hidden gifts and a married couple that are often seen dressed in clothes from the early 1900s haunt the balcony, which is now unused, as the seats have been deemed too steep and a fire hazard. When in use, the third balcony was where the poor and minority patrons sat. Emerson students using the theater have noted chair movement in addition to power outages at coincidentally crucial moments during rehearsals and performances. It is said by Emerson students that if the spirits do not like a show, they shut the board down. Some students are so convinced of the presence of ghostly patrons that they still say, “Excuse me,” when passing empty chairs. The sound booth and third balcony are found to be the most active spots by paranormal researchers, but backstage and the dressing rooms are also very haunted.

The Everett Theatre In the 1700s, The Everett Theatre on Fairmount Avenue was home for colonial entertainment. The theater was sold out night after night until one fateful evening. Another sold out show was in attendance when two outcasts climbed about the far stage lights and cut them down. The light rig fell on the balcony, killing the entirety of the audience in the balcony. For months afterwards, the screams and cries of those killed were heard, repelling patrons from continuing to attend shows. The owners eventually ran out of money trying to revive that location, but moved to a new location where their bad luck followed them. At the newly built location, fires repeatedly occurred, which some say were caused by the spirits of those killed seeking revenge. Current patrons in the balcony often still report the same screams and cries from the original location. Historic Boston Incorporated and building owner Pat Tierney are working together to rehabilitate the original theatre into a multi-use performance, movie and event venue. The foyer is said to open to public view for the first time in decades. The feasibility of redeveloping the theatre is still up for debate.

Riverside Theatre Works Based out of Hyde Park, Riverside Theatre Works is a non-profit performing arts center, offering arts education and performances of a wide range. The building was constructed in 1897 as French’s Opera House and later burned down in 1899. It was then rebuilt and used as an entertainment venue. Riverside Theatre Works is currently shopping for a new building to expand their organization, but Essie wouldn’t be too happy about that. Esmerelda, more affectionately known as Essie, is the ghost of a woman who burned in the fire over 100 years ago when the building was still formerly known as French’s Opera House. There is a special purple chair in the audience on the right hand side near the stage that is reserved for her, and only her. Before every performance, flowers in full bloom must be placed on the seat, or Essie will mess with the lights or stop sound from playing. Not only that, but no other soul is allowed to sit in her chair, for equipment will suddenly cease from working. If a performer chooses to plant him or herself in Essie’s chair, bad luck will inevitably come to them during the show.

Keeping the World Turning: Sundazed Music

written by abby copleston (music industry)

It really is a shame that vinyl records are becoming less and less popular… Or are they? Many people who grew up loving the crackling of their favorite LPs and 45s spinning on a turntable think they can never fully experience that satisfying sound without dusting off their old turntables and trying to salvage their warped and overplayed records. Fortunately, they are mistaken. A record company that you have probably never heard of is making sure that we never forget what is so great about an LP. Until I was exposed to the surprising success of a record label based out of my hometown, called Sundazed Music, I thought that vinyl was a dying format. The small record label has, since its inception, gained respect and recognition from both the music community and vinyl lovers around the world. And I do mean around the world. Mail and store orders received daily may go to China, Russia, Mexico and many other places. It is amazing that people overseas have heard of this label but the majority of people in my hometown of Coxsackie, NY, with a population of less than 3,000 people, have no idea it exists. I’ve known its two founders, Bob and Mary Irwin, since I was born and even I wasn’t aware of its success until about two years ago. After working there for the summer, I have now been enlightened. Sundazed licenses music that was previously recorded and released on vinyl, remasters it, and then reissues it on vinyl and CD. Some big names that they have licensed music from are Bob Dylan, Johnny Cash, Sly and the Family

Stone, Santana, and Jefferson Airplane. In order to obtain the catalogues of these legendary artists, they must negotiate with the major label that already owns them. These labels usually don’t license away this music easily. Sundazed must prove time and time again that they will treat the masters with enormous respect and caution, and make sure the final product makes the grade. If it doesn’t, they’ll have the artist, the label, and the enormous fan base to deal with. So how did Sundazed establish the kind of reputation where Bob Dylan’s manager personally seeks them out to reissue his catalog? Bob Irwin worked for Sony for about 20 years doing reissues and remasters, and established an excellent name for himself. He, along with Sundazed, has been featured in publications such as Rolling Stone, Billboard, Mojo, Hifi World, and many other music magazines that record enthusiasts read from cover to cover. He also has recently become a part of the committee that chooses which artists are worthy enough to be inducted into the Country Music

Hall of Fame. Cool, right? And although Bob is the pioneer behind the operation, without his team of incredibly talented graphic designers, PR folks, and bookkeepers, Sundazed wouldn’t have become nearly as successful as it is. Why is Sundazed so good? They work meticulously and pay extreme attention to detail. They give every project 100 percent of their attention every time, and most of all, they all have an undying love of music. They are working on music that they love and appreciate, and they want it to turn out well just as much as the people that they are selling it to. That kind of dedication can sometimes be hard to find when you’re working at a major record label. People stop caring about the music, and focus on making money, but not these guys. They know how to appeal to their main demographic: a bunch of middle-aged (and older) music fans who get giddy when they hear that they can buy a reissue of their favorite Chocolate Watchband LP from the 60s. The people at Sundazed make sure that they give it their all for every project in order to keep the fans coming back for more, usually drooling.

Above the Clouds:

The Guru Legacy Keith Edward Elam 1961 - 2010

written by kade krichko (journalism) In terms of hip-hop lineage, Guru was nothing short of a founding father. A street innovator, teacher and preacher, Guru formed the lyrical half of the celebrated duo Gang Starr and, along with collaborator DJ Premier, helped shape the path of hip-hop. Many, including Kanye West, Lupe Fiasco, Common and A Tribe Called Quest trace their unique styles back to the Brooklyn-based pair. With the smooth, jazz-influenced beats of DJ Premier and MC Guru’s gruff and calculated delivery, Gang Starr was a giant in the hip-hop world for over a decade. Though they never achieved the commercial success of their contemporaries (the names Tupac and Biggie come to mind), the respect the duo earned in hip-hop’s inner circle was unparalleled. They were a movement that could not be ignored. So when gifted lyricist Guru succumbed to cancer last April, the news did not fall on deaf ears. The rap community was forced into a painful and all too early farewell, losing one of their most gifted and influential emcees. The impact of Guru’s death has hit hard everywhere, but it has especially saddened the Boston hip-hop realm. Commonly associated with the New York scene, Guru was actually Boston’s biggest rap export, born and raised in Roxbury. Born Keith Edward Elam on July 17, 1961, Guru was the third child of Harry J. Elam, the first AfricanAmerican judge of the Boston Municipal Court. He graduated from Atlanta’s Morehouse College in 1983 before going onto graduate school at the Fashion Institute of Technology in New York City. It was here that Guru’s creative instincts took over and lured the young man into New York’s growing hip-hop scene. After only a few months at FIT, the young emcee dropped out to pursue a rap career full time. With his formal education over, Guru transferred his knowledge into music. Immediately the emcee gained local attention for his powerful rhymes and monotone delivery. Guru approached his lyrics like a street battler, but with a proverbial wisdom that very few have been able to duplicate. The master of the monotone was a lyrical surgeon, precise, accurate and deadly efficient. Not one to mince words, he believed in rap as a teaching tool, something he took to heart throughout his career. “Guru had one of the most recognizable voices in hip-hop,” said Boston rapper Akrobatik. “[He] used that voice to say powerful, inspirational

things.” And after Guru joined forces with DJ Premier to form Gang Starr in 1989, it was hard not to listen. The two used a mutual love for jazz to create a visionary sound that combined Guru’s powerful lyrics with jazz-infused beats. Gang Starr released six albums between 1989 and 2003 and was considered one of the top hip-hop duos in the world over that period. Guru also pursued several solo ventures, including his critically acclaimed “Jazzmatazz” records, but was best known for his work with Premier. The pair stayed true to their craft, and although popular media did not embrace them, their work still found its way into pop culture, appearing in movies like Spike Lee’s “Mo’ Better Blues” (1990). Unfortunately, Guru’s late career was marred by controversy. After dissolving Gang Starr in 2005, Guru left DJ Premier and joined forces with French rapper and friend MC Solar. He released two more solo albums, but became increasingly reclusive, isolating himself from friends and family. Many felt this was MC Solar’s doing. Even still, the pair worked together up until Guru’s death on April 19, 2010. With his passing, Boston says goodbye to not only a rap legend, but also perhaps its greatest emcee. Many took his alignment with New York as a slight to his hometown ‘hood, but Guru saw it as an opportunity to make it to the top of the East Coast’s hip-hop Mecca, opening up a path for those behind him. One of the most gifted lyricists of the hip-hop era, Guru transcended petty geographical battle lines, using his music to reach those around him. Anyone with an ear for rap has, purposefully or not, stumbled upon a Gang Starr track, and very few have left it unmoved. Guru’s passing leaves a huge hole in the rap game, one that will be tough to fill. Yet as the hiphop world mourns, Guru’s lyrics stand a living testament to the fallen hero, as his words speak to his fans even in death. In Gang Starr’s “Moment of Truth” he says, “So like they say every dog has his day/and like they say God works in mysterious ways/so I pray/remembering the days of my youth/ as I prepare to meet my moment of truth.” While his music preserves his incredible legacy, for many of us the days of Guru were far too short, and his moment of truth far too sudden.

guru guru and dj premier "jazzmatazz" guru and mc solar photos courtesy of artist. 17

teacher's pets a q&a with bad rabbits written by andrew phan (pharmacy)

For many of us, Northeastern is a place we’ve come to in order to try and make our dreams come true. Boston-based band Bad Rabbits is taking their destiny into their own hands, taking care of marketing and releasing their music on their own terms with a strong DIY mindset. It’s taken them far with performances this year along side bands such as Circa Survive, Minus The Bear, B.o.B, OK Go and, most recently, a fall tour with Mike Posner. Sheel (S): Three of us went to NU. If you enroll in the music industry program, make sure you minor in something else. The program is awesome, the teachers are awesome, but there’s a lot more to learn. TMM: Do you want to shout out to anyone? Sheel: Jim Anderson. Graham (G): Amen. S: He gave me a C because I had to go on tour senior year.

G: Janikian. S: Janikian’s the man. G: All of us were in another band called the Eclectic Collective. We played a battle of the bands in afterHOURS. Dua (D): Which I was very bragadocious in. G: One of our first shows at Northeastern and we ended up winning. We still go back there and play today. Jim Anderson came to our show, which was awesome. We still have the same mentality that we had as back when we were in college. TMM: What did Northeastern help you learn while forming this band? S: Friendship first. D: Family first. G: You learn a lot in the music industry program. We graduated, but we didn’t get jobs in the music industry, like real jobs. We applied everything we

learned to the band. S: For me personally, I think the most important part is meeting people. If you’re trying to learn about the industry, you literally have to go out there and get screwed over. I think that’s the only way you can learn what happens. Be in a band, pick up an instrument and not read a book about royalty rates. G: We got our asses handed to us on multiple occasions. Just fucked. TMM: What are some of your favorite shows that you guys have played? All: South By Southwest for sure. G: I think we played 6 or 7 show in 3 days and it took us like 2 weeks to recover from it. S: My favorite show was Plush at SXSW. We played with a bunch of metal bands. G: We did the Pac Sun festival on the Santa Monica pier with Circa Survive and Minus The

Bear. That was such a cool vibe playing out by the ocean and shit. TMM: Instead of signing with a record label or trying to get premiered on a website like Absolutepunk.net or Spin or Pitchfork, you released your EP through a clothing company, Karmaloop. What’s the business strategy for Bad Rabbits moving forward? S: Hybrid theories. Collaborating with marketing companies. D: Do stuff that’s out of the norm. S: Don’t worry about a record deal, worry about a marketing deal, a branding deal, endorsements and stuff like that. As far as record deals, I figure I speak for the whole band, I think record deals are old news by now. G: Most record companies just straight up don’t have the money or don’t want to invest in building something that they put the risk into. TMM: Any advice for a new generation of DIY bands? D: Bands like OK GO who just went DIY are doing it right. For bands that are coming up, all I can say is: stay original. Don’t let something or someone outside of your band or yourself define you. Stay original to yourself. G: Stay humble. D: Stay humble. That’s gonna take you miles. G: If you wanna put out a good album, have a good live show to back it up. D: Don’t spend so much time on capturing the moment. Spend time on capturing the moment by creating the moment. S: If you have an influence make sure you’re not a spitting image of that influence. Take that influence and do something new with it. TMM: What are influences that Bad Rabbits could cite that would surprise people the most? All: Deftones.

G: At the Drive In. Salim (Sa): I guess a lot of the hard stuff. D: I say this all the time. We listen to a lot of hardcore and metal and rock. It’s unexpected to see, where we’re from, people of color do that kind of stuff. (Salim)’s grabbing a guitar. (Sheel)’s grabbing drumsticks. I’m on the mic. People automatically think we’re a hip hop band. G: People STILL call us that. I mean we listen to a ton of hip hop. We love hip hop. The influence is there, but I don’t think by any means we’re a hip hop band. TMM: Do you feel any camaraderie or look up to artists such as POS who references and samples metal and rock bands in his rap music? G: We love POS! D: We met him and gave him our CD and the next day he tweeted about it. G: A band that we’re friends with and kind of always looked up to is Gym Class Heroes. Before they got big and nobody knew what there were doing, they were constantly touring and just doing their thing. D: Travis is like a big brother to me. S: A lot of people just know Gym Class Heroes know them for “Cupid’s Chokehold,” they don’t realize what went on before. D: There were touring for YEARS. G: Anytime we went to a show they would come and hang out with us. That’s something we’ve been wanting to keep in mind, that you want to stay grounded and talk to your fans. D: Talk to your fans. We talk to our fans on facebook, twitter, all that stuff. We gave a kid that we saw at a pizza spot down the street a VIP pass, just because. G: When you’re on tour you gotta keep it humble. Don’t go out and stay locked in your van or bus. Give people a chance to talk to you. People come to the show to see the show and they wanna say ‘what’s up?’

TMM: What do you want people know about Bad Rabbits? What’s the brand? What’s the mission statement? D: The mission statement is to have fucking fun. We’re every day people. We’re not superstars who put our noses in the air. S: The brand is to be as musically and culturally diverse as possible. Santiago (San): We make music from so many different backgrounds. Sheel and them have introduced me to metal and its so many different genres. So we all like everything and make our music so that any music listener can enjoy it. TMM: What’s a band that you’ve come to enjoy that you wouldn’t have known without meeting each other? D: Phish. Talking Heads. If I didn’t listen to Talking Heads I wouldn’t be so kooky. S: Michael Jackson is a huge influence in our songwriting. G: That’s someone we all rally around. TMM: Dream summer 2011 tour? D: Janelle Monae S: It’d be dope to take my other band (Irepress) out too. They’re like brothers to us. Literally, my brother is in my band. It’d be dope for me, personally, to tour with Deftones. San: Realistically, someone like our friends in Gym Class Heroes would mesh well. D: Or even B.o.B to tell you the truth. His band is awesome. Sa: Prince D: Prince! G: That’s like three years down the line… The future holds endless possibilities for Bad Rabbits.

Vocals Dua Boakye, Drums Sheel Davé, Guitar Salim Akram, Bass Graham Masser, Guitar Santi Araujo

The Hipster's Halloween Style Guide

Would you rather spend your hard-earned cash on PBR and Parliaments than a costume you’re only going to wear once? We thought so. Read on for some cheap, easy to assemble Halloween outfits.

written by emily cassel (journalism) photos by chrissy bulakites (photography)

Amy Winehouse

Ladies, this look is almost too easy to achieve. Just wear one of your low-cut, too-short party dresses and pair it with some funky heels. Above all else, MAKE SURE YOUR BRA IS SHOWING. This is essential if you really want to capture the essence of Amy Winehouse. Now pick up an Elvira wig for ten bucks at your nearest Halloween store and you’re totally set! Tip: avoiding sleep and consuming nothing but coffee the week before Halloween can really help you work that cracked-out Winehouse look. Caking an entire tube of MAC liquid liner on your eyelids will also add authenticity to your outfit. This costume is perfect because it’s easy to assemble AND you get the added bonus of dressing like a trashy gutter rat. If you drink too much on the 31st and find yourself covered in vomit, passed out on Huntington Ave, you can embrace it - it’s just a part of your costume! It doesn’t get much better than that.

The Lumberjack

Here’s a great opportunity to put the obscene amount of flannel in your wardrobe to use. Button up just enough that your chest hair peeks out and accessorize with suspenders and a bomber hat - if that’s plaid too, you’re golden. Would a lumberjack wear skinny jeans? Probably not. But whatever, you don’t conform to society’s expectations. Throw on that super-slim Lucky Brand denim, put some boots on your feet and you’re ready to head out. Plus, being a lumberjack means you can stop shaving and even showering if you feel like it, and no one can say you need to start. You’re a rugged outdoorsman, goddamn it, and you do what you want! Bonus points for memorizing the Monty Python lumberjack song and getting eight of your friends to dress up as Mounties and sing backup.

The Sexy Librarian

If you love The Catcher in the Rye, think James Joyce is the greatest writer ever, and are already scoffing because these literary references aren’t obscure enough, then the sexy librarian is the costume for you. It’s the perfect opportunity to display the goods and show off your book smarts. Chances are, you have a pencil skirt for job interviews tucked away in your closet. Dust that bad boy off and slip some too-tall black heels on your feet. Throw on an über-tight button up top. Now pull that hair into a tight bun and put on the non-prescription Ray-Bans you bought because they... protect your eyes? Before you go out, throw a book of Bukowski poetry in your bag - you can use it to start conversations with male hipsters. Just don’t get too attached to them, because love is, in fact, a dog from hell.

Pumpkin-Spice Cheesecake Brownies

written by alyssa mastrocco (english)

Cheesecake Batter

Brownie Batter

There are many things I look forward to in the Fall - sweater weather, foliage, Thanksgiving, beards and, most importantly, pumpkin-flavored treats. Once it gets cooler outside, I love to throw on my coziest cardigan, bring my speakers into the kitchen and bake this recipe with my favorite fall playlist and a cup of tea. I recommend pairing it with a little Sufjan Stevens or Bon Iver and having a little celebration for the arrival of the fall! (Recipe taken from http://carascravings.blogspot.com/)

6 oz cream cheese, softened 1 egg 1/3 cup sugar 2 tbsp flour 1/2 cup pumpkin puree 1/4 tsp pure vanilla extract 1/2 tsp cinnamon 1/4 tsp each ground ginger and ground cloves

3/4 cup butter, melted 1 cup sugar 1 tbsp pure vanilla extract 2 eggs 1/2 cup all purpose flour 1/2 cup cocoa powder 1/4 tsp salt 2 tsp cinnamon

Johnny Cash

Blood-Tainted Turntable Cupcake Cake

You probably don’t even need this costume explained, but in case you do, here it is: just wear black. That’s it. Black shirt, black jacket, black jeans, black boots. It couldn’t get any easier. If you have a special lady friend, just have her dress as your June Carter with flowing dresses and big hair. If you don’t think it’s cool to dress up like a deceased country singer, consider this: as an added feature, the all-black Johnny Cash look makes it incredibly easy to hide from the cops who just busted that rager you were at.

written by mel bertoldi (journalism/italian) Cupcake cakes are awesome for serving guests because they require no cutting and come together in a solid presentation that can be tweaked depending on the occasion and size of the party you’re hosting. For a Tastemakers Halloween party, a blood-tainted turntable will do.

The Ramones

Ingredients

Are you a dude with at least 3 male friends? Do you all own tight pants, fitted tees, Chuck Taylors and faux leather jackets? Of course you do, so put that fashion sense to good use and dress up as Joey, Tommy, Dee Dee and Johnny! It’ll take you less than five minutes to get dressed, and you won’t look too awkward if you end up doing the infamous November first walk of shame. Just don’t forget to find some a brick wall to lean against at some point throughout the night, because that’s a priceless photo opportunity. This costume is excellent because you’ll all look incredibly cool when you’re together, but still look fine as hell when you split up to mack on some ladies. No girl worth a damn will be able to turn down a guy who works a leather jacket like you do AND appreciates good, old-fashioned punk rock. Hey, ho, let’s go!

-cake mix of your choice along with the ingredients necessary to make cupcakes with it -1 tub of vanilla frosting (save the rest for leftover cupcake tops) -1 tub chocolate frosting - red and blue food coloring. *Of course, the number of cupcakes you choose to bake is up to you, but we recommend about 20 to create the optimal turntable cake depicted below.

Directions 1.

Bake your cupcakes in paper liners. (These lock together at their ridges, which will help the cupcakes stay together better.) While your cupcakes are in the oven, make black food coloring by dropping blue food coloring and stirring into your tub of chocolate frosting. You may also want to consider spreading some buttercream or frosting on the cake board before arranging the cupcakes. This is to prevent the cupcakes from slipping as you frost them. Once cooled, cut off the cupcakes’ tops so that you’ll have flat surface to frost. These can be tossed, eaten or offered to guests along with leftover frosting at your gathering. (College kids aren’t gonna say no!) Place the cupcakes on the cake board you will be serving the finished cake on, since the cake cannot be moved after it is decorated. When arranging the cupcakes into a desired pattern, like a turnable, make sure the gaps between the cupcakes are very small by pressing the cupcakes as close together as possible Frost the cake as desired, dropping red food coloring along its edges afterward. Voilà! Enjoy!

2. Lady Gaga

Bubbles, rock candy-esque geometric shapes, dresses made from meat, Kermit the Frog jackets if it can be dreamt up, there’s a pretty good chance Lady Gaga has already worn it, which means that dressing up like her is about as easy as possible. Seriously. Put anything in your apartment together and you can convince people that you’re dressing up as Gaga. Make a dress out of DVD cases, wear a spatula in your hair, even design a necklace made of string cheese. Then, just make ridiculous and outlandish statements all night, such as “I have this weird thing that if I sleep with someone they’re going to take my creativity from me through my vagina.” And don’t forget to act like you’re an original... Björk who? Madonna what?

Directions

1. Preheat oven to 350F. Grease an 8x8" square metal baking pan. 2. Beat together melted butter, sugar, and vanilla, then beat in eggs one at a time. Combine

3. 4.

dry ingredients and then gradually stir into butter mixture with a wooden spoon. In separate bowl, beat together cheesecake batter ingredients.

3. Spread about 2/3 of chocolate batter into prepared pan, and spoon cheesecake batter over. Dollop remaining brownie batter over cheesecake batter. Swirl the batters together by running a butter knife back and forth through the pan.

4. Bake for 40 minutes, or until center is set. Cool completely on wire rack and chill before cutting and serving. Keep refrigerated.

vs. the world

written by michelle buchman (english) art by charlie doucette (digital art) wiley conlon (computer science)

Remember those countless hours spent trying to collect every single ring in Sonic the Hedgehog? Or the endless music combinations of Link’s ocarina in The Legend of Zelda? While the memories of trying to relentlessly beat the villain on the final level linger, another revival of these games is occurring. The music of old school video games is making a comeback and inspiring the sound of indie-rock bands today. 8-bit, or chiptune music, as it is more regularly called, has seen a spike in popularity in the past few years. What started off as a small group of musicians creating songs using old computer systems has morphed into a scene where live bands play to large crowds. 8-bit music is commonly composed using sound interface device chips (or SID chips) from old video game consoles, such as the Commodore 64 and Atari Video Computer System. The advent of the internet in the late 1980s and early 90s helped those composing music to connect with each other and expand the genre. One of the most popular chiptune bands today, 8-Bit Weapon, formed around 1999. They started out remixing old Commodore 64 and Nintendo

Entertainment System game music. Later on, the band began to compose their own original tunes. Seth Sternberger, primary composer and vocalist for the band recalled, “We needed something to stand out, and the SID chip (from the C64 system) was our answer. Other chips from systems like N.E.S., Atari, Apple II, etc. followed over the years. Our sound was always intended to be more or less a hybrid of 8-bit sounds and other instruments. Though most of the music we’ve been making the last ten years has been mostly chip based, there are drum machines, vintage synthesizers, and even live drums thrown in too.” The band use a variety of electronic devices on stage including an Atari 2600, midi N.E.S., Game Boy, Apple IIc and Commodore 64 running customized music software that allows the members to play it live on stage like a piano. Live instruments such as guitars, banjo, glockenspiel and vocoder are combined with the technology on stage to create a genre of modern, electronic dance music. Much of the older technology employed by chiptune bands has either stopped being made or become incredibly expensive. Most musicians

are forced to scour eBay for the devices they need to craft new tunes. Bands such as 8-Bit Weapon have been helping with their own contributions to encourage new composers in the scene. In April 2009, Sony Creative Software released a loop and sample library from the band that is free to download from their website. The loops and samples from old video game devices are made available license, royalty free, and are a great starting point for those looking to create their own 8-bit compositions. Creating original music varies greatly from simply remixing old N.E.S. tunes, “With recording our own music, it’s creating every single note from scratch and building the arrangement as a whole. We may start with an N.E.S. bass line, then record a C64 chord, then add an Apple II lead part, building each layer until the section is complete. A lot more work goes into writing your own music versus mixing someone else’s track,” explains Sternberger. “We usually think of what kind of style and pace we want for a new song. Then, we make a scratch drum beat based on the pace and style of song we want to do. We noodle around a bit with different instruments for bass lines and melodies until we get a vibe of something. If we don't feel some sort of emotional connection to the music, we scrap it and start all over.”

new to 8-bit music? The growth of the genre has been steady since 2000. Video game music has secured a place in popular culture, with scores from The Legend of Zelda and Super Mario Bros. recognizable by a wide audience. Composers of these scores are considered serious, talented musicians these days, instead of programmers sitting behind a computer screen. Highly regarded classical groups, such as the Los Angeles Philharmonic Orchestra, have performed pieces from these games to sold out audiences at large venues such as the Hollywood Bowl. Tours such as Video Games Live have been developed to reach out to fans across the United States and enable them to see their favorite game scores performed live by an orchestra. Indie-rock has started to embrace 8-bit bands as well. Anamanaguchi, one of the most popular chiptune bands today, has seen a huge surge in popularity in the past two years. The band describes their sound as, “loud, fast music with a hacked N.E.S. from 1985.” The quartet recently opened for Ra Ra Riot in New York City, and

has garnered attention from publications such as The Onion’s A.V. Club, The Village Voice and indie-music blogs such as La Blogotheque. In the past year they have also been commissioned to write the score for Scott Pilgrim vs. the World: The Game, based on the popular graphic novel series and subsequent movie. The soundtrack, released in August, debuted at #3 on the Billboard Heatseekers chart. The band, citing Weezer and The Beach Boys as musical inspirations, has managed to widen its audience from simply fans of gaming to music lovers in general who enjoy the chip-influenced sound. The embracing of gaming culture by the mainstream has certainly helped bring 8-bit to the attention of audiences who may otherwise never have heard it. 8-Bit Weapon’s Seth Sternberger expresses enthusiasm for the growing popularity of the genre, noting, “It's a really interesting time to be doing this stuff. It’s the real revenge of the nerds. Nerd interests are now more mainstream, more accepted. It seems like more people are seeking us out than ever before. It's pretty amazing, really.” As chiptune bands become more of a fixture at live shows, I would not be surprised to see an old Super Nintendo system among a group’s gear as they set up on stage.

Check out some of these bands for a start: Anamanaguchi, Unicorn Kid, 8-Bit Weapon, Bit Shifter, Sabrepulse, The Minibosses, Nullsleep and Starscream.

A Q&A With Bob Crawford written by Alyssa Mastrocco photography by The Avett Brothers have not stopped touring since April of 2009, just before major label debut I and Love and You was released, and are scheduled to continue through October of this year. Amidst promoting the album, also released as a box set, they have released a live DVD and CD, and are growing in popularity every day. Before playing a sold out show at Boston’s House of Blues, upright bass player Bob Crawford took the time to talk to me.

TasteMakers Magazine (TMM): So, I wanted to start by talking a little bit about the label transition last year, from Ramseur to Columbia/American. Has it affected how the band operates creating music, writing songs, producing and all that stuff? Bob Crawford (B): It’s been a pretty smooth transition for us. It really hasn’t affected the creative aspect of what we do at all. We still, you know, write as freely as possible, as often as possible. We still demo songs, you know… TMM: What would you say has been the biggest effect? B: What we found it’s actually done is it’s made us more able to reach out to people, to connect with more people… We couldn’t have [put out a live DVD and CD] had we not gone with the major label. That’s given us the opportunity to do things that we’ve always wanted to do but… couldn’t have afforded to do on our own. Now, I think the important thing to remember here is that Dolph Ramseur is our manager and he’s still a really big part of what we do, and our organization. TMM: Is there anything you miss about being on a smaller label? B: I’ll tell you… no (laughter)… It’s a day by day thing and we’ll see how the next couple months go, but so far we still feel like we’ve got a lot of control over what we do, so for now we still feel really good about it. You know we’re also very proud about what we accomplished being on a small label. We really built the structure of what we do on Ramseur Records. TMM: Were there any artists on Columbia that you look to as aspiring artists before you were signed to the major label? They have some pretty legendary artists there. 24

Bob Crawford performing at

"You know we’re also very proud about what we accomplished being on a small label." B: Bruce Springsteen. I grew up a big Bruce Springsteen fan. With him and Bob Dylan there are a lot of them out there and it’s an honor to be a part of that team. TMM: You guys played Bonnaroo, Mountain Jam and Austin City Limits, and I wanted to ask if you had a favorite festival that you played? B: You know, all the festivals are great. They’re such a great experience. We’re so thankful to be able to play the festivals like that. All three mentioned were so much fun and then we got to play Glastonbury and we were in England… All of these places are just really exciting… We’re just really trying to take it all in and savor it and really enjoy it because you never know if you’re going to get back. You never know what the future brings, we’re just doing our best to live in the moment and enjoy what’s going on right now. TMM: What, in your opinion, makes a festival work or makes it enjoyable both as an artist and a festival-goer?

B: I’ve always said that for me, I know from going to a lot of festivals, you make plans to go to a festival. And you prepare for it and you save your money for it and you take time off of work, and so it seems like at a festival, everybody there is in festival mode… It’s just the greatest time. You’re camping, you’re just having a great time so that the overall vibe of the festival is always very relaxed, light, enjoyable and you know maybe the weather is nice, oh, it’s just the top of the mound, as far as playing music goes.

Bob Crawford and the rest of The Avett Brothers are currently on tour with plans on returning to Boston’s House of Blues Thursday, October 14th.

written by meredith balkus (communications & music industry) art by chris bowers (graphic design)

Music, clothing and art - the trifecta of interests for any indie rock fan, whether they be a mild appreciator of said culture or a flaming hipster fully invested in the indie way of life. What happens when you throw these quintessential interests into a melting pot with a splash of charitable intentions, and a sprinkle of creative ingenuity and ambition? What you get is The Yellow Bird Project: a tasty treat launched in 2006 by two college graduates named Casey Cohen and Matthew Stotland. A non-profit organization based in Montreal, the Yellow Bird Project works with a wide array of indie musicians/bands to create uniquely designed graphic t-shirts. The best part? When an artist’s particular t-shirt is purchased, the proceeds go to the charity of that artist’s choice. It’s a brilliant endeavor in which nearly everyone wins – the person buying gets to sport a rad new t-shirt while donating to a good cause and supporting one of

their favorite musicians, whose affiliation promotes their music while giving back to those who need it. The project has grown exponentially since its initial fruition in 2006, but not without the ingenuity and hard work exemplified in the culmination of Cohen and Stotland’s efforts. Between the two of them, managerial success was achieved: Stotland dealt with the technological affairs and commandeered the world wide web while Cohen took on the role of the salesman, becoming the spokesperson for attracting both new musicians and artists alike. Their connections were minimal at the start, but the dynamic duo believed that “the musicians themselves would appreciate such a venture and want to contribute [to the cause]”. Their prayers were first answered by the everyone’s favorite trippy-hippie freak-folk singersongwriter Devendra Banhart, whose shirt benefits the Teenage Cancer Trust. Banhart’s support did wonders for the YBP’s street cred and put Cohen and Stotland’s beloved brainchild on the map to the most fashionable form of indie rock success.

Four years later, the YBP has quite a plethora of artists—a whopping total of 31, to be exact—who’ve followed in Banhart’s footsteps and pledged their allegiance to the cause. Andrew Bird, Wolf Parade, the National, Bon Iver, Of Montreal, the Shins, Metric, and Broken Social Scene are only a few of the indubitably talented artists on board. And with such a wide array of musicians backing it, the YBP caters to a diverse amount of charities in turn: Amnesty International, the World Wildlife Fund, St. Jude’s Children Hospital, Greenpeace, The Elliott Smith Memorial Fund, and everything in between. “You can think of us as a tree of creativity, with branches joining together indie musicians, charitable organizations, and t-shirts with a fashionable punch”, they state on their website. With a wonderful collection of beautifully designed unique t-shirts to support both amazing musicians and the charities that could use a helping hand, there’s no denying it: the Yellow Bird Project’s creative giving tree is in full bloom. So throw on a t-shirt and your favorite pair of headphones and put a smile on someone else’s face—and should anyone ask where you got your radical t-shirt, be a little birdie and send them in the direction of the Yellow Bird Project.

CD REVIEWS jenny and johnny i'm having fun now

the thermals personal life

interpol interpol

label: warner bros. release date: august 31, 2010 genre: indie rock

label: kill rock stars release date: september 7, 2010 genre: indie punk

label: matador release date: september 7, 2010 genre: alternative

by runyon colie (computer science/journalism)

by lauren moquin (journalism)

by kate lieb (journalism)

Jenny Lewis broke indie rocker’s hearts when, after the release of Rilo Kiley’s 2007 album, Under the Blacklight, she embarked upon a solo career that veered off towards folk-inflected indie pop. While her two solo albums were well received, they showed a tendency to meander and perhaps revealed why she had been so successful as a collaborator rather than a solo artist. Now, united with her boyfriend and fellow songwriter, Jonathan Rice, she reveals a new layer of musical influences and aspirations, melding the instrumental, enchanting pop of Canada’s The New Pornographers with the winning charm of She & Him. Lewis’ inspiring vocals take center stage throughout the majority of the tracks, mixing sweetly with Rice’s understated baritone in tracks like “Big Wave” and “Scissor Runner.” The band also moves lightly, bouncing from its opener, which could double as a misplaced New Pornographers track, to “My Pet Snakes”, whose vocals will sound comforting to any fans of Lewis’ work with Rilo Kiley. The album is aptly named, with Lewis and Rice both doing their best to sound as if they are truly enjoying themselves, whether musing about the recent financial crisis in “Big Wave” or singing sweetly about the partner they’d like to see themselves with forever in a “New Yorker Cartoon.” The lyrics often seem darker and full of regret than the sunny guitar pop they accompany. For example, “Slavedriver” opens with “Slavedriver take me home, I need a master/ I’ll beg for mercy and you’ll whip me faster.” The album’s weakest moment comes when Rice takes the forefront and lets his seriousness overcome his apparent musical strengths in the plodding, frustrating “Animal” The first collaboration of Jenny Lewis and Jonathan Rice is not an absolute success, but it is reassuring to hear Jenny Lewis so comfortable in a collaborating role. While the album may not completely satisfy fans of Rilo Kiley or Lewis’ solo work, it mixes the two effectively and results in a number of beautiful, sometimes unforgettable pieces of sunny guitar pop.

Despite much anticipation for another album full of ‘stick it to the man’ type material, The Thermals took the opportunity to experiment with maturity a bit. The honor to work with producer Chris Walla was enough to put the pressure on for a solid album. With Walla aiding artists like Tegan & Sara, Mates of State and Nada Surf (not to mention his own solo project and Death Cab For Cutie), there was a lot of weight on The Thermals to continue painting the reflection of teenage angst at the next level, yet the offspring of this Thermals/Walla get-together is missing a couple of The Thermals’ fiery genes. There is still a slight view of the angst that is craved from previous albums. The deception that oozes out of “Power Lies” and “I Don’t Believe You” makes for some easy pick up punk tracks. The unison “Ah Oh Ah Oh’s” wailing throughout the choruses make for catchy favorites. After a couple brave attempts to embrace new material, it is nice of them to pop in some scrappy punk anthems. “You Changed My Life” reveals Hutch Harris’ ability to show despair without anger. There’s no feeling of revenge or rage, which feels so right, but at the same time a little wrong for a hardcore Thermals fan. The steady punk beat and catchy guitar riffs are all still in tact to make fans feel better about the mature approach, but the whole growing up thing is just a little hard to digest.

When 2002’s Turn On The Bright Lights and 2004’s Antics came out, the public was introduced to Interpol’s catchy hooks and sharp, intense rhythms. With the band’s major-label debut in 2007, Our Love to Admire, much of the same magic was missing. For this self-titled effort, Interpol go back to indie-label Matador in an attempt to recapture their old identity, but the downward spiral continues. On this album their rhythms lose refinement. The record tries to reach the point of greatness they once had, but fails to make a strong foundation. Paul Banks and company attempt the big hooks they used to master, but there is no feeling behind it. For example, “Success,” the album opener, has Banks singing a song about his selfdoubt that trudges along without reaching any real climax. The biggest stain on this record is “Safe Without”; a muddled mess with no direction. The album may not be as great as those of the past, but at the same time it is not an utter failure. The first single, “Lights,” is one of the few songs on here that contains any resemblance to the band’s older material. It has that jaunty, sharp rhythm Interpol fans associate with them. “Summer Well” starts out kind of slow, but ends up reaching a pleasing hook with some beautiful guitar riffs. Banks dwells on the topic of disillusionment without ever giving listeners a definitive answer. The album ends on a whimper, with the final few tracks being mid tempo sleepers. Usually when a band releases a self-titled album, it serves to define their sound. With bassist and sound architect Carlos D’s departure from the band, Interpol seems to be more lost than ever.

3.8/5 recommended tracks: scissor runner, my pet snakes, big wave and straight edge of the blade

3.0/5 recommended tracks: i don’t believe you, not like any other feeling, you changed my life

2.5/5 recommended tracks: lights, summer well, barricade

brandon flowers flamingo

philip selway familial

jimmy eat world invented

label: island release date: september 14, 2010 genre: alternative

label: bella union release date: september 23 2010 genre: folk

label: interscope release date: september 28, 2010 genre: alternative rock

by shea geyer (pharmacy)

by matt baddour (english/cinema studies)

by liam pesce (music industry)

With The Killers on hiatus, lead singer Brandon Flowers decided to venture out on his own and record a solo album. For those who are familiar with The Killers’ music, Flamingo is a return to the sound of their second album, Sam’s Town. The album is widely synth-based, however, Flowers adds a style of music not found in The Killers: country. The country twang can be detected in the first three songs of the album, but the bonus track, “The Clock Was Tickin,” epitomizes the sound. The album opens with “Welcome to Fabulous Las Vegas” setting the stage of where the story takes place. Flamingo is a story about redemption, which seems a bit ironic in Sin City. Flowers croons, “redemption, keep my covers clean tonight/ Baby, we can start again” in the synthbased ballad “Only The Young,” which will have you tapping your feet and swaying to the beat throughout the entire song. “Crossfire,” the first single released off the album, sounds like it could be a track off of Sam’s Town, but what makes it different is the prominence of Flowers’ voice and emotion in his lyrics, pushing the instrumentation into the background. The stand out song on the album is “On the Floor,” a gospel about redemption. The song starts off quiet and slow, with Flowers’ voice taking the spotlight, and then builds right up to the end with the powerful choir and string instruments. Overall, this album is a solid solo effort by Flowers, even though it may take a couple listens to fully appreciate the songs. The deluxe edition includes four bonus tracks, which complement the standard track listing very well.

If you’ve never heard of Philip Selway it’s most likely because you aren’t a big Radiohead fan. Playing anchor to the creative vessels of Thom Yorke and Jonny Greenwood will do that to a person’s reputation. Coming out from behind his drum kit after 25 years, Selway finally offers up Familial. The first thing to notice with Familial is Selway’s heavy reliance on the styles of others. His album alternates between songs that sound like they were written by Thom Yorke and others that seem lifted straight from Nick Drake. That’s not to say the songs aren’t well done though. The instruments are all played with extreme precision and Selway beautifully blends electronic samples and digitized effects with thematic percussion, acoustic guitar, upright bass and a Radiohead favorite, the ever eerie ondes Martenot. Whereas his music is strong, Selway’s vocals come up short throughout the album. Starting with the first track and continuing on to the end, it almost seems like he has a secret to tell, but one he’s not too enthusiastic about. Selway’s style of whisper singing, reminiscent of Elliott Smith, lacks the emotion and authenticity necessary to do it justice. His melodies also suffer from the monotonous feeling conveyed by his voice. Though they are well constructed in a few of the songs, (i.e. “The Ties that Bind Us”) there is a better chance of his poetically phrased lyrics being repeated than his melodies being re-sung. It’s difficult to be overly critical of a professional drummer’s vocals and song structure when his lyrics coincide so well with the feelings suggested by the music. In “By Some Miracle” Selway exclaims: “There's a black dog down in the basement/ It's barking at my name/ Snapping at my heels when I falter/ Kick it but it won’t go away.” On his debut, Selway does nothing better than providing harrowing descriptions of life and its trials. His drab voice, folk guitar and hauntingly descriptive lyrics make for an album that’s been done many times before, but rarely with the professionalism that he brings to Familial.

In a world where no one writes their own songs anymore, it can be hard to distinguish a real band that puts its heart and soul into an album from an overcommercialized group lacking in the talent area. With Invented, alternative rockers Jimmy Eat World have dug deep down to round off their sound with a newfound maturity that shines in several places. Mark Trombino, the producer of their two previous albums Clarity and Bleed American, returns to blend both sounds together in perfect harmony. Intro track “Heart Is Hard To Find” starts off the album with a delicate acoustic rhythm similar to a song from Clarity. The first single “My Best Theory” is a colossal rock jam reminiscent of “Pain” from Futures; definitely an album highlight. On a few songs like “Coffee And Cigarettes” and “Evidence,” the band sticks to what they know and what their fans are comfortable with. In the latter, the line “I watched you put a dress on I’d never seen/Something that begged for East Atlantic breeze” is but one example of the poetic delivery in Jim Adkins’ themed lyrics usually dealing with deep personal reflection. The real prize comes at the very end of the record with songs “Invented” and “Mixtape.” Being probably two of the best songs Jimmy Eat World has ever recorded, they are just oozing with warm emotion and flawless musicianship that hasn’t been heard before. With all this in mind, Invented certainly does not change the face of the genre the band has created for itself but it’s still a solid record from a solid band. Overall, the album serves as a melting pot of Jimmy Eat World's previous works. No disappointments here.

4.0/5 recommended tracks: crossfire, only the young, jilted lovers & broken hearts, jacksonville

3.5/5 recommended tracks: beyond reason, the ties that bind us, the witching hour

5.0/5 recommended tracks: revival, desire lines, helicopter, coronado

Smores Cookies

1. In a bowl, cream butter and sugar until mixed completely. Mix in the eggs and vanilla until combined. 2. Add the flour, graham crackers, salt and baking soda and mix well. Stir in the chocolate chips then cover and refrigerate the dough for about one hour. 3. Preheat oven to 375 F. 4. Take a tablespoon of the dough, roll into a ball, and drop onto a greased baking sheet. Repeat with the rest of

1 3/4 cups flour 1 cup graham cracker crumbs 1 tsp. baking soda 1 tsp. salt 1 cup/ 2 sticks unsalted butter, room temperature 3/4 cup sugar 3/4 cup light brown sugar 2 tsp. vanilla 2 eggs 2 cups miniature chocolate chips 1 1/2 cups mini marshmallows 2 special dark Hershey bars, roughly chopped

dough, leaving about 2 inches between each to allow it to spread. 5. Bake for 6 minutes, then remove from the oven. Push 3 5 marshmallows and a few pieces of a Hershey's bar into each cookie. Return to oven and bake for another 2 - 3 minutes until golden brown and the marshmallows are a bit toasted. 6. Cool on a wire rack and enjoy!

just a taste of...

All These Elements written by michelle buchman (music industry) artwork by all these elements

All These Elements might be under the radar for most music fans at the moment, but they are aiming to attract the attention of the Boston music scene. The band, which came together in January 2009, is comprised of five Northeastern students: singer Katia Racine, guitarist Jay Donovan, bassist Danny Clark, drummer Tom Cardente and guitarist Eric Spicuzza. The story of their formation is a bit complex. Spicuzza had been out of music for a few years and wanted to get back into the scene. He approached Cardente, a friend known since middle school, about creating music together. Cardente met Donovan and Racine through a mutual friend. The group assembled, had a meeting at Afterhours and All These Elements was born. The band, whose name symbolizes the coming together of each musician from different musical backgrounds, have been playing shows since February 2010. They have quickly gained attention with their high energy, dance happy style of rock music. In the past few months, All These Elements have played at venues such as The Middle East, the Hard Rock Cafe, Church and most recently, CollegeFest at the Hynes Convention Center. Over the summer, the group embarked on a small tour of the Northeast that ranged from Boston to Baltimore Looking towards the future, the band is rapidly gaining momentum in the music scene. The members have booked a slew of shows this fall in the Boston area, with additional gigs in Maine, Connecticut and New Hampshire. The groupâ&#x20AC;&#x2122;s driving work ethic and desire to play music for a living has paid off and they hope to record an album in the near future. All These Elements have an energy, catchiness and sound to them that will have audiences dancing along at their shows for the foreseeable future.

ZOM BIE S! written by colin peters (journalism)

If the zombie apocalypse happened today, would you be ready? Of course you would be. You're reading Tastemakers, which means your test scores are high, you can run fast and your body was built for fighting zombies (and you're probably incredibly good looking). So what weapon would you choose? What's that you say? Vinyl records? How clever of you.

Sydney Palinkas (Human Services) Ke$ha vs. Katy Perry

James Eggers (International Affairs) Rihanna vs. Chris Brown

Kelly Donavon (Economics) T-Pain vs. Lil John

“Definitely throw Ke$ha and listen to Katy Perry. I like Katy Perry better and I could just listen to her longer.”

“Definitely going to kill with Rihanna; firstly- because she sucks; secondly- because I can dance to Chris Brown music all day long. You know, with the remix especially, I like to “dougie” a lot, so…I can teach zombies during the apocalypse how to “dougie” and I think that will be able to get me at the top of every power structure after the zombie apocalypse.”

“I don’t like either. I would throw Lil John, but I don’t even know anything by him. I would listen to T-Pain because it’s all I have.”

Brian Packard (Behavioral Neuroscience) Justin Bieber vs. Jonas Brothers

Gabe Gaggioni (Finance) Miley Cryus vs. Taylor Swift

Tovah Goldstein (Psychology) Justin Bieber vs. Jonas Brothers

“If I were to take out zombies, I’d probably use the Jonas Brothers because that’s six fists opposed to one. It would take more of them out I guess. Justin Bieber? I really like that song “U Smile” when you slow it down and you can do that on a record player so…”

“I would definitely throw Miley Cyrus as a weapon because I think she’s annoying. [Regarding Taylor Swift] ecently I got into some kind of country phase, but I’d rather not listen to her, but because it’s country I’d still listen to it…and she’s kind of hot.”

“I would probably have to throw Justin Bieber. I don’t really like either, but at least the other ones [Jonas Brothers] are legal.”

However, what if your record collection was left to just two? Naturally, you would only fight with one, because the other you would keep to listen to. So, if the zombie's are closing in, who do you save and who saves you?

etcetera... crossword! Across 2. Record label based out of Coxsackie, NY 5. The most haunted venue in the theatre district 6. Guru’s childhood hometown 7. Matthew _____ of the Yellow Bird Project 9. Keep up with fashion while fighting off zombies in this. 11. Robert Pattinson’s character the vampire movie that everyone loves to hate 14. All These Elements guitarist Down 1. Ghost of the Riverside Theatre works 3. Alternative name for 8-bit music 4. What Mel Bertoldi’s cake is really made of 8. Brian Packard’s record-weapon of choice 10. Costume made from fitted tees, chucks, and leather jackets 12. “Love is, in fact, _____” 13. The Avett Brothers’ next Boston show location 15. Bad Rabbit’s gig on the Santa Monica pier

zoomed!

find bieber! We’ve hidden Justin Bieber somewhere in this issue. Find him and maybe something cool will happen...

what’s missing?

Can you pick out the five differences?

Can you tell which five album covers we’ve zoomed in on?

...bringing some not-so-average fun to your otherwise average life 31