As the summer is quickly, and terrifyingly, coming to an end, New Yorkers still have the chance to relish in their artsy love for unknown theater. The New York International Fringe Festival (FringeNYC) is back for its 12th year to shock and tantalize your senses.
According to their website, FringeNYC is “the largest multi-arts festival in North America, with more than 200 companies from all over the world performing for 16 days in more that 20 venues – that’s a total of more than 1300 performances!” Holy cow!
About 40 years ago, nestled on a farm in upstate New York, four men had the idea to bring thousands of people together for “3 Days of Peace and Music.” Genius. Woodstock emanated the hippie free love movement of the 1960s. Unfortunately now people do not share the same ideals.
Michael Lang, one of the four partners to stage Woodstock in 1969, was planning to hold a free Woodstock 40th Anniversary concert in August. He then moved it to September in concurrence with Climate Week, but now he is terminating the whole thing. The reason for the cancellation is, “Money. No Sponsors,” Lang told Rollingstone. Of course, thank you economy.
Here’s a blast from the past: recently reunited 90’s rapcore band Limp Bizkit will be entering the studio in a couple of weeks. Scratch that – frontman Fred Durst says they “feel very confident” that they will be recording their new album in a couple of weeks. What’s the matter, Fred? Having trouble locking down some studio time to record ten tracks of excessive distortion and godawful “rap” that you apparently think we are all clamoring for?
Durst’s red Yankees cap must be cutting off circulation to his brain if he thinks that Limp Bizkit is still a viable competitor in today’s music market. Yes, the band was quite a success in the late nineties, but if he thinks that his old fanbase is going to buy his crappy old band’s crappy new record, he’s got another thing coming. First off, anyone who does want to hear a washed up nuisance spit rhymes that sound like the product of a middle schooler sniffing a whole bunch of glue, they will download it illegally. Secondly, his old fanbase has dispersed – the preteens of Y2K (myself included) who had yet to discover good music and were left giggling at “Nookie” have grown up and now joke about their youthful follies, such as buying Chocolate Starfish and the Hot Dog Flavored Water.
There’s lots to look forward to this coming October…the beautiful foliage, Halloween ‘09, and the return of the Chili Peppers!
The infamous funk-rock band has been on a two-year hiatus, but recently decided to come together again in hopes of producing fresh tunes which will finally result in a new album. With their last album Stadium Arcadium was released in 2006, RHCP fans could only look to their old hits to fulfill their pepper addictions—but now, a fully innovative album with undoubtedly original hits that will climb to the top of the charts is in the horizon. The discussion of a producer on their forthcoming record is still in talks between the band members.
Spencer Smith and Bradon Urie, the remaining members of Panic! At The Disco, will welcome guitarist Ian Crawford and bassist Dallon Weeks. Crawford, who is known for his work with The Cab, will replace Ryan Ross. Weeks, notable for his time with The Brobecks, will take the old position previously filled by Jon Walker.
“They’re friends, so the decision was easy. Plus, we’re really excited to play with them as musicians,” Smith told MTV. “Ian is probably the most talented guitar player that me and Brendon have ever played with, and Dallon is a really nice guy and a really great bassist. It’s new. Like I said, we’re really excited.”
What happens when three young sketch comedy writers come together to produce a musical based on a work that has already been produced (and has sort of already failed)?! Well… I guess you can find out by watching (but first reading about) the GLORIOUS hilarity of Zipperface!!?!: The Hobo Musical. The RBW ‘comedy musical’ will be featured in just two weeks at the 2009 New York Fringe Festival, the largest multi-art festival in all of Northern America! In a recent conversation with David Rothstadt, co producer, co writer, and leading star of the show, I learned that this musical is anything short of, ‘original and inspired’
Genre: Dance Punk/Electro Pop
“It’s like with the Beach Boys, all the good songs are about heartbreak and love, and then there are songs about cars and surfing. [Laughs] I know which songs I prefer.” (When asked about how most of their songs seem to be about love and relationships)
Said to be inspired by French new wave cinema, Australian band Cut Copy is nothing short of dramatic. DJ, songwriter, producer and graphic designer, Dan Whitford, began this project by himself in 2001. He released only one single, 1981 and one EP, "I Thought of Numbers," before deciding he wanted to bring more people on board. At which point he was joined by Tim Hoey, Mitchell Scott and Bennett Foddy in 2003. Bright Like Neon Love was their debut album as a cohesive well practiced band. Cut Copy made a lot of noise with their first record, being recognized for their mash-up style of 80’s new wave and post-punk. Their unique sound draws all the way from synth pop to vintage disco.
Most people consider Lady Gaga to be just another fabricated pop diva; but we know better.
The editorial shots in this month’s issue of V Magazine were taken by photographer Sebastian Faena who has shot the likes Naomi, Jourdan, and Linda (yes, that’s Campbell, Dunn, and Evangelista) and feature Gaga, whose real name is Stefani Joanne Angelina Germanotta (no wonder she stuck to Gaga) in Marilyn Monroe meets space-aged dominatrix themed photos. Gaga dons one of her famous blonde wigs and an orbiting headpiece designed by Nasir Mazhar. Gaga puts on a much more daring pose (baring her breasts) than she did even for the iconic cover of Rolling Stone, where her entire body was covered only by well-placed transparent bubbles.
Anyone who has gone through the labyrinthine and costly ordeal that is navigating and purchasing tickets on Ticketmaster will tell you what a soul-crusher it is. That’s why we can thank the Congress’s Antitrust committee for calling for an investigation into the ticketing giants’ forthcoming merger with Live Nation, the country’s largest concert producer.
Last year, Live Nation launched its own ticketing service, introducing an aspect of “needed competition” in the industry that would be lost in the merger, according to Senator Herb Kohl (D-WI), the chairman of the committee The proposed merger would form Live Nation Ticketmaster, a company whose potential for monopoly is as frightening as its name is stupid.