By Alexandria Chong, Staff Writer
Berlin’s own musical powerhouse Thomas Gold graced Bijou with unforgettable beats and a vivacious energy on September 24. A frequent DJ at Bijou, Gold has the innate ability to have everyone in the club singing, dancing and all just raging together to his tracks. Gold is a DJ known for his versatility and creativity and has been effortlessly creating a name for himself through live performances and his energetic style.
Gold dropped his first release in 2006 and played at Miami Music Week in 2011. Over the years, he has been signed to labels such as Toolroom Records, Phazing, Spinnin’ Records and Size Records. Catching the ears of esteemed DJs such as Tiësto and former Swedish House Mafia member, Axwell, Gold was signed to Axtone. His debut compilation album, Axtone Presents Thomas Gold, was released in 2012 and hit the number one spot on Beatport. His tracks have grown to over 14 million views on YouTube. Since then, Gold has been performing his tracks at some of the most popular clubs and festivals around the world such as Electric Daisy Carnival New York and Las Vegas.
Gold’s favorite thing about creating music is that he can express himself in a very creative way with literally no limits, he said in a Daily Free Press interview. He attributes his style to inspiration from the entire dance music industry.
“That’s the thing, I can get so much fresh and ‘beyond-the-border’ inspiration from hanging out with friends in the clubs here just listening to the music,” Gold said.
When not performing his own show, Gold said he loves hanging out at other DJs’ sets, especially when its unplanned and he has a day off in the city to check out other talented DJs.
Going into each show with immense enthusiasm, Gold said he wants to “give the people the best time of their life and have a big party.” His show at Bijou holds this motto true. Accompanied by an intricately designed lightshow consisting of swirls and diamonds behind him, Gold’s beats range from mashing current top 40 EDM hits to some mixes of his own. With talent such as his, it is hard for the crowd not to connect and have a great night celebrating with him.
Considering his musical role models are the guys from Swedish House Mafia – Sebastian Ingrosso, Steve Angello and Axwell, it’s not hard to see how Gold has become such a phenomenon. Inspired by their unique story of combining different styles to form one group, it is clear that the music scene Gold is now a part of has helped influence and shape him into a top name on the radar. Gold is currently rounding out the end of his North American #RememberTheLight tour.
Listen to Thomas Gold’s sound below:
By Brandon Kesselly, Staff Writer
Over the last few decades, the genre of hip hop has slowly been evolving. With each year, each new artist that has risen to ‘mainstream’ status has brought something new to the table (for better or for worse). Certain artists constantly push the boundaries either lyrically, sonically or both. Others tend to fly under the radar with a few notable songs. Sometimes, the producer has even outshined the artist, but one thing has remained clear: the genre has been progressing every year.
During the ‘90s, which has been dubbed the “Golden Age of Hip Hop,” the rise of popular rappers such as the Notorious B.I.G (Biggie), Tupac Shakur (2Pac), Nas or Jay-Z showcased the different directions in which the genre could progress. After the deaths of B.I.G. and Shakur, who were already locked in a deadly feud, Jay and Nas had their own feud.
Biggie and 2Pac are the most controversial artists of the era and the genre – with Biggie perfecting Big Daddy Kane’s braggadocio rap style and 2Pac adapting Slick Rick’s storytelling to fit his own tales. Jay succeeded Biggie as the big bragger, and Nas succeeded 2Pac as the dark storyteller and preacher as the 90s became the new millennium, what I like to call the New Age of Hip Hop.
New Age hip hop artists that became crucial movers and shakers were Eminem, Lil Wayne, 50 Cent and Kanye West. Eminem – who sold more albums than anyone else in this era – was the former protege of NWA rapper/producer Dr. Dre. Wayne was the adopted son and rising young rapper of Birdman; 50 was discovered by Eminem and became a hitmaker; and Kanye was the underdog producer-turned-rapper with an attitude that wanted to outshine his mentor, Jay-Z.
As the years went on, these names constantly popped up all over the genre as the biggest names in “the game” (despite OutKast and Lauryn Hill snagging DIAMOND albums). But eventually Eminem took a break and 50 lost his album duel to Kanye West as both released their 3rd studio albums on the same day. In the meantime, Wayne had released a stellar series of albums and mixtapes that had him claiming to be the “best rapper alive.” By 2010, Kanye and Lil Wayne were arguably the biggest names in hip hop during the 2000s.
2011 proved to be a good year as well for both of these titans as Kanye collaborated with Jay-Z for Watch the Throne and Lil Wayne released the best-selling hip hop album of the year with Tha Carter IV (which went double platinum). Both had also put together strong labels in West’s G.O.O.D. Music and Wayne’s Young Money Entertainment – a move that rising titan Rick Ross soon mirrored in his Maybach Music Group.
But with the rise of these new labels and their respective talents, I ask one question: who’s next? Who will be the big hip hop star of this decade?
Some names have already been thrown onto the table, names such as Drake, Nicki Minaj, J. Cole, Big Sean, Kendrick Lamar, Meek Mill, A$AP Rocky, the list goes on. What I am asking is that in another 10, 20 or 30 years, who will be controlling the genre?
As of August 2013, only three hip hop artists that debuted in the current decade have gone platinum: Drake, Nicki Minaj and Kendrick Lamar. Drake has two platinum albums. Nicki has two platinum albums. Kendrick has one. These three are the current stars of the genre. Who will join them? Who will end at the top?
By Hannah Landers, Staff Writer
Violence. Drugs. Family values. No, this is not a game of “one of these things is not like the other.” This is Breaking Bad. For about five years now, Breaking Bad has given us some of the most earth-shattering moments in television history, and come Sunday, it will all come to an end. And though this is a voluntary departure initiated by BreBad creator and principle writer Vince Gilligan, viewers are – quite understandably – heartbroken.
“I’m really upset that it’s all ending,” said Ashley Cooper, a junior in the College of Arts and Sciences.
Aren’t we all? A lot can happen in five years, especially in Albuquerque, New Mexico, where the show takes place. Since chemistry teacher Walter White left the education game and became one of the greatest drug lords since Scarface, we’ve seen severed heads attached to turtles, bodies dissolved in vats of acid, pizzas thrown and subsequently abandoned on rooftops and a whole lot of rocks – er, minerals (sorry, Hank!) And even in its final season, BreBad is still surprising fans.
“Honestly, this show has been good from the start, but this last season is definitely going to be what makes it memorable,” said Kiera Blessing, a junior in the College of Communication. “The events of this last season have just been mind-boggling.”
But there’s so much more to BreBad than the insane plot twists.
“The writing, acting, production and editing are all so on-point,” Blessing said. “People are calling it the best show on television for a reason.”
Beyond this, viewers who have watched certain characters evolve and struggle for five years have come to love them with the kind of affection once reserved for family members and significant others.
Similarly, other characters have garnered a deep personal hatred from the BreBad fan base (Poor Skyler White!), especially the show’s underdog-turned-mad-dog Walter White. Gilligan has repeatedly described BreBad’s premise as “Mr. Chips turned Scarface,” and viewers seem to be following that template in their feelings toward America’s most infamous chemistry teacher.
“At the beginning Walt still seemed like a good guy while everyone else seemed bad,” Cooper said, “But that has all changed.”
As for predictions on how it’s all going to go down?
“I’m just expecting really awful outcomes for everyone involved,” said Blessing, “and then Walt to either keel over and die or commit suicide. Sunshine and rainbows and stuff.”
There’s really no telling where Vince Gilligan will decide to lead us all in those precious final 75 minutes of Breaking Bad, but like a blue-meth addict, I can’t wait to get my fix.
By Brooke Jackson-Glidden, Staff Writer
When Lady Gaga decided to tour South Africa in 2012, she landed on an opening act she thought would be appropriate for the area: Die Antwoord. Die Antwoord was a somewhat-successful local rap group with a “similar” bizarre image.
Die Antwoord disagreed. In response to her offer, they released an acidic response video where a lion eats a meat-dress-wearing Lady Gaga (Lady Gaga wore a dress completely made of meat to the 2010 VMA’s). But more importantly, front-woman Yo-Landi Vi$$er shed important light on the blatant privilege and appropriation of Lady Gaga in general.
Adorned in blackface, Yo-Landi wore yellow eyes with dollar signs pupils and berated the pop artist for assuming they would jump at the privilege to perform with her. In her Afrikaans-English fusion of a language, she talks about her upbringing as an impoverished child in South Africa and the hypocrisy in her newfound attention as a wealthy, “profitable” rapper. “I used 2 beg borrow or steal jus 2 hustle sumfing 2 eat,” Yo-Landi spits, juxtaposed next to a woman dressed in food she’s wearing just for the couture of eccentricity.
Die Antwoord offers a new, postmodern rap that captures various manifestations of poverty in South Africa with a sense of humor and social message, either intentional or not. For instance, the song “I Fink U Freaky,” at first glance, simply celebrates deviancy. The video, however, presents an aesthetic with primal elements and, again, a representation of poverty and despondence that makes you wonder what kind of world these artists came from. In another song, “Baby’s on Fire,” Yo-Landi and her rap partner, Ninja, play brother and sister in a classic lower-class white neighborhood; together, they shed a light on sexism, objectification and racism within these environments and a desperate conceptualization of ‘luxury,’ from Ninja watching girls fight in a plastic kiddie pool to Yo-Landi gasping at a gift from a male guest: a doll version of herself.
Part of what makes Yo-Landi such an interesting rap artist is her almost self-parodying over sexualized child-like presentation. Yo-Landi regularly wears crop tops and shorts in bright pastels, pigtails, and sneakers. That is, until you hear her rap. In that Micky Mouse voice, Yo-Landi spits harsh, violent rhymes that demand you see her as a force to be reckoned with. Not to mention, Yo-Landi’s almost-bowl-cut and invisible eyebrows make her seem just a bit too strange to be “heterosexy.”
So, you can see why the two would be so offended by Lady Gaga’s claim of similarity. For Lady Gaga, deviance is chic, upper-class or “special.” Die Antwoord earned its aberrancy from seeing it, living it, in all its glory and horror. Although South Africa is a world away, American fans can learn to be a little more open-minded with a dose of Yo-Landi.
By Brooke Jackson-Glidden, Staff Writer
We all love tasty treats, but as broke college students, a) we’re poor and/or can’t afford to go out to eat and b) we have no kitchen in our dorm room. Whoever allowed this contradiction to happen is some sort of sadist, but never fear! It’s time for… No Kitchen Required!
PEACHES AND RICOTTA WITH PROSCIUTTO NESTS
Peaches and ricotta are a classic Italian treat and as we’re reaching the end of peach season it’s the time to take advantage of this simple, easy nosh. The prosciutto nests counterbalance the sweetness of the peaches and honey and the creaminess of the ricotta.
The secret to this dish (along with many others) is fresh, high quality ingredients. Go on down to the Farmer’s Market today in George Sherman Union plaza and pick out a firm but juicy peach. A good way to pick a peach is with a smell and a squeeze: Pick up the peach and smell the area right by the stem. If it smells fresh and mildly sweet, then it’s most likely ripe. If the peach you’re smelling doesn’t have a scent, then it’s not ripe enough. If it smells very sweet, then it’s too ripe. To verify the ripeness of your peach, squeeze it gently. It should give a bit, but your fingers shouldn’t be able to break the skin or leave imprints in the flesh of the fruit. If you’re serving your peaches and ricotta to one other person, one peach will suffice. While you’re at the farmer’s market, try to pick out a small bottle of local honey – even if you don’t use all of your honey, it’s always nice to keep in your dorm.
Next, it’s crucial you pick up a nice ricotta. Ricotta, when it’s low-quality, ends up being very grainy and flavorless . Splurge on the good quality ricotta. Head over to the North End and visit any cheese shop there. If they make fresh ricotta in-house, pick up a smaller container. Award-winning Calabro ricotta is made in New England, it’s fairly inexpensive and it can even be found in certain Whole Foods if you want to skip the trip to the North End.
In terms of prosciutto, you can either skip this step (for the vegetarians and cost-effective folks out there) or head over to J. Pace & Son in the North End for unbelievable prosciutto. Trader Joe’s and Shaw’s also stocks tasty prosciutto, for those that want to stay within a college student’s budget.
From here, all that’s left is simple assembly. We’re going to give you a “choose-your-own-adventure”-type recipe from this point on.
Either you can keep your prosciutto raw or crisp it up in the microwave. If you prefer your prosciutto soft (and more malleable), keep the slices raw and lay pieces out like sheets. Rip the prosciutto into two separate strips and lay them crossed over one another, like a large plus sign. Otherwise, shape your prosciutto into small cups and put about three cups on one microwaveable plate. Microwave the prosciutto for 30 seconds to 1 minute until they are somewhat crispy. They might never be as crispy as you may like, but remember – this is renegade dorm kitchen pioneer cooking and sort of crispy is still better than the bacon they serve in Warren. Use a napkin to sop up any excess grease from the cups and lay the prosciutto out on a new plate. Cut the peaches into smaller slices and use a smaller spoon to dollop ricotta onto the prosciutto. Use a straw or coffee stirrer to add a drizzle of honey to your little canape cups. If your prosciutto is raw, wrap the peaches and ricotta in the parma ham, tying each of the four ends at the top. Serve immediately.
By Brooke Jackson-Glidden, Staff Writer
Welcome to BU, freshman and transfers. Orientation is behind you and you’re almost through your first week of classes; now that you’re (almost) in the swing of things, it’s time to address an age-old issue for college students around the world – avoiding the bubble.
Part of going to a school as centralized and city-oriented as BU is learning how to get off campus and into the real world. Trust me, when you tell people you go to Boston University, people are going to ask you if you’ve been to a Red Sox game or walked the Freedom Trail, and you’re not going to want to say, “No.” Also, frat parties can only entertain you for so long. Don’t worry, we at MUSE have five activities to start your Boston life off with a bang.
1. Hop on the T and wander through the North End.
Hop on the green line and ride it to the end of the road: The Government Center stop plops you in the middle of downtown Boston, a short walk from one of the most iconic areas in Boston. Get a cannoli (whether it’s at the classic Mike’s or the Zimmern favorite Maria’s), inhale the intoxicating smell of Italian food and maybe even visit the historic landmarks hidden between the restaurants and wine shops.
2. Go to Central Square and hipster out.
Central Square in Cambridge, an easy T ride away, is a tiny hipster haven for the culture-cravers out there. Treat yourself to a scoop of the Grape Nut ice cream from Toscanini’s, get some new school year digs at Buy the Pound (in the store Garment District), and see a show at The Middle East.
3. Make yourself a picnic and sprawl out on the common.
Step one: Stick the blanket you’re obviously not using in this heat and stick it in a backpack.
Step two: See what you can sneak out of the dining hall.
Step three: Supplement your loot with some City Co snacks.
Step four: Ride the green line to one of the three stops on The Boston Common and have a quick picnic! The Common is a great spot for Frisbee, people-watching and general relaxation.
4. Dip your toes in the Boston Harbor (before it gets too cold!)
If you go to South Station and walk across Summer Street, you can find a little dock for some primo toe dipping. Yeah, it’s always that cold.
5. Eat some Boston Cream Pie!
Boston Cream Pie is a Beantown classic, and the first (and best) one can be found at Omni Parker House. If you ever walk the Freedom Trail, you go right past this iconic Boston restaurant. Stop in one afternoon and indulge in a timeless comfort food.
By John Ambrosio
On Friday, I got a chance to talk to Titus Andronicus’ Patrick Stickles to discuss his bromance with the So So Glos, their new “Bring Back the Dudes” tour, his thoughts on DIY music, and more.When I called the number that the band’s press contact had provided me, I heard the garbled but unmistakable sounds of Titus Andronicus rehearsing:
Patrick Stickles: I’m sorry about that. We’re having practice right now. The guys are just jamming on the riff off “Devil’s Haircut” by Beck right now. That wasn’t on the agenda for today, I don’t know why they’re doing it, but unfortunately I’m talking to you instead of scolding them.
John Ambrosio: Haha, no problem. Are you on the road right now or are you just getting ready to leave?
PS: The first show of the tour that we’re about to do is on Sunday so this is going to be our last rehearsal before we get out there so we’re just trying to juice up our repertoire.
JA: Oh, ok. So what can people expect from this tour? Is it going to be any different from when you guys were touring for your new albums or are you guys going to be doing some new material?
PS: Well we’ve got a couple new songs that we just put out on this new 12’ EP for record store day so that’s got two unreleased songs on it that we’re going to be playing. Well, they’re not unreleased anymore, they were previously unreleased, now they’re released and they’re part of our repertoire. And we’ve got some new cover songs, and the most exciting part is that we actually now know how to play all of our original songs, like all the songs that are on our albums. And that doesn’t seem like such a special thing for a band to do — I recognize that a lot of bands know how to play all their songs all the time, but we’ve turned over line-ups a lot, so this lineup has been the first to have the talent and the commitment to learn all of our songs. So any request that we get we will be prepared to honor, which has almost never been the case with the band before.
JA: Do expect to see the line-up of the band change a little more, or do you think that it’s sort of stabilized now that you have the line-up from the album?
PS: You never know and I’ve learned not to count my chickens in that department but I will say that the line-up of the band that’s in place now has been together for longer than any previous line-up and we’re in the process of making plans for later this year too and everyone’s still in it so this line-up is going to exist for not less than like 18 months, which is crazy for us. The previous longest lasting one was like 11 months.
JA: Now when you say you have plans, is it plans for more show or is it plans for recording?
PS: The plans are for more show, but hopefully after the shows we can get started thinking about another record. But that’s a ways away still. I still need to write a lot of the songs
JA: Do you have anything right now that you’re thinking out that you might try on this tour?
PS: Nah, not for this tour, just the songs from that 12” I mentioned. But since we’re thinking about a tour later this year, it’s not outside the realm of possibility that we’ll have a couple new songs at that point, but we will see.
JA: So this tour is the “Bring Back the Dudes Tour” and you’re doing it with the So So Glos. How did that relationship between your band and the So So Glos start?
PS: We share a practice space with them, in Brooklyn at Shea Stadium. We met right when Titus Andronicus started playing out on the Brooklyn DIY scene. Before that we did most of our shows in Manhattan at like shitty bars and stuff and lame clubs on the lower east side that really had nothing to do with music and were just like beer commercials basically. We found out that there was another scene going on in Brooklyn that was a little more our style and at the very first show on that scene at a place called Don Pedro’s I met three of the So So Glos that night and we played with them our first show together later that month and since then it’s just been love, it’s been a bromance, you know? And it’s great, one of their guitar players, a guy named Matt Elkin, lived with me for about a year and the other three guys lived at Shea Stadium during a period that I also lived there for about two months and so we got very close there too and it’s just a great friendly thing. Oh no, the guys are jamming on “Collective Soul” now. Heaven let your light shine down!
JA: So you mentioned the Brooklyn DIY scene and that’s obviously a big part of Titus Andronicus’ aesthetic being that it’s very DIY and anti-consumerist but at the same time you guy are one of the biggest indie acts in the country and you’re selling thousands of your albums through a pretty big label. So with those two ideas in mind, how have you stayed true to your punk or DIY roots?
PS: I mean that is the eternal question. I should say that calling us one of the biggest indie acts is kind of a massive overstatement, it’s not like we’re Grizzly Bear or something. But it’s a constant struggle; it’s an ongoing question. It’s like this, right: you want to make a piece of art so much so that you don’t want to do anything else and that requires a lot of compromises because art of any kind, be it music or a book or a painting or anything, should be born out of noble artistic intentions. It should be an attempt to achieve a pure artistic expression of self rather than a means to the end of getting a paycheck. And yet at the same time we live on the planet Earth, and what’s more the United State of America and so the dream of living a life that is unbeholden to money is just that: it’s a dream. You’re never going to be able to do that, so your choice becomes do you want to make a certain series of compromises and be able to fully commit yourself to your art or do you want to do you art on the weekends and make your money doing, I don’t know, something else? People seem to have other jobs, but I don’t really understand what they are. For me, it was more important to make my art the focus of my life than it was to completely protect my art from the influence of capitalism, you know?
JA: How did you first get involved with DIY music or punk music or whatever you want to call it? Was it just like you were into punk in high school and it developed naturally form there or was it something different?
PS: That was it, really. Back in high school, we were listening to the Ramones and Sex Pistols, and Rancid and all this stuff and getting into it. And we would start our own punk bands and stuff and we had our own DIY scene in our suburb in New Jersey. By that I mean that we would set our gear up in, like, my mom’s basement and find out whoever it was that was our friend that had, like, a PA system and borrow it and set it up and just invite all our buddies over to dance and sweat the night away. And it was experiences like that that made up fall in love with rock n roll and all the feelings of community and fellowship that go along with it. It was a very pure and innocent time; money wasn’t on anyone’s mind and our parents were there so there wasn’t drinking going on. So that to me was what I liked about rock n’ roll. Doing that stuff and then when we got out of high school and had to kind of go out into the wider world to find places to play and we were playing on the Lower East Side of New York City and stuff, it wasn’t like that at all. It was like this stupid not fun thing with none of your friends. I mean friends would come to our shows, but we were totally un-autonomous and had no control over the situation and like I said everybody was a lot more concerned with the bottom line and that everybody that came in the door drank a certain number of beers. So finding the DIY scene in Brooklyn, which was more about the music, meant that people would come to enjoy music. Even if they didn’t know about the bands, they would just come because it was a happening and stuff was just popping off and it’s cool. It wasn’t about all that stuff I mentioned about those clubs I didn’t like, so to me it was a lot more like high school and reflected the qualities of that experience that were so appealing and important to me in those formative years. So it was like coming home in a way and it was comforting and heartening to see that there was a community in place that valued these kind of things that I had valued when my valuing of them had been leading me to become alienated against the rock n’ roll scene at the time. In finding this home at the Brooklyn DIY scene it was like it just strengthened my values about that stuff.
JA: Do you think that those same values can be found other places, or does Brooklyn have a unique thing going for it?
PS: I think that everybody wants to have the opportunity to achieve the purest level of creativity that they can and everyone wants to have the most control possible over what they put out and how it’s received and in what context. So I think whether or an indie band or a punk band or a rapper or ska or anything, I think that you value these things no matter where you are. It happens that the people in our punk community seem to make a bigger and more explicit deal about it but I think it’s fairly universal.
JA: One of your more famous songs, “A More Perfect Union” isn’t exactly a pro-Boston-area song. Where does that song come from for you? What was your experience up here like?
PS: Well you got to understand, I lived there. When I got out of college in 2008 I was involved with a woman who had been educated up there and wanted to stick around because she had gotten a job in a laboratory because she was a brilliant woman. And I was like well, Titus Andronicus is going to be on tour a lot, so it doesn’t really matter where I live so long as it’s vaguely close to New York, which has long been the home-base, so I was like forget it, I’ll move to Boston for love, and so I did. And then I wrote that song about the feeling of preparing to do that.
JA: So was your experience in Boston what you expected?
PS: I mean I didn’t have a ton of friends, I had like a few friends, but not very many. Like I was friends with the band Hallelujah the Hills and no one else when I lived in Somerville and I went out like once and the rest of the time I was at home watching Ken Burns Civil War movie and thinking about the Civil War album I was writing. Most of the time I just stayed at home watching that amazingly long film, all 11 hours of it, and when I wasn’t doing that I was out on tour with the guys. Then it didn’t really take that long for the woman I was with to figure out that the situation we were in sucked for her and then to give me my walking papers in no uncertain terms and I moved out of Boston. All that happened over the course of like 5 or 6 months and we were doing a lot of touring during that period so I never really got the Boston experience that I felt was coming for me. I do love the city very much and it’s been one of the best markets for the band and people support us there really hard and it’s tight. And our bass player is from western Massachusetts and it’s just popping and it’s cool and so historic, so I’m a fan.
JA: So you’ve mentioned in other interviews that before starting Titus Andronicus that you were on the cusp of joining academia and going to grad school. So what do you think you would be doing if you weren’t in this band right now?
PS: My plan was to be an English teacher and I’m still hoping to go back to that somewhere down the line. I find it quite noble, man. It’s all about the kids, man.
JA: Do you have any other secret interests or hobbies that people might not know about?
PS: I like making movies. Bands come and play at Shea Stadium and I make little movies of them and put them on the Internet. I just put up a bunch of videos on Monday for my weekly feature “Monday content blast”, which you can check out at titusandronicus.net and I got a bunch of videos of Diarrhea Planet which is like my favorite band in the world. That’s my number one hobby, other than music, making movies.
JA: Yeah, I saw the video of you playing Born to Run with Diarrhea Planet. How did that happen, was that sort of a spur of the moment thing?
PS: No, I had an evil scheme that I executed masterfully which is that I saw a video of Diarrhea Planet on the internet doing “Born to Run” with some of the guys from this band from Austin, TX called the Midget Men who are friends of ours as well and I was like, “wooozaa, this is amazing. A pop punk version of ‘Born to Run’? Finally”. And so I texted all of them because I got all their numbers and I said “great ‘Born to Run’ video” and every one of them texted me back in 5 minutes saying “you got to sing it with us when we come to Brooklyn next week” and I knew that they would and I wanted to do it so BOOM. I got it done.
JA: So I think we’re going to have to start wrapping this up since you have to practice but just before you go can you tell people who they can find out when the tour is coming by them?
PS: Yeah, you know just do the same thing you do to get any of our cool content information: you just go to titusandronicus.net or look at @titusandronicus on Twitter and it’s all up there. It’s 2013, baby!
By Brooke Jackson-Glidden, MUSE Editor
There’s a tiny foodie mecca hidden across the bay, a five- to ten-minute walk from South Station. Perhaps you’ve seen it on a visit to the ICA or the Atlantic Wharf. It’s a bizarre contrast between modern Los Angeles glass and classic Boston brick architecture: the waterside docks perfect for a quick dip of the toes, the restaurants for miles, indie gourmet groceries and Asian-fusion small plates.
Also known as the Innovative District, Fort Point has been exploding with new restaurants. In March alone, three different food vendors opened in the area, alongside half of Barbara Lynch’s tiny empire (Sportello, Menton and Drink). Here’s your quick guide to eating your way through Fort Point:
Blue Dragon: Ming Tsai’s Asian Small Plates are a hit since opening earlier this year. His second restaurant, Tsai, keeps his atmosphere casual and fun, with tasty Asian twists on classic gastropub fare.
CHECK OUT: The escargot, dan dan noodles, shepard’s pie, and the Dragon burger
Tavern Road: This modern edition to “Restaurant Row” (Congress St., over the river) serves cool small(ish) plates late at night, with a very young atmosphere and innovative menu.
CHECK OUT: The moulard duck, grilled octopus, and the gnocchi
Sportello: Barbara Lynch’s take on a diner. This “Italian lunch counter” serves sandwiches and homemade pastas that will make your head spin.
CHECK OUT: The gnocchi, the spicy tomato soup, and the sweetbreads
Bee’s Knees: This gourmet grocery opened last month, and we’re so glad. Bee’s Knees offers a wide variety of locally and internationally sourced cheese, produce, wine, and other food items that are sure to make any foodie smile.
CHECK OUT: The cheese selection, the café
Flour: Almost everyone knows and loves Joanne Chang’s popular indie bakery, but most of them didn’t know it was located in this tiny foodie paradise.
CHECK OUT: “Pop Tarts”, sandwiches, and sticky buns
COMING SOON: Row 34, Pastoral
By Sydney Moyer, Staff Writer
Last Wednesday, when my friend told a friend of hers that we were going to see Cloud Cult at Brighton Music Hall, he responded, “One of the best REAL POSITIVE live shows u can see!” After seeing the Minneapolis-based experimental indie act, I can think of no description more fitting.
Cloud Cult has been compared to the likes of Radiohead and Modest Mouse, but neither is really sufficient to encapsulate the band’s sound or attitude. The Brighton Music Hall show featured an eight-person band, complete with strings, horns, and, most notably, two painters who begin the show with blank canvases and end up with gorgeous, musically driven works of art that are auctioned off at the end of the show.
While Cloud Cult is perhaps most renowned for their paintings, the band truly is one of the most real, positive acts out there. The band filled the venue with a pack of devoted fans who shouted along every word to singer Craig Minowa’s poignant lyrics, many of which were inspired by the unexpected death of he and his wife Connie Minowa’s two year old son in 2002. Many Cloud Cult songs revolve around existential notions of life and death, but lack the banality that usually accompanies such grandiose subject matter (e.g. “And even though I don’t know God / I’m happy with the mystery / And I’m certain that I feel it / Every time that you sing to me”).
This band is all about staying positive through the shit, and translating that element into a live show was certainly an incredible phenomenon to witness. Minowa’s energy proved infectious and palpable as he jumped around the stage barefoot, winding his way through old crowd favorites as well as equally strong new tracks off of the band’s latest album, Love.
At the end of the night, two paintings stood before me: on the left, Connie Minowa, one of the bands two painters, had painted an impressionistic rendition of two small figures standing alone in a brightly colored forest. On the right, Scott West had painted a woman with eyes closed, colorful bubbles of what I supposed were dreams rising out of her skull. While I can’t exactly articulate why, those visuals will come closer to capturing Cloud Cult’s live sound more than these words ever will. I can only end by saying that I go to so many shows that very few of them leave me affected— but this one will stay with me, and should you ever see them yourself, you’ll know what I’m talking about.
Brooke Jackson-Glidden, Food Editor
The James Beard Award countdown has begun. Last month, the James Beard Foundation released the nominees for ‘the Oscars of the culinary world,’ and three of the five nominees for ‘Best Chef: Northeast’ reside and cook within the Boston area: Jamie Bissonnette of Coppa and Toro, Joanne Chang of Flour and Myers + Chang, and Barry Maiden of Hungry Mother.
The James Beard Awards recognize the leaders in the field of culinary artistry and appreciation: chefs, food journalists, television personalities, etc. The 2013 James Beard Awards will be held at Lincoln Center in New York on May 3 and 6. To celebrate their nominations and raise money for Future Chefs (a culinary career youth outreach program), Bissonnette, Chang and Maiden will also host a six-course dinner at Hungry Mother on April 15th.
MUSE spoke to the three nominees from Boston last week. Each week preceding the James Beard Awards, we will post three individual profiles of each of the chefs so you can choose your favorite. We will count the votes and post the results of BU’s Best Chef online on the day of the first ceremony, May 3.
Before we publish each of the longer profiles, here’s a quick rundown of each of the three:
Chef: Jamie Bissonnette
Restaurant(s): Coppa, Toro
Style of Cuisine: Italian, Spanish, Head-to-Tail
When you were college-aged, where did you think you’d be now: Jail
When you’re not cooking, you’re: listening to music (Danzig, Fitz and the Tantrums,
Oscar Peterson, Badbrains)
Mythical Creature you would cook if you could: Jackalope or Minotaur
Chef: Joanne Chang
Restaurant(s): Flour, Myers + Chang
Style of Cuisine: Chinese, Thai, Taiwanese, Vietnamese, Pastry
Your favorite thing to cook: I still love cooking Chinese food, so stir-fry, fish, a lot of
tofu, a lot of vegetables.
What’s your favorite restaurant in Boston: Sam’s on the waterfront, Picco, Oishii
Any music in the kitchen? We don’t allow music in the kitchen, it’s too distracting, and
at home I kind of got used to cooking in silence – it allows you to focus and concentrate
Chef: Barry Maiden
Restaurant(s): Hungry Mother
Style of Cuisine: Southern, Appalachian, French influences, New England ingredients
Before you were cooking, you were: Lost, raising hell, getting in trouble.
When you’re not cooking, you’re: Outside
When you were college-aged, your favorite thing to eat was: Anything I could get my