A solid half-decade has passed since producer RedOne and songwriter Akon laced the vocals of an unassuming NYU-dropout named Stefani Germanotta onto one of the most infectious synth-pop beats ever crafted. The result was an inescapable party jam that confidently assured us all, "[It's] gonna be okay, da-doo-doo-mmm / Just dance."
Dirty Water Dough Company - a new, innovative pizza joint - has opened its doors at 222 Newbury Street. At its grand opening on Saturday, the restaurant debuted a menu of unexpected, locally inspired pies, handing out free slices to Bostonians and tourists alike. Dirty Water Dough Co. also offers a small selection of Italian deli fare - think meaty sandwiches and fresh, mozzarella-laden salads.
Originally a drum and bass artist, English producer Mat Zo has been a significant presence in trance and progressive house music for the past few years. First discovered in 2007, he was soon taken under the wing of Anjunabeats, the record label of famous U.K. trance trio Above & Beyond. After several years of producing strong records, he finally broke out onto the main stage in 2011 with Rebound and Mozart, his collaborations with Russian artist Arty. Carrying this momentum into 2012, he released his acclaimed The Bipolar EP and later that year, the first two singles from his new album Damage Control. Until now, he has had a quiet 2013.
Dirty Water Dough Company a new, innovative pizza joint has opened its doors at 222 Newbury Street. At its grand opening on Saturday, the restaurant debuted a menu of unexpected, locally inspired pies, handing out free slices to Bostonians and tourists alike. Dirty Water Dough Co. also offers a small selection of Italian deli fare think meaty sandwiches and fresh, mozzarella-laden salads.
Although it falls into Amazons Love Poems category, Heiko Juliens I Am Ready To Die a Violent Death seems to deserve a more general classification something along the lines of Books That Make You Feel Things. The new work blends Internet poetry with short stories, both believable and ridiculous, in a poignant, moving way.
The red sign on the awning reads, The Regal Beagle: A Neighborhood Joint an ironic phrase, unless you stop to consider where the restaurant is actually located. Indeed, The Regal Beagle situated in the upscale town of Brookline, Mass., right near The Coolidge Corner Theater is not just another colorless fast food eatery, as its awning might suggest, but rather an impressive dining establishment that boasts a chic, elegant ambience and a wide range of traditional American options with a refined twist.
Amid an Oscar season already full of memorable performances, Matthew McConaughey's role in "Dallas Buyers Club" is definitely attracting its fair share of attention. While some of the chatter may be about the nearly 50 pounds he lost for the film, much of the buzz is focused on how this film is just the latest step in the actor's path toward playing more "serious" characters - a switch that began in 2011 with his portrayal of quick-talking defense attorney Mick Haller in "The Lincoln Lawyer."
If there is one word that can capture the Sacramento-based experimental rap outfit Death Grips third and latest album, Government Plates, it would be brutal. This word is not indicative of the quality of the record. Instead, it encapsulates the aural assault Government Plates delivers to listeners. Death Grips has always been unconcerned with musical conventions and, consequently, its albums have been quite removed from the more mainstream style of other rap groups if one can even call Death Grips a rap group.
Amid an Oscar season already full of memorable performances, Matthew McConaugheys role in Dallas Buyers Club is definitely attracting its fair share of attention. While some of the chatter may be about the nearly 50 pounds he lost for the film, much of the buzz is focused on how this film is just the latest step in the actors path toward playing more serious characters a switch that began in 2011 with his portrayal of quick-talking defense attorney Mick Haller in The Lincoln Lawyer.
To promote Grouploves current Campus Consciousness Tour, guitarist Andrew Wessen spoke over the phone with the Daily about the bands past few years on the road. Grouplove will headline tonights Cage Rage performance.
Eurydice, the major theater production of Pen, Paint and Pretzels (3Ps), debuted last night in Balch Arena Theater.
"Eurydice," the major theater production of Pen, Paint and Pretzels (3Ps), debuted last night in Balch Arena Theater.
For big-name musicians, making a music video tends to be a glamorous affair. Sets bustle with hair and makeup teams, craft services tables, well-stocked trailers and world-class choreographers and dancers. For Gregg Kallor (LA '00), however, the making of his music video, "Broken Sentences," was decidedly different - and much less plush.Instead of a buzzing set and endless production assistants, Kallor, a New York-based pianist and composer, simply had himself, his filmmaker friend Alan McIntyre Smith, 88 pianos and the five boroughs. The idea for the video was to film Kallor playing "Broken Sentences" at the nearly nine-dozen hand-decorated pianos placed around New York for public use by the non-profit organization Sing For Hope, which Kallor describes as "the Peace Corps for artists." The catch: The pianos were only available for approximately two weeks in June - and after that they would be gone.In order to make the video in just two weeks, Kallor said that the pair had to plan extensively and work quickly."It was tough because we didn't want to monopolize the pianos," he said. "So it would be quick and dirty. I would play through the piece once, maybe twice if we had time." Despite the rushed filming schedule, Kallor and Smith were committed to making sure the video's creative core was not lost in their haste."Alan tried out a bunch of different film techniques and shots," Kallor said. "We brought a steady cam and also filmed a bunch of still shots that we later pieced together in the video."Kallor, for his part, said the location of the pianos - in busy, public places around New York - did not affect the emotional effort that goes into performing, though the experience was assuredly not conventional."It was a strange feeling, I was pouring my heart into this thing, but it takes a lot to grab the attention of New Yorkers, so for the most part people ignored me," he said. Nevertheless, he would occasionally find a small crowd gathered around him, which he attributes to the "otherness" of the project."I think there's something about seeing this crazy looking piano and trying to understand the context of it," Kallor said. "People got a special experience in not going to a concert hall."Kallor was not alone in thinking he and Smith had made something special. "Broken Sentences" made it onto this year's Grammy ballot for Best Music Video. Starting out at TuftsAlthough Kallor appreciates the recognition, he does not take it for granted - getting to this place in his career has been a long and challenging journey. Kallor came to Tufts as a transfer student and enrolled in the university's dual degree program with the New England Conservatory of Music. However, he ultimately withdrew from the program to work solely toward a bachelor's degree in American studies from Tufts, citing the intensity of the program as a reason for leaving."It looks pretty sexy on paper to say you went to music school and to Tufts, but there was so much going on I felt I didn't have time to delve in at either place," he said.Kallor also acknowledged that his time at conservatory did not allow him the freedom he wanted with his music."I had grown up with classical music and jazz and a bit of musical theater, but I left [the] conservatory because I didn't want to give up either classical or jazz," he said. "They wanted me to pick one. It turned out not to be for me." Kallor's path, as it happens, has balanced the two genres - and even as his career has progressed, he remains hesitant to put himself in categories.Despite his passion for music, it was not the focus of his time at Tufts. "I either minored in music or double majored - I can't quite remember," he said. "Tufts didn't have a direct impact on my career, but it was a really special time. I made great friends, took classes with incredible teachers and really learned to think for myself." Kallor even went to Talloires with Tufts - a program that continues to be a hallmark experience for many students today. Humble beginningsAs college wrapped up, Kallor looked to pursue a career in music."I'd always known it was what I wanted to do, but a part of me was a little unsure senior year. All my friends had applied to grad school or were going off on some major career path," he said. "I wasn't really sure until right after I graduated and thought, 'What the hell?' and I moved to New York."It certainly wasn't smooth sailing."There was a lot of hair pulling, teeth grinding and nail biting," he said of the beginning of his post-college life. "I really had no idea what I was doing. I came here not knowing anybody. I knocked on doors of clubs and restaurants looking for gigs." Kallor was also torn creatively. Pursuing jazz more than composition or classical when he arrived in New York, he eventually turned back to classical after working with a piano teacher who "reignited [his] passion" for the genre.12
For big-name musicians, making a music video tends to be a glamorous affair. Sets bustle with hair and makeup teams, craft services tables, well-stocked trailers and world-class choreographers and dancers. For Gregg Kallor (LA 00), however, the making of his music video, Broken Sentences, was decidedly different and much less plush.Instead of a buzzing set and endless production assistants, Kallor, a New York-based pianist and composer, simply had himself, his filmmaker friend Alan McIntyre Smith, 88 pianos and the five boroughs. The idea for the video was to film Kallor playing Broken Sentences at the nearly nine-dozen hand-decorated pianos placed around New York for public use by the non-profit organization Sing For Hope, which Kallor describes as the Peace Corps for artists. The catch: The pianos were only available for approximately two weeks in June and after that they would be gone.In order to make the video in just two weeks, Kallor said that the pair had to plan extensively and work quickly.It was tough because we didnt want to monopolize the pianos, he said. So it would be quick and dirty. I would play through the piece once, maybe twice if we had time. Despite the rushed filming schedule, Kallor and Smith were committed to making sure the videos creative core was not lost in their haste.Alan tried out a bunch of different film techniques and shots, Kallor said. We brought a steady cam and also filmed a bunch of still shots that we later pieced together in the video.Kallor, for his part, said the location of the pianos in busy, public places around New York did not affect the emotional effort that goes into performing, though the experience was assuredly not conventional.It was a strange feeling, I was pouring my heart into this thing, but it takes a lot to grab the attention of New Yorkers, so for the most part people ignored me, he said. Nevertheless, he would occasionally find a small crowd gathered around him, which he attributes to the otherness of the project.I think theres something about seeing this crazy looking piano and trying to understand the context of it, Kallor said. People got a special experience in not going to a concert hall.Kallor was not alone in thinking he and Smith had made something special. Broken Sentences made it onto this years Grammy ballot for Best Music Video. Starting out at TuftsAlthough Kallor appreciates the recognition, he does not take it for granted getting to this place in his career has been a long and challenging journey. Kallor came to Tufts as a transfer student and enrolled in the universitys dual degree program with the New England Conservatory of Music. However, he ultimately withdrew from the program to work solely toward a bachelors degree in American studies from Tufts, citing the intensity of the program as a reason for leaving.It looks pretty sexy on paper to say you went to music school and to Tufts, but there was so much going on I felt I didnt have time to delve in at either place, he said.Kallor also acknowledged that his time at conservatory did not allow him the freedom he wanted with his music.I had grown up with classical music and jazz and a bit of musical theater, but I left [the] conservatory because I didnt want to give up either classical or jazz, he said. They wanted me to pick one. It turned out not to be for me. Kallors path, as it happens, has balanced the two genres and even as his career has progressed, he remains hesitant to put himself in categories.Despite his passion for music, it was not the focus of his time at Tufts. I either minored in music or double majored I cant quite remember, he said. Tufts didnt have a direct impact on my career, but it was a really special time. I made great friends, took classes with incredible teachers and really learned to think for myself. Kallor even went to Talloires with Tufts a program that continues to be a hallmark experience for many students today. Humble beginningsAs college wrapped up, Kallor looked to pursue a career in music.Id always known it was what I wanted to do, but a part of me was a little unsure senior year. All my friends had applied to grad school or were going off on some major career path, he said. I wasnt really sure until right after I graduated and thought, What the hell? and I moved to New York.It certainly wasnt smooth sailing.There was a lot of hair pulling, teeth grinding and nail biting, he said of the beginning of his post-college life. I really had no idea what I was doing. I came here not knowing anybody. I knocked on doors of clubs and restaurants looking for gigs. Kallor was also torn creatively. Pursuing jazz more than composition or classical when he arrived in New York, he eventually turned back to classical after working with a piano teacher who reignited [his] passion for the genre.12
Since releasing In Ghost Colours in 2008, Cut Copy has slowly been achieving more and more mainstream success. Its latest album, Free Your Mind, proves the band is only continuing to move forward. On its new record, Cut Copy has flawlessly created songs reminiscent of 80s dance and pop music and, as a four-person electronic band, has been able to accomplish feats that other solo electronic artists simply cannot. Its size enables it to be flexible in its production, since unlike many other electronic artists the band has a drummer, guitarist and bass player both, in and out of the studio.
Chris Marker has long been known in film circles as one of the most delightfully enigmatic figures in French cinema. In the last years of his life, he didnt like to be photographed and would often distribute photos or cartoonish animations of his cat, Guillaume-en-Egypte, in his place. Despite this reclusive facade, Markers films are strikingly personal portraits of his world as he experienced it. Marker died last year and the Harvard Film Archive (HFA) is honoring his memory by screening more than 30 of his incredible films through Dec. 16.
The Boston Jewish Film Festival is in its 25th year of celebrating the Jewish experience through film and media. On Nov. 7, the Somerville Theatre kicked off the festivals Third Annual Short Film Competition. From an initial 200 films, the contenders were narrowed down to just six shorts, each powerful in their own way. After the screenings, the directors took the stage for a brief question and answer session. This was then followed by a text-in vote for the best two films of the festival.
On her eponymous fifth studio album, Avril Lavigne is not leaving anyone disappointed. As soon as fans began to wonder about the singers absence, she popped back onto the scene, and her most recent release is a pleasant surprise. While Lavigne channels her old style on this endeavor potentially leaving some listeners nostalgic for songs like her 2002 hit Sk8r Boi she also experiments with new sounds, most of which work just as well as the old.
If you catch a whiff of strong fishy odor in the streets of Boston these days, you may be near the Boston University Boston Playwrights Theatres production of Windowmen. Steven Barkhimers new play certainly has a powerful flavor, but it may be best described as an acquired taste.
If you catch a whiff of strong fishy odor in the streets of Boston these days, you may be near the Boston University Boston Playwright's Theatre's production of "Windowmen." Steven Barkhimer's new play certainly has a powerful flavor, but it may be best described as an acquired taste.
