ROCK A WISH

Charity concert to ‘rock’ campus

Three bands perform to benefit the Make A Wish Foundation

NORTH DARTMOUTH, Mass. — Towering over the entrance to the McClean Campus Center, 13 feet of plywood presents itself as an iconic Fender guitar. The bright red replica accents a title that is brand new to the UMass Dartmouth campus: Rock A Wish.

On Friday, April 4, at 8 p.m., two student organizations will present “Three Bands, One Night” to benefit the Make A Wish Foundation of Massachusetts.

Delta Pi Omega is a local sorority involved in bettering local and surrounding communities through acts of philanthropy; Concert Tech is a student organization dedicated to the promotion and production of upcoming on-campus performances. Together, the two groups have collaborated to bring Baylock (Providence), Stealing Jane (Long Island), and UMD alums HelloMahalo (Taunton) to perform a two-hour set in the Main Auditorium.

All proceeds will go directly to the sorority’s goal of granting a wish of a child from the Foundation.

Tickets are on sale at the event’s table in the Campus Center or at the door for $5 with a valid UMass Pass, and $10 to the general public. There are also free SAIL-sponsored tickets available to the first 100 UMD students.

For more information, please contact Austin Huot of Concert Tech, at u_ahuot@umassd.edu, or Jade Dillingham of Delta Pi Omega, at u_jdillingha@umassd.edu.

Write for life

NORTH DARTMOUTH, Mass.—New Bedford author Claudia Grace invitesyou to join in the conversation about “The Place of Poetry in Our Lives” at Baker Books on Saturday, April 12, from 2 to 4p.m.

Ms. Grace will read from “The Other Side of Where I Used to Live,” praised by poet Michael Harper as a book of “…bountiful generosity and prolixity….an impulse for community and voices is the strong point where the people are real and hard to contain”.

The author will also discuss the dynamics of the “Write for Life” process, which has evolved from her popular course (taught at diverse sites including UMD Continuing Ed.) into an instructional manual in creative writing.

Ms. Grace has worked with print/ broadcast media and theater, produced cultural documentaries, and holds M.A. in English and Creative Writing from Brown University and a B.A. in English from UMD. (formerly SMU) where she was a co-founder of “Siren: A Woman’s Journal.” She has earned recognition both for her own work and as artistic director for nonprofit A.C.C.E.S.S. Art Corp International. She is also a writer for the American Institutes for Research and teaches with the PEN Freedom-to-Write Project.

Discover why the “Write for Life” process has been called “inoculation against writer’s block” as it works for all writing genres from a poetic foundation.

Comedy night: A gay ol’ time

By Melanie Crorria

Parts of the queer nation came to UMass last Friday night in the form of two talented comedians. For the Pride Alliance’s Seventh Annual Queer Comedy Night, Karen Ripley and Bob Smith graced the UMD stage.

Karen Ripley from San Francisco, CA, has traveled all over with her stand-up comedy. She has appeared in The Queer Queens of Comedy tour, Stonewall NYC, Michigan’s Music Festival, and numerous pride events over the years.

Her stand-up ranged from a joke about an old Mitsubishi Mirage to numerous tales of past girlfriends and various experiments.

Bob Smith was the first gay comedian on “The Tonight Show.” He had his own HBO special, “The Bob Smith Comedy Half-Hour” and has appeared on Comedy Central’s “Out There.” Bob is also the author of several books including “Openly Bob,” “Way to go, Smith” and “Selfish and Perverse.”

Bob’s stand-up was also incredibly entertaining. He used material from his childhood and even brought in a story written by him in the sixth grade. “This children’s book,” he proudly said, “was definitely written by a gay kid.”

Nathan Yetton, a senior biochemistry major said after the show, “It was possibly some of the most fun I’ve had in a long time. The Pride Alliance outdid themselves this time, and I hope next year they do something just as funny. The event was bawdy, audacious, and riotous.”

After their each individual performances, the two comedians opened the floor for a question-and-answer discussion period. They were very receptive of the audience’s questions and answered with the wit and charm they exuded during their stand-up.

“I hope that next year the entire auditorium fills to the brim, because everyone who doesn’t go is missing out,” said Yetton about the show. And if the Eighth Annual Queer Comedy Night is like the Seventh, he’ll be right in saying that anyone who doesn’t go is missing out.

Hot Water Music provides the sounds of life

By Joey Noyes

Music is a key aspect of life. It keeps people moving in whatever motion (musical style) it may be. It is important emotionally, mentally and psychologically. It can alter moods, change opinions, change personalities and change lives.

One band that comes to mind when hearing this explanation of music is the alternative punk rock band Hot Water Music. Derived from Charles Bukowski’s novel, their music has altered punk rock since their creation in 1994. The members of the band consist of Chuck Ragan (vocals, guitar), Chris Wollard (vocals, guitar), Jason Black

(bass, back-up vocals) and George Rebello (percussion).

They originate from a very music-oriented area in Florida, called Gainesville. Many great bands have spawned from that area, including Less than Jake, Against Me!, and the off-breed of the band itself, The Draft.

Throughout the band’s releases over the course of their fourteen year stretch, there is one album that really stands out amongst the eight full lengths. The album, “Caution” was released in 2002 from Epitaph Records.

Starting off Strong and hard with “Remedy,” their most popular song creates another rough passage into the world of Hot Water Music.

The following two songs, “Trusty Chords” and “I was on a Mountain” are overwhelmingly peaceful and serve a very deep lyrical meaning. After these two peaceful ballads, the band brings back their traditional fist pumping sound with the songs “One Step to Slip,” “It’s all Related,” and “The Sense.”

The first half of the album provides complete motivation to explore the rest. As the album progresses from heart wrenching guitar melodies and intense drum fills, the lyrics seem to get deeper; however, Hot Water Music is not always portrayed as musically inspiring.

A music review in 2004 regarding Hot Water Music’s style of music rhetorically questioned, “was there a proposition on a ballot somewhere a few years ago giving bands a “mandate” (to use the word of the week) to sound constipated, whiny, and listless?” (Coombe). Coombe’s reaction to Hot Water Music is inaccurate.

The lyrics on the album are in no way constipated, whiny or listless. The lyrics are brilliant scores pertaining to life and all of its ups and downs. It’s naive to call them “whiny” and “listless.”

Tracks seven through nine (“Not for Anyone,” “Sweet Disasters,” and

“Alright for Now”) represent a similar blend of harmony, musically and vocally, as in tracks two and three. They rely more on lyrics and vocal harmonies to continue the experience of the album.

One example of such lyrics comes from the song “Sweet Disasters:” “When we get cut it’s so good to know that sweet disasters are just as precious. We fall down to kiss the ground and live to love and lose. All is well if all else fails. At least we’ll know the truth.” These songs bring back memories of loss and love and its effect on people.

The next song, perhaps the most explosive on the album, “We’ll Say Anything We Want,” is a cyclone of guitar solos and lyrical rants. The reason for the phrase “most explosive” is because this is where the journey of the album truly peaks.

The beginning represents distress and a catalyst for change. Chris Wollard talks about swallowing fears and ambitions and accepting change when he sings, “Through the window in the front, we just smoked and watched it come being lazy with a gray light.” The song symbolizes a turning point in itself and in correlation to the album.

The next two songs are “Wayfarer” and “The End.” “Wayfarer” is a song about gambling and taking a chance. For example, “it’s a sure shot, a double down or don’t. Step out if you want to, stay in if you’re bold and roll.” As for “The End,” it is exactly what it reads. Ragan sings a witty phrase at the beginning of the song, “If I could just begin to forget where I have been, maybe we wouldn’t be here?” reminding listeners again that the album is not real life yet a representation of experiences.

This is a very effective way to conclude the album, letting the listeners ease out its captivity with no injuries, musically speaking. This album is a storybook of experiences that nearly everyone can relate to. It is explosive and questioning; this makes it an obvious candidate for their best album in its entirety.

BOOK REVIEW

The underworld stirs up disappointment

By Andrew Fersch

Mister B. Gone
By Clive Barker
Publisher: Harper Collins

When you are considered one of the masters of horror, you better be doing something pretty innovative to give folks the heebie-jeebies, especially considering that so much has already be done. Coming up with a new and clever idea is going to be no easy task. Yet, Clive Barker has managed to give readers goosebumps once again in “Mister B. Gone,” his most recent horror story aimed at an adult audience.

Jakabok Botch, aka Mister B ., is a devil in the book. Now, just how he got into said book you will have to read some 250 plus pages to find out; suffice to say that he’s in it, and he’s itching to get a piece of you. From page one you find yourself at once being pulled in by the deceitful, manipulative, yet sometimes even likable little demon.

See, Mister B. is no normal demon; he is a reject. He is not a pure breed. He gets picked on by his peers and abused by his horrific parents to the point that he ends up a mutilated mass of scar tissue who happens, by random chance, to end up being caught in a net, dragged from hell, and given an opportunity to see what he’s made of. Turns out, he is not made of that much when he is all alone.

Written as a first person narrative, “Mister B. Gone” gives new meaning to the term disappointment when it comes to innovation. It seems like a great idea, but in reality, it ends up coming off as relatively lame and disappointing. That is truly unfortunate in this case because Clive Barker is capable of scaring the living daylights out of just about anyone when he tries (this is the same guy who did “Hellraiser”).

Mister B. has a tendency to repeat himself, telling you to burn the book, and eventually, parts of you will want to listen to him. Mister B. also turns from a pretty average demon to a sidekick for a pretty hardcore demon, and there certainly are times when the two sicken with their acts. Each time, though, Barker insists on bringing it back to a more sensitive side of Mister B., which just comes off as not particularly respectable for a demon.

What is most disappointing about the book is what could have been its most genius point. Throughout the book, Jakabok slowly but surely begins to tell the reader that if they finish the book, he will be there, ready to slit their throat, and if read late at night, this can have the proper spine tingling effect. Will Mister B. end up slicing and dicing?

For a twelve year old who likes a good scare before bedtime, this might just be a perfect book (albeit a little graphic in some of its violence). For an adult, the spine tingling sensation you are likely to feel once or twice during the book won’t make up for the rest of it, which is thoroughly lackluster. Hopefully, out there, in Demonation, somewhere, some up and coming demon novelist read this and plans to show Jakabok Botch and Clive Barker how it’s done. One can only hope this isn’t the best the underworld has to offer for entertainment.

BOOK REVIEW

The underworld stirs up disappointment

By Andrew Fersch

Mister B. Gone
By Clive Barker
Publisher: Harper Collins

When you are considered one of the masters of horror, you better be doing something pretty innovative to give folks the heebie-jeebies, especially considering that so much has already be done. Coming up with a new and clever idea is going to be no easy task. Yet, Clive Barker has managed to give readers goosebumps once again in “Mister B. Gone,” his most recent horror story aimed at an adult audience.

Jakabok Botch, aka Mister B ., is a devil in the book. Now, just how he got into said book you will have to read some 250 plus pages to find out; suffice to say that he’s in it, and he’s itching to get a piece of you. From page one you find yourself at once being pulled in by the deceitful, manipulative, yet sometimes even likable little demon.

See, Mister B. is no normal demon; he is a reject. He is not a pure breed. He gets picked on by his peers and abused by his horrific parents to the point that he ends up a mutilated mass of scar tissue who happens, by random chance, to end up being caught in a net, dragged from hell, and given an opportunity to see what he’s made of. Turns out, he is not made of that much when he is all alone.

Written as a first person narrative, “Mister B. Gone” gives new meaning to the term disappointment when it comes to innovation. It seems like a great idea, but in reality, it ends up coming off as relatively lame and disappointing. That is truly unfortunate in this case because Clive Barker is capable of scaring the living daylights out of just about anyone when he tries (this is the same guy who did “Hellraiser”).

Mister B. has a tendency to repeat himself, telling you to burn the book, and eventually, parts of you will want to listen to him. Mister B. also turns from a pretty average demon to a sidekick for a pretty hardcore demon, and there certainly are times when the two sicken with their acts. Each time, though, Barker insists on bringing it back to a more sensitive side of Mister B., which just comes off as not particularly respectable for a demon.

What is most disappointing about the book is what could have been its most genius point. Throughout the book, Jakabok slowly but surely begins to tell the reader that if they finish the book, he will be there, ready to slit their throat, and if read late at night, this can have the proper spine tingling effect. Will Mister B. end up slicing and dicing?

For a twelve year old who likes a good scare before bedtime, this might just be a perfect book (albeit a little graphic in some of its violence). For an adult, the spine tingling sensation you are likely to feel once or twice during the book won’t make up for the rest of it, which is thoroughly lackluster. Hopefully, out there, in Demonation, somewhere, some up and coming demon novelist read this and plans to show Jakabok Botch and Clive Barker how it’s done. One can only hope this isn’t the best the underworld has to offer for entertainment.

THE BEER BARON

Samuel Adams White Ale is golden

By Gary Albert

It has been a few weeks since my last review, but spring is here. With the new season, come spring style ales and lagers. The first on my list is the definitive spring brew, Samuel Adams White Ale.

Sam Adams’ White Ale is an American take on a Belgian style, and is an unfiltered wheat beer brewed with spices, especially for spring. The White Ale was introduced as Samuel Adams spring seasonal brew in 1997, and has been brewed as both a seasonal beer as well as a year round offering. As of 2004, it has been one of two Sam Adams official spring brews, the other being Samuel Adams Double Bock.

In previous years, I have been able to find Spring Ale from January until early May, but I first noticed it this year in mid-February. It should be readily available in bottles this time of year at most stores, as well as on tap at local restaurants and bars.

It has been a while since I have had a wheat beer. Since the style family contains some of my favorites, my palette is a bit more sensitive to the flavors in them than other styles. While drinking, if unable to notice certain smells or flavors, do not feel so bad or think that I’m just listing off fruits and spices for the fun of it. The more varieties of the style tried, the more the flavors will be noticed.

Because of its lighter composition, it is best to pour Sam Adams White Ale into a weizen glass, or other tall, slender beer glasses. It pours a very light orange-golden color with a medium head. There are very noticeable specks of yeast floating around in the glass, even without agitating the bottle prior to pouring, though the overall composition is not as cloudy as one would expect.

The smell is mainly orange, with very noticeable coriander and a bit of lemon, cinnamon and nutmeg. The first sips are spicy, refreshing, and lemony. I notice a definite coriander flavor to it, along with a grassy, hoppy taste.

Later sips in the glass I pick up the orange and lemon citrus a bit more than the earlier ones. Cinnamon and nutmeg are present in the smell of the background. The yeast in the sediment also adds a nice bitterness to the aftertaste. The last few sips contain the most sediment, and taste almost like drinking a lemon peel.

It is well carbonated, and yes, it tastes of spring. It is very light on the mouth and easy to drink, but being unfiltered it is not weak or watery. It would be great on a nice sunny, not-too-hot, not-too-cold day.

With the typical Sam Adams 5.2% alcohol, the drinkability is definitely great, and it would be easy to take back a bunch of these without feeling much.

Appearance: 3.75/5

Smell: 4/5

Taste: 4/5

Mouthfeel: 4/5

Drinkability: 4.25/5

Overall: 4/5

This is an excellent selection for a spring seasonal and an excellent Belgian style White Ale. As the weizen style is one of my favorites, I can’t deny that this is a great beer and it is a much better wheat beer than the Summer Ale. If familiar with drinking beers like Blue Moon, Hoegaarden, Leinenkugel’s Sunset Wheat, or Magic Hat Circus Boy, this is another brew to try and switch it up a bit during the time that it is available.

CD REVIEW

‘Stuck’ on Stewart Mann’s latest southern rock album

By Andrew Fersch

Some albums fit their respected genres so well that they become synonymous with them. That’s perfectly respectable for artists such as George Strait or AC/DC. If an artist is trying to make music that isn’t relegated to one type of listener, then that artist is going to have to put a little more thought into the style of music. Stewart Mann is clearly willing to put forth this extra effort. In his freshman effort in the solo venue, Mann absolutely refuses to let himself be pigeon-holed as any one type of artist.

The seven songs on “Stuck in Here” are far reaching, luminous at times and melancholy at others. Every song has its own heartbeat and its own message, which is aimed at relating a different aspect of life that a songwriter might want to tackle. Relaxing from the first few licks of “Lady,” Mann talks the life that one just has to believe he lives, one of sin and forgiveness, without more regret than necessary. Mann goes straight up southern rock with “Stuck in Here,” laid back alt-country on “Nickels and Dimes,” and pulls off pained country and rock-tinged blues in “Brink of Heartache” and “Please Come Home.”

Where Mann shines the absolutely brightest is on the dark and moody “Long Black Limousine,” with brooding lyrics, a stunning use of the piano, guitar and drums all for effect, not to mention background vocals. His voice soars when necessary, always portraying the feeling of his song flawlessly.

Whether Mann chooses to head in the direction of any one of these or allows himself the musical freedom to pursue all of them, he certainly comes off as a musician who will always be true to the music that he loves. And, thankfully, he seems to love a whole lot.