On this day nineteen years ago, four of Blind Melon’s five members woke up expecting to play a show that night at Tipitina’s in New Orleans. The fifth, lead vocalist and chief songwriter Shannon Hoon, never awoke. He had died of a cocaine overdose at age 28. Today, to honor Hoon’s memory, I’d like to take a look at Blind Melon, a terribly under-appreciated member of the grunge pantheon.
For this week’s article I’m trying something new. Thinking about music and how it fits into my life, I thought about how I relate to a lot of my friends and family through music. My dad and I like listening to Neil Young on long drives, my best friend and I love going to see Manchester Orchestra whenever they come to town, and I’ve made a lot of close friends based on our mutual affinity towards certain artists.
Everyone has some sort of preference for music, it’s a very human process, and it can help them to relate to others. Going off of that idea, I thought, “I wonder what sort of music Vanderbilt faculty and staff members listen to.”
Today, Vanderbilt will host its most esteemed musical visitor, excluding Rites and Quake, since Billy Joel (and Michael Pollack) captivated a sold-out Langford Auditorium almost two years ago. Matisyahu burst onto the scene in the mid-2000s, delivering a powerful reggae sound laced with traces of rock, hip-hop, and his trademark Judaism-inspired lyrics. It was a wonder to behold him commanding the stage in traditional Hasidic dress, complete with yarmulke and full beard, while performing in a style that broke the mold of Jewish orthodoxy and tradition. We listened in awe as “King Without a Crown” leapt to #28 on the Billboard Top 100, easily the highest a song with explicitly Jewish lyrics has ever charted. We sang along to the powerful “One Day,” which was remixed with new verses by Akon. And then those of us outside the reggae community allowed Matisyahu to slip from our consciousness.
The Matisyahu who will be walking around West End today looks far different from the Matisyahu of ten years ago. Gone is the beard, as is the yarmulke–he wears a clean-shaven look topped by a mop of graying hair. The music, while it still contains Judaism at its heart, has become more secular and more diverse in style, reflecting the man’s continuing spiritual journey. But Matisyahu is as active as ever, having released his fifth studio album Akeda in June and touring extensively in support of the LP. In light of this metamorphosis, let’s take a closer look at some of the highlights of Matisyahu’s decade-long career.
It’s rare that you find a prodigious band coming out of Vanderbilt. Vampire Weekend met at Columbia and Tom Schulz met his Boston bandmates at MIT, but here the music scene centers around singer-songwriters—Belmont produces the bands, they say.
With Kid Freud, though, Vanderbilt may have these rock titans’ future equals on its hands.
Despite forming only four months ago, the three-piece outfit is taking its place at the head of the burgeoning music community on West End, regularly packing venues like The End and fresh off earning the opportunity to open Rites of Spring after winning the festival’s Battle of the Bands.
Sometimes I don’t know why I love the things I love. I was sitting in my room and doing homework this weekend while blasting through Interpol’s 2004 album Antics, singing along to the track “Length of Love”. It’s a great track, starting around a sinister guitar part before it shifts into the kind of ersatz-punk-disco that Interpol is known for. Naturally I’m singing along, but when I get to the chorus I stop and ask myself, “What in the world did I just sing?” See, I had to ask this question because the chorus is just a three word motif sung in Paul Banks’ ALL CAPS monotone. The words? (And I’m not making this up) “COMBAT SALACIOUS REMOVAL”.
It’s that time of year again at Vanderbilt. The Student Alumni Board is passing out free shirts at Rand; there are dozens of garbage bins lounging pell-mell on Alumni Lawn; the fraternities are gearing up for their crawfish boils and pig roasts; fierce debate regarding 2 Chainz’ arraignment echoes across campus. What else could it be but Rites Week?
Love it or hate it (and, as always, there’s been a lot of both emotions in reaction to this year’s lineup), the week of Rites of Spring is the best time for music at Vanderbilt every year. Though the main event will be an epic spectacle that should trump last year’s in terms of debauchery and Dionysian life force–after all, NEEDTOBREATHE probably played before the most sober Rites crowd ever–my favorite part of the week is the Battle of the Bands, which will take place this Thursday at 7:30 PM in Rand Lounge/Dank New Rand. The Battle of the Bands is easy to overlook, especially with the winners’ prize being the chance to play on Friday afternoon before most students will want to arrive, but it’s a great showcase of some local talent (including a number of Vanderbilt-based acts) and winning would be a tremendous affirmation for any of the competitors. And this year, you as an audience member have an opportunity to play a pivotal role in determining the battle’s victor, as the crowd’s vote will account for two-fifths of the final decision (alongside the three judges). The idea seems to be that the winner should be able to draw a crowd to Rites as early as possible, with the ability to do this on a Thursday night supposedly predictive of the ability to follow suit the next afternoon. So if you are friends with one or more of the contestants, the most important thing you can do for them is to show up at the battle on Thursday night and bring a pack of friends along for the ride.
It’s safe to say that regardless of whether or not you think Kendrick Lamar got robbed at the Grammys, Macklemore and Ryan Lewis accounted for a significant shift in the scope of issues dealt with in mainstream rap music. Into a culture dominated by the elegant hedonism of Kanye West and Jay-Z was infused a dose of reality–”fifty dollars for a t-shirt” (or, as famously offered by Yeezy, $120) is beyond the fiscal considerations of most Americans and shouldn’t be a standard to which ordinary folks are held. The challenges that The Heist issued to the industry’s status quo opened up lines of dialogue that had been confined to the independent outskirts for much of the past decade, particularly regarding the materialistic, misogynistic, and heteronormative culture that has dominated mainstream rap.
In this rapidly changing paradigm, any social issue can be captured and crystallized into a song with the potential to move millions of affected listeners and inspire the unaffected to take corrective action. With his new single “Bully Me,” Nashville hip-hop artist Shadower attempts to take the serious issue of childhood and adolescent bullying and preach empathy as the cure.
I’ve read over and over again that olfaction is the strongest sense at evoking memories. I think it has to do with the amygdala or something — hey, I’m not a neuroscience major. There are certain smells that bring up memories for me, some specific and some general; the smell of pine and sugar cookies makes me think of Christmas; the smell of “Midnight Pomegranate” hand soap, weirdly enough, makes me think of playing Call of Duty 4 back in 8th grade. Growing up in the plains of Northern Indiana, I always looked forward to the first day of summer — not June 21, but rather some Saturday in late April or May when I’d wake up, open the window, and smell the first faint, sweet, loamy scent of soil carried across the fields on the constant breeze. Every once in a while I’ll catch a brief whiff of it in Nashville and it still makes me excited.
Despite all this, one sense evokes more memories than scent for me: hearing. Specifically, hearing music; nothing else so vividly conjures up the events of my life as it does. [Read more...]