By Bill Blankenship THE CAPITAL-JOURNAL
Except for his tangled melodic lines, [Jason Robert Brown] could be thought a traditionalist in this post-Sondheim age because, like Irving Berlin and Richard Rodgers, he's not afraid of emotion. He tells us in lyrics assigned to a young woman, Lilli Melnikow, who fears that the male half of her relationship is the one who doesn't want to give. "The New World" is as upbeat as something from Up with People, as is the "Flying Home" number. Darker colors dominate "King of the World" (perhaps an allusion to Jimmy Cagney's White Heat), in which a handcuffed Josh Mele marches to the gallows. Music is distributed fairly equally, and each singer has a starring number, [Dana Sovocool] in "Flying Home," Mele and Melnikow in "The World Was Dancing," and [Dani Gottuso] in "Surabaya Santa," which ca...
By Bill Blankenship THE CAPITAL-JOURNAL
While pounding the skins for Man or Astroman? spin-off Hotel Congress, Ani [Cordero] experienced revelation turned redemption and exited the relative desert as a singer/songwriter with a Gretsch Country Gentleman (preowned by Giant Sand's Howe Gelb) in hand. She then formed a bilingual band that cements every systematically serviceable shimmy-shimmy shake and sassy, sophisticated Latino rock stereotype within reach. That half her band and more than half her typical indie rock audience don't speak Spanish isn't an obstacle. "Music isn't always about just the lyrics," says Cordero. "It's about the emotion behind the music and the voice." (Rob Trucks) For his return to Cafe Habana flautist/saxophonist [Elliot Levin] brings his colorful, even outrageous, approach, along with his equally spi...
More sonic sweetness comes on the [Thurston Moore]-fronted "Do You Believe in Rapture?," which mostly wafts over a heartbeat tempo and an oozy miasma of controlled "industrial" sounds. The rather straightforward lyrics - a knock on eschatologists and other big-event, big-emotion fantasists - are typically corrosive, but taken with the music and Moore's pleasant delivery they're more bloodletting nip than flesh-tearing bite.
You can tell from Joe Pierce's design for the sets, made by Stephen Beebe, that this is going to be a farce about gambling. There are five doors, made for slamming, and they're black and red, the colors of the roulette table. The only farce musical that gets performed regularly is Stephen Sondheim's A Funny Tlung Happened on the Way to the Forum, and sure enough, the opening number, "Something Funny's Going On," reprised in the second act, evokes the Sondheim show. Sondheim's influence comes only lightly, though, with occasionally discordant harmonies and witty, highly verbal lyrics. Flaherty (music) and [Lynn Ahrens] (book and lyrics) are warmer blooded folks, however, who pour out the emotion when it's needed. Ahrens' book adapts Michael Butterworth's comic novel The Man Who Broke the...
Listen to her CD "Defying Gravity," and you're left with the impression that Cheryl Wheeler has poetry in her bones. An intensity of emotion oozes out of autobiographical lyrics. But attend one of her shows, and you wonder if you've just encountered the ghost writer for Bill Maher's and Rosie O'Donnell's stand-up routines. Cheryl Wheeler will perform Thursday, Nov. 15, at the Ramada Inn and Convention Center in Lewiston, courtesy of L/A Arts and local business sponsors. The showtime is 7:30 p.m., and advanced tickets are $19 for seniors and students, and $23 regular price. They can be purchased by phone at 782-7228 or online at www.laarts.org.
Singer-songwriter Anais Mitchell comes to the May Memorial Unitarian Universalist Society, 3800 E. Genesee St., on Friday, May 4, 8 p.m. Mitchell brings back the vibes of 1960s folk music with emotion-drenched lyrics and carefully written, acoustic guitar parts. Her sweet voice counters her personal and political songs about friends, lovers, religion and violence. Mitchell's new album is the Righteous Babe release The Brightness. Admission to this Folkus Project show is $10.
Running contrary to middle-class values, reggaeton has been attacked as immoral, as well as artistically deficient, a threat to the social order, apolitical, misogynist, a watereddown version of hip-hop and reggae, the death sentence of salsa, and a music foreign to Puerto Rico.7 In the exemplary words of the late poet Edwin Reyes, the genre is a "primitive form of musical expression" that transmits "the most elementary forms of emotion" through its "brutalizing and aggressive monotony. In 1995, the Vice Control Division of the Puerto Rican police, assisted by the National Guard, took the unprecedented action of confiscating tapes and CDs from music stores, maintaining that the music's lyrics were obscene and promoted drug use and violence.9 The island's Department of Education join...
Saturday evening, Amy X Neuburg announced her encore as "a piece made for big, live spaces where diction is not easily understood. So she knew that most of the words of her previous five songs on this Present Music program were lost in the acoustics of Windhover Hall at the Milwaukee Art Museum. That was a shame, because Neuburg writes lyrics of great wit and subtle emotion.
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