Sunday, September 23, 2012

Quick Snaps: Photos of the Chicago Bears vs. St. Louis Rams

Although I have seen the vast majority of Chicago Bears football games played during my lifetime, I have only attended about 10 in person. And the last home Bears game I was at was in 2003, the first season after the renovation of Soldier Field.

So today was a real treat, courtesy of my friend Dave, who was graciously given a pair of tickets by a friend of his.

You couldn't ask for a better day to watch a football game, and while the Bears' offense and their oft-maligned quarterback, Jay Cutler, didn't exactly impress, the combination of a strong Bears defense and a lousy Rams offense enabled the Bears to win 23-6.

Rather than expound on the experience of being at the game, which was certainly fun and enjoyable but not particularly newsworthy sans for the relative novelty for me, I thought I'd share some of the photos I took, from the players entering the field to them exiting it.

Bear in mind that I didn't shoot every play, and on some of the big ones, people standing and cheering often got in the way, but these are a few that I think came out pretty good (with a bit of cropping).


 Opening kickoff:




Robbie Gould's 54-yard field goal:





The Bears' first touchdown, by Michael Bush:



A nearby fan:




All photos by Seth Arkin, copyright 2012. Please do not use without proper attribution, and for any commercial purposes, without permission. 

Saturday, September 22, 2012

Seth Saith 'Woody Sez' is Made for You and Me -- Theater Review

Theater Review

Woody Sez
The Life & Music of Woody Guthrie
Northlight Theatre, Skokie, IL
Thru October 21, 2012
@@@@

100 years after his birth and 45 years since his death, Woody Guthrie remains one of America's most venerated singers, songwriters and social activists.

That he was an influence, inspiration and even in the first case, mentor, to Bob Dylan, Bruce Springsteen, Joe Strummer, Tom Morello, Jeff Tweedy and numerous other musicians that I admire pretty much guarantees that Guthrie is someone I should not only appreciate, but revere.

Yet although I have always known his name and a few of his most ubiquitous songs--"This Land is My Land" foremost among them--my knowledge of his music and life has been in scant proportion to his renown.

So although I was aware going in that Woody Sez is a low-key 90-minute biologue of Guthrie's life featuring several of his songs, and word of mouth was only middling, I figured it would be worthwhile even if just in further enlightening me--to any extent--about the legendary troubadour.

And on that level it was, especially as I was able to purchase one of Northlight's day-of-show discount tickets for just $20, and only 15 minutes before showtime at that. Which isn't to say the production and performances weren't worth a bit more, but particularly as Woody Sez isn't a full-blown musical, nor even a narrative drama, the cost made the entertainment value all the more judicious.

Originally staged in 2007, the show was principally developed by David M. Lutken, who embodies Woody, although two co-performers (Darcie Deaville, Helen Jean Russell) and the show's director, Nick Corley, are three of the other four people credited with devising it, along with Andy Teirstein.

Lutken chronicles Guthrie's life largely in the first person, with Deaville, Russell and David Finch not only playing various people in Woody's life, but performing on a vast array of instruments and each getting nice solo turns.

In sum, Woody Sez gives a basic yet informative biographical overview with Lutken serving as an affable host during a well-paced single act.

Aside from "This Land is My Land" (performed with the full, rarely sung verses), there were only a few songs I recognized, such as "This Train is Bound for Glory" and "Riding in My Car." But a total of 33 different ones were played, with all not only sounding pleasant, but giving a good Folk Singing 101 lesson about Guthrie's passionate paeans to social justice.

Songs about bankers, Wall Street, unions, hard times and other ills & issues certainly didn't lack for current resonance, and many seemed to be a bit more familiar to the mostly older folks in the audience.

While it is sufficiently entertaining for what it is, I can't that Woody Sez is terrific theater, a first-class musical or even essential viewing for anyone who doesn't possess an affinity for or curiosity about its namesake. Though it is a solidly researched and performed piece about a great musician, it lacks both the brilliant structure and more broadly thematic storytelling of 33 Variations, a play about Beethoven now getting a wonderful TimeLine Theatre production.

And while the tonality and intimacy of Woody Sez properly reflect the Dust Bowl grittiness of Guthrie's music, not only are there not exuberant production numbers such as in Jersey Boys, but even the book is far less strong. In other words, I learned considerably less about Woody Guthrie than I did about the Four Seasons, or at least less memorably.

But not all musical theater, even of the pre-existing songbook variety, lends itself to exuberant production numbers. For the right price, simply being educational and enjoyable can be more than enough. And in that regard, Seth saith Woody Sez is certainly worth a song, if not a good bit more.

Thursday, September 20, 2012

A Prim Madonna Makes the Music — and the Fun — Seem Oddly Immaterial -- Chicago Concert Review

Photo credit: Nuccui DuNuzzo/Chicago Tribune
Concert Review

Madonna
w/ opening DJ set by Paul Oakenfold
United Center, Chicago
September 19, 2012
@@1/2

I hope you completely disagree with this review.

For if you attended Madonna’s concert at the United Center on Wednesday night, or will on Thursday or caught any other show on her MDNA Tour, there’s about a 98% chance you paid at least twice if not many times the $45 + fees I spent on a seat way up high behind the stage.

Especially as someone who has derived far more than entertainment value from many a phenomenal concert experience, I truly wish you absolutely loved Madonna’s performance.

But I didn’t.

It’s not that I don’t like Madonna. Although I won’t purport to have been the biggest fan of her music or persona throughout the nearly 30 years she has reigned as the world’s most popular entertainer—or close to it—I think she has a terrifically impressive catalog of true pop gems. Though not quite as infectious as her early stuff, her latest album, MDNA, is rather solid with several songs catchy enough to supplement a setlist. And although I've liked some more than others, I have sufficiently enjoyed the three concerts I’ve seen over her last three tours (’04, ’06, ’08, all at the UC) to truly have been looking forward to this one.

It's also not that I don’t appreciate theatricality or conceptually-thematic concert performances. In fact, it’s my love of musical theater that has prompted me to explore and enjoy Madonna’s work as an artist and performer over the past decade. I understand that she develops a meticulously planned production for each tour, complete with regimented set pieces, dance numbers & videos and often sparse on greatest hits, and delivers the same show every night in every city.

As someone who has come to love Broadway theater almost as much as I do rock ‘n’ roll, I have no pronounced problem with this predictability. Although my preference tends to be for concert acts who bring a bit of variance and spontaneity to every show, I mostly just love watching great performers deliver great performances, especially those whose joie de vivre elevates that which is scripted and staged.

So I didn’t really care that Madonna took the stage at 10:20pm for an 8:00 show—although it certainly didn’t help to stifle my yawning throughout. (Famed British DJ Paul Oakenfold "performed" for nearly an hour to open the evening.)

I take no issue with her splitting her show (per her setlist; this one’s from Toronto but it’s the same) into four theoretically thematic quadrants entitled Transgression, Prophecy, Masculine/Feminine and Celebration. And I have no particular aversion to her opening the show with pseudo-religious imagery followed by 20 minutes of Tarantinoesque gunplay and violence accompanying some not-so-famous songs. (For more on this, see the video I included at bottom.)

I don’t even much care—in light of Elton John’s charges that Madonna lip syncs on stage—whether or not she did any live singing or that she was heavily augmented by backing tracks if she did. (I did find it a bit humorous when she held a guitar she clearly wasn't actually playing.)
But when the audience dances more at an Elvis Costello show than at a Madonna spectacle, which also featured fewer jubilant sing-a-long moments than your average Radiohead gig, the balance between artistic statement and plain old "give the folks who paid nearly $400 (face value for the prime seats) a shake their ass good time" is, IMHO, way out of whack.
It wasn’t just that I had no real idea, or much interest, in whatever Madonna was trying to say with all the mishegaas—my vantage point may not have helped, but I saw it all with the aid of video screens—but beyond anything I recall at the three previous shows and anathema to her stature as a performer and provocateur, worst of all I found myself rather bored.

An otherwise adequate sprinkling of sparkling chestnuts like “Papa Don’t Preach,” “Express Yourself,” “Open Your Heart” and “Vogue” came and went in rather rote fashion, sandwiched among the dogmatic messaging and considerably less delectable newer songs.

While at 54, Madonna is still in tremendous shape for a person of any age, she looked—at least as I perceived from the video close-ups—somewhat tired and withdrawn, even though she hadn’t perfomed since Saturday. Though on the prior tours, there was also an egomaniacal self-importance to Madonna’s stage presence that made her come off somewhat robotic, last night she was all the more so a prim Madonna; I noticed her crack a smile just once.

To her credit, she gave a full 2-hour performance with some rather elaborate choreography, but if it’s too harsh to say she was merely going through the motions, the whole thing just seemed rather joyless and even soulless.

Even her stage patter was markedly stilted and sour. At one point she told some folks up front—who had undoubtedly paid a small fortune to be within the general admission cocoon—that they should “buy lots of t-shirts” because she has four kids and shoes aren’t cheap. I certainly suppose she meant this to come off jokingly, but when it was followed by a rant about how we should all do our part to change the world—“you don’t have to be Oprah; you don’t have to be Madonna”—it felt all the more perplexing. Just a thought, Lady M, but what if those $355 tickets were only $250 and included a $100 donation to feed people in Africa; would you still be able to clothe your children?

As bogged down as this review might be getting, that’s pretty much how I felt throughout the concert. While a stripped-down—Madonna herself and the song—version of “Like a Virgin” at first felt like the most impassioned moment of the show, even it became somewhat tepid by song’s end. And while the crowd got to do a bit of dancing during “Holiday” and “Like a Prayer,” even these felt less effervescent than they should have. I know the thought of me shaking my groove thing might make you lose your lunch, but I damn sure should’ve been inspired to do a good bit more of it.

Obviously, any concertgoer will have their own perspective of any show, and I expect—and genuinely hope—that many attendees liked this one much more than I did. But even so, I can’t imagine they wouldn’t have loved it even more if Madonna had included some more buoyant, straightforward renditions of “Material Girl,” “Lucky Star,” “Into the Groove,” “Ray of Light,” “Music” or even some of the ones she sang.

I appreciate Madonna’s ambitiousness and realize it’s unfair to compare an artist for whom I have middling regard with my all-time favorite musician and performer. But whereas anyone paying attention at Bruce Springsteen’s recent Wrigley Field shows would have noted the overarching thematic strains pertaining to financial hardships, personal struggle, perseverance, etc., in sum the Boss and his band gave the fans a celebration. You were asked to think, you were even asked to donate to the Greater Chicago Food Depository, but you also sang along loudly, played some air guitar, did a little dancing (in the dark) and went home happy.

While I believe that Madonna’s legacy is also that of a first-rate performer and I respect that she has—at least in her mind—something important to say about our times, at the end of her show on Wednesday night (which technically finished on Thursday morning), I was just happy to go home.

---
I found this video on YouTube. I did not shoot it nor upload it and it likely isn't from Wednesday night's Chicago show. But it depicts Madonna's most violent production number, done early in the show, for a song called "Gang Bang." If you love it, more power to you--and her--but it didn't do much for me.

Tuesday, September 18, 2012

Maximo Park Rewards My Devotion with a Superb Show at Schubas -- Chicago Concert Review

Concert Review

Maximo Park
w/ Stagnant Pools, The Neighbourhood
Schubas, Chicago
September 17, 2012
@@@@1/2

If I were to look at your iPod, I would undoubtedly discover at least a few—if not several—musical artists with which I am unfamiliar but that you devotedly enjoy and follow. The British band Maxïmo Park is one of those acts for me.

I found their 2005 debut album, A Certain Trigger, to be the best album of the century’s first decade and although their two subsequent discs were each a step downward, their latest release, The National Health, is among the best new albums I’ve heard in 2012.

On Monday night, I saw Maxïmo Park live in Chicago with a relatively small but passionate crowd of fellow devotees at Schubas. The show, also featuring opening acts Stagnant Pools and The Neighbourhood--I enjoyed the former, a 2-piece band of brothers from Indy, a bit better than the latter--had been booked at Lincoln Hall, but was moved to its older-but-smaller sister venue, presumably due to middling ticket sales.

If you’re oblivious to Maxïmo Park, so be it; I just hope that whatever obscure bands you love deliver as satisfying a show as I got last night. For in a 90-minute, 22-song set—every one of which I enjoyed—Maxïmo Park further demonstrated that, IMHO, they are one of the best bands in the world today.

Coming on the heels of outstanding concerts by Bruce Springsteen and Elvis Costello, I’d be hard-pressed to award this one a full @@@@@ as it just didn’t have the emotional heft of the former or classic brilliance of the latter. But once the acoustics got worked out early on in a much-smaller room than Maxïmo Park plays in Europe, it was every bit as good a performance as I could have wanted.

Energetic, animated and amiable, Paul Smith is a first-class front man, providing the 5-piece band’s primary focal point in addition to crisp vocals. Mixing songs from all four of their studio albums, it was clear that the band has built up an estimable songbook and that The National Health has substantially enhanced it.

New tunes such as the album’s title cut, “Hips and Lips,” “Write This Down,” “The Undercurrents,” “This is What Becomes of the Brokenhearted” and “Waves of Fear” sounded great among A Certain Trigger chestnuts “Graffiti,” “Going Missing,” “I Want You to Stay” and “Apply Some Pressure.”

And while the band’s 2nd and 3rd albums aren't end-to-end excellent like the 1st & 4th, “Questing, Not Coasting,” “Our Velocity” and “By the Monument” showed that Our Earthly Pleasures and Quicken the Heart each have choice cuts that come off quite well in concert. (A Chicago setlist is not posted on Setlist.fm, but I believe it matches what Maxïmo Park played in New York.)

I had seen Maxïmo Park play a similarly stellar show in 2007—though their new material certainly added to this one—but they cancelled a U.S. tour in 2009, and with their brief current jaunt experiencing the downsizing of venues, who knows when they might be back again. So this review may be somewhat moot in terms of a recommendation that you see this band anytime soon.

But if you’re looking for someone new and worthwhile to add to your personal music universe, in my estimation you could do a lot worse than to explore Maxïmo Park. Start with the albums and just maybe, you’ll join me in looking forward to their next visit to Chicago. Or at least a concert DVD that isn't Region 2 only.

---
This is a video I shot of their first single and closing song, “Apply Some Pressure”:

Sunday, September 16, 2012

Elvis is Alive and His Aim is Still True -- Milwaukee Concert Review: Elvis Costello & the Imposters

Concert Review

Elvis Costello
& the Imposters
with opening act
Willy Porter
BMO Harris Bank Pavilion,
Summerfest Grounds, Milwaukee, WI
September 15, 2012
@@@@@

Saturday night in Chicago offered a wealth of concert possibilities, including some of my very favorite artists: Rush at the United Center, Wilco at the Hideout Block Party, Buddy Guy at the Chicago Theatre and Roger McGuinn at the Beverly Arts Center, where he had given an outstanding performance in June 2011.

And although I am not big on festivals, Riot Fest in Humboldt Park seemed to offer good value and on Saturday featured such quality acts as the Gaslight Anthem and Dropkick Murphys.

So of course, I decided to go up to Milwaukee to see Elvis Costello & the Imposters.

Especially compared to Rush, Wilco, Guy and McGuinn, all of whom I’ve seen live within the past couple years, it’d been too long since I attended a show by the artist originally known as Declan McManus. I saw Elvis and the Imposters open for the Rolling Stones on a bitterly cold night in 2006, but hadn’t seen Costello as a headliner since a free Taste of Chicago concert in 2003. I’d seen him on three occasions before that, dating back to 1991, but for a musician I’ve really liked for over 25 years and from whom I own over 20 albums, at least one more live experience seemed in order.

Though Costello still seems to come through Chicago fairly often, he isn’t currently in the midst of a full-fledged American tour, with no other recent shows and only a run of California dates coming up.

He and the Imposters were scheduled to play Riot Fest on Sunday, but while the lineup was stellar—also including Iggy & the Stooges, The Jesus & Mary Chain, Built to Spill, Fishbone and Alkaline Trio—the festival wasn’t conducive to my schedule or my discomfort in standing for long periods.

So just this week, I got tickets—in the 6th row—to see Costello at his only other Midwest show, in Milwaukee, and went up there with my friend Paolo, who’s an even bigger Elvis fan than I am. The concert was held at the BMO Harris Bank Pavilion, a relatively recently constructed stage on the grounds of Milwaukee Summerfest, that to my awareness, joins the Marcus Amphitheatre as the only such venues to hold concerts outside of the annual Summerfest festival.

Because Paolo also had tickets to the nearby Rock the Green festival, on a gorgeous afternoon in Milwaukee we checked out a band from Australia named Atlas Genius and one from Las Vegas called Imagine Dragons. Both were listenable but in my estimation, nothing special. After a good Cuban dinner at a place called Cubanitas, we made our way onto the Summerfest grounds and to our prime seats at the BMO Harris Pavilion, which is attractively designed along a lovely lakeside setting.

Although we were only alerted to the opening act upon arrival, we discovered him to be a terrifically enjoyable Wisconsin-based folk singer named Willy Porter (shown at left). 

Onstage alone, Porter clearly won over the crowd with a delightful set of songs and brilliant guitar playing. His fretwork was particularly dazzling on a song called "Breathe"; other than perhaps Lindsay Buckingham, I don't know that I've ever witnessed anyone playing an acoustic guitar with such obvious ability and flair.

All of Porter's songs were pleasant, with "How to Rob a Bank" being an insightful highlight about modern-day financial thievery. He also performed a sublime interpretation of Peter Gabriel's "Digging in the Dirt" and clearly deserved the standing ovation he earned at the end of a near hourlong set. (Here is just one Willy Porter video I found on YouTube, of "Breathe" from a few years ago.)

Then it was time for Elvis, and from the opening notes of first song "Lipstick Vogue," it was apparent that even at 58, Mr. Costello's voice is still in fine form. For the next 100 minutes or so, he and the Imposters--pianist Steve Nieve, drummer Pete Thomas and bassist Davey Faragher, the first two being original Attractions--mixed a cavalcade of Costello classics with a few songs I, and even Paolo, didn't recognize but that didn't detract.

No one has yet posted a setlist for Milwaukee on Setlist.fm, and I don't know it in full, but among the gems that Elvis played--all rather well, some with nice variances from the recordings--roughly in order were "Lipstick Vogue," "Mystery Dance," "Radio Radio," "Everyday I Write the Book," "I Can't Stand Up for Falling Down," "High Fidelity," "Uncomplicated," "Watching the Detectives," "Beyond Belief," "Clubland," "Less Than Zero," "(I Don't Want to Go to) Chelsea," "Pump It Up" and "(What's So Funny 'Bout) Peace, Love and Understanding." 

He also covered Johnny Cash's "Cry, Cry, Cry" and closed with a rollicking version of The Byrds' "So You Want to be a Rock 'n' Roll Star."

As with any show by someone with a songbook of Elvis' magnitude--although his output, especially from 1977 to 1986, is matched by a relatively small handful of artists--a few great tunes were left out. But other than "(The Angels Wanna Wear My) Red Shoes," "Oliver's Army," "Alison" and personal favorite, "Brilliant Mistake," there wasn't a whole lot that I acutely missed hearing.

And as, like his voice, a slimmed-down Costello remains in good shape, I certainly would be happy to see him again, the next time through Chicago. Or Milwaukee.

Although for me, and presumably for Paolo, this wasn't a @@@@@ show rivaling the Springsteen epics at Wrigley last weekend. But it was as good as I was hoping for from an artist that remains among the best at what he does. And made all the more special from a close-up vantage point, it more than merited the drive north across the border and the foregoing of other attractive entertainment options. 

35 years after his debut album, My Aim is True, announced him as a major talent, Elvis Costello is still, quite impressively, hitting his target.

Saturday, September 15, 2012

Who Can It Be Now? -- Answers to Yesterday's Real Names of Rock Stars Quiz

I hope at least a few people enjoyed my Real Names of Rock Stars Quiz, which I posted here yesterday. From my traffic stats and Facebook likes, it seemed that a good number did.

So before you completely forget about it, I figure I should post the answers.

Please click here to see the answers, which I've posted as a PDF.

Those who want a clean PDF of the quiz itself should click this link.

So, how many did you know?

Friday, September 14, 2012

Who Are You, Who-Who, Who-Who? -- The Real Names of Rock Stars Quiz

Excited to see Elvis Costello in concert on Saturday night, it got me thinking about other rock stars who are better known by stage names or pseudonyms. So beyond the ones I’d already knew, I did a bit of research and came up with this Real Names of
Rock Stars Quiz.


See who you know from the list of real names, keeping in mind it includes both living and dead musicians and that I’ve expanded the “rock” genre to include blues, rap and more.

If you would like to print it out, click here for a PDF. Please do not cite the answers as Comments; I will post them as a PDF in a few days and call it out in a new blog post. (Update: I've now posted the answers, accessible through this post.)

1. Reginald Dwight
2. Gordon Sumner
3. Cheryl Sarkisian
4. Paul Hewson
5. Declan McManus
6. David Evans
7. Stefani Germanotta
8. Stuart Goddard
9. Patricia Andrejewski
10. Robert Zimmerman
11. John Deutschendorf
12. Elias Otha Bates
13. Calvin Broadus, Jr.
14. Michael Balzary
15. William Broad
16. Riley King
17. Gary Lee Weinrib
18. James Smith
19. Barry Pincus
20. Farrokh Bulsara
21. Roberta Anderson
22. Alecia Moore
23. James Osterberg, Jr.
24. Vincent Furnier
25. Jeffery Hyman
26. John Cummings
27. William Bailey
28. Curtis Jackson
29. Chaim Witz
30. Saul Hudson
31. Richard Starkey
32. John Mellor
33. Eileen Edwards
34. Steven Tallarico
35. John Ritchie
36. Edward Severson III
37. McKinley Morganfield
38. Steveland Morris
39. LaDonna Gaines
40. Steven Georgiou
41. Tracy Marrow
42. Franklin Feranna
43. Louis Firbank
44. Ingram Cecil Connor III
45. Hugh Cregg
46. Robert Van Winkle
47. Joan Larkin
48. Audrey Perry
49. David Jones
50. Marvin Lee Aday
51. Richard Melville Hall
52. Frances Gumm
53. Florian Cloud de Bounevialle Armstrong
54. George O’Dowd
55. Brian Warner
56. Enrique Morales
57. Charles Westover
58. Claude Bridges
59. Stanley Eisen
60. Sylvester Stewart

Wednesday, September 12, 2012

What Concerts Might Rock Wrigley Field in 2013?

Still in the afterglow of two sensational shows by Bruce Springsteen & the E Street Band over the weekend at Chicago’s Wrigley Field, I couldn’t help but consider who might next—other than the Cubs, of course—make good use of the venerable ballpark, which has become one of my favorite places to see a concert.

Wrigley is unlike any other major league stadium in America—besides Boston’s Fenway Park—in that it has stood for nearly 100 years and is situated in a neighborhood, rather than being surrounded by parking lots on the outskirts of town.

Its unique and famed features include ivy-covered outfield walls, a manual scoreboard, bullpens along the foul lines, rooftops behind the bleachers that allow additional fans to catch the action and a team that has never won a World Series as the park’s primary tenant.

It was the last major league ballpark not to have lights, and thus night games (until 1988), and although additional advertising signage has been added in recent years, marketing messages remain relatively sparse within the “Friendly Confines.”

So although it could use a good bit of rehab, which it should get if the City of Chicago decides to play ball with the Ricketts family that owns the team, Wrigley Field—which I think I first attended in 1975—remains not only my favorite ballpark on Earth (and I’ve been to most other major league stadiums), but truly one of my favorite places. Despite all the bad things that have happened there.

While I vaguely recall a few rather innocuous post-game musical performances over the years, I don’t believe any full-fledged rock concerts were held at Wrigley Field until 2005. Somehow, the Cubs and likely a local promoter got permission from the city to hold 2-4 concerts there each summer; I think initially it was only 2 shows, every 2 years, but it now appears that 4 concerts each year have become permissible.

Roger Waters: The Wall at Wrigley Field
In 2005, Jimmy Buffett played at Wrigley, but I didn’t attend a show there until The Police reunion tour came through town in 2007. I attended an Elton John/Billy Joel double-bill in 2009, two Paul McCartney shows in 2011, Roger Waters performing Pink Floyd’s The Wall in June 2012 and the pair of Springsteen gigs.

Other headline acts to play Wrigley have included the Dave Matthews Band, Rascal Flatts and Brad Paisley.

If every performance has not been a complete sellout, it’s been pretty darn close. Obviously, you have to be pretty popular to book a 40,000 seat stadium, but I think the added allure of Wrigley helps to sell even more tickets than the artists might elsewhere.

And I would imagine that even for the most veteran of performers, being there is just cool. So with the notion that any sizable concert act would want to play there if available dates fit into their tour schedule, I am going to fearlessly prognosticate who might perform at Wrigley Field in 2013. Or at least, who I would want to.

The Rascal Flatts and Brad Paisley shows certainly bespeak the drawing power of top country artists, but not only are most of them not my cup of tea, this summer saw a Kenny Chesney/Tim McGraw double-bill play Soldier Field, so it’s not too likely either or both would hit Wrigley next summer. So unless Garth Brooks opts to hit the road next year, I don’t know what country stars—not counting the now rather crossed-over Taylor Swift—would be apt candidates for the confines, even if I wanted to put them on my list.

So who might show up on Anthony Rizzo’s off days? With the thought that two acts would likely play two nights each, in an order that unscientifically blends prediction and preference, here’s who I see as likely candidates to play centerfield (actually, I wouldn’t mind an encore from Springsteen, and it isn’t hard to imagine many of those who have already played Wrigley being ready to return, but I’ll omit any repeat visitors):

The Rolling Stones – They’ve booked a pair of shows in both New York and London this November, to commemorate their 50th anniversary, but it remains to be seen if the Stones will roll on a full-fledged tour in 2013. A 2012 tour had been rumored, but supposedly there were concerns about Keith Richards’ health. Traditionally, they’ve played Soldier Field, which would allow for 20,000 more fans per show, and their stages are usually gargantuan, but I just like the idea of finally getting some Satisfaction at Wrigley Field.

Pearl Jam – Eddie Vedder made guest appearances at both Springsteen shows, likely due not only to an affinity for Bruce, but a love of Wrigley and the Cubs. Though Pearl Jam has toured a bit this year and played Alpine Valley last year—where the 40,000 on two straight nights suggests PJ can fill Wrigley—they haven’t played Chicago proper since 2009. This would seem a natural fit, with the primary obstacle perhaps being Pearl Jam's proclivity to keep its ticket prices lower than those usually charged for Wrigley Field concerts.

Simon & Garfunkel – Paul and Artie were supposedly going to embark on another reunion tour a few years ago—including a rumored Wrigley gig—until Garfunkel’s voice problems scuttled the tour. Art’s now doing a solo tour, and if his voice holds up, I wouldn’t be surprised if an S&G tour follows. Their audience skews a bit old, but that should be conducive for selling $250 tickets on the field.

Taylor Swift – One of few young performers who could seemingly pack the place, Swift’s soon to release a new album and conceivably will be touring next year. But her young audience wouldn’t be ideal for beer sales.

Fleetwood Mac – They’re supposedly to tour next year and while I’m not sure they would readily sell 45,000 tickets for one night, let alone two, I could imagine them getting quite a boost from the Wrigley setting. The same logic could apply to Tom Petty & the Heartbreakers, who skipped Chicago on their brief 2012 U.S. tour.

Metallica – Wrigleyville might cringe at the thought of such a loud band and their legion of black-shirted fans—me among them—but they played Yankee Stadium last year, along with Megadeth, Slayer & Anthrax. I’d actually prefer AC/DC, but haven’t seen signs that they’re ready to tour again in 2013.

Bon Jovi - They’ve filled Soldier Field a few times in recent years and always seem to be touring.

Adele – I’m somewhat surprised that she hasn’t capitalized on becoming the world’s biggest pop star by touring this year; perhaps she will next. Going from the Riviera to Wrigley Field in consecutive Chicago shows would seem quite a leap, and perhaps too dwarfing a venue for her vocal virtuosity, but I actually think it could work.

Phish – I’m not the biggest fan, but appreciate their music and huge, loyal fan base. Wrigley would be a pretty cool place for them to play and beer sales should be pretty strong.

The Eagles - A fairly standard issue possibility.

U2 – I haven’t seen any 2013 tour rumors and a stage like the one they used on the U2 360 tour would hardly fit at Wrigley, but perhaps they’d want to play a few one-off shows, and where better than at the venerable ballpark.

Led Zeppelin – This week the Led Zeppelin Facebook Page has been teasing a major announcement to come Thursday (and today they were named one of this year's Kennedy Center Honorees). It’s supposedly not going to be about a tour, but rather the release of a DVD of their 2007 reunion concert. But I’m holding out hope. And from the upper deck, Robert Plant, Jimmy Page and John Paul Jones would look like they did in 1977.

So who would you like to see rock the Friendly Confines in 2013? With the Cubs' 2013 schedule having just been released, I can imagine promoters and band managers are already eagerly looking at the possibilities.

Sunday, September 09, 2012

The Boss Knocks It Out of the Park, Twice -- Chicago Concert Review: Bruce Springsteen

Concert Review

Bruce Springsteen
& the E Street Band
September 7 and 8, 2012
Wrigley Field, Chicago
@@@@@ (both shows)

Shocking, I know.

I saw my favorite musician performing at my favorite venue--twice--and I loved it.

Not too hard to predict this review, you might be thinking. But that's what makes what Bruce Springsteen & the E Street Band did at Wrigley Field on Friday and Saturday nights all the more glorious.

Not that they played 55 songs--including 42 different ones--over the course of 6-1/2 hours (Friday's show ran half-hour longer than Saturday's rain-soaked affair).

Not that they included touches that Bruce acolytes like me would appreciate--"Prove It All Night" with the '78 intro, "The Ties That Bind," a rare "None But The Brave"--and plenty of socially-conscious new songs, along with classics that sounded great in the classic setting--"Hungry Heart," "Born To Run," "Thunder Road," "Jungleland" (Friday) and "Rosalita" (Saturday)."

Not that both shows included stellar guest appearances by alt rock superstars and social crusaders, Tom Morello (of Rage Against The Machine) and Eddie Vedder (of Pearl Jam), two of my other favorite musicians.

And not even that on Friday I enjoyed the show from an upper deck perch along with three close friends and my sister, while on Saturday I was in the third row on the (sacred) field, off to the side of the stage, allowing me not only to touch the ivy and stand on the bullpen mound before the show, but actually put my hand on the Boss' shoulder as he parted the crowd on the way to & from a riser in the audience. (The moment came at about the 4:02 mark of this video; on a second excursion I caught the photo at right).

No, what made these two shows not only terrific concerts--high among the 41 Springsteen performances I've now seen--but among the greatest experiences of my life was that they, like relatively few things in life, fulfilled my highest hopes...and beyond.

If you didn't already know it, I am a hardcore Springsteen fan, as I have been since the early '80s and especially the first time I saw him and the E Street Band in 1984. Since Bruce reunited with his band in 1999, I have seen--and traveled to--as many shows as I could, and though all came after Springsteen turned 50, I've never been disappointed. Sure, some gigs have been better than others, but in my estimation, there isn't any performer in any genre who is better than Bruce Springsteen is as a concert performer. Still.

Over the years, I've seen Bruce & E Street in some pretty cool places. Madison Square Garden. Giants Stadium (7 times). Boardwalk Hall in Atlantic City. Chicago's United Center and U.S. Cellular Field, among many others. And in April of this year, I went to Detroit to catch a Wrecking Ball tour show at The Palace of Auburn Hills--and it was absolutely phenomenal.

But as a lifelong Cubs fan, who believes Wrigley Field is not only the best ballpark on Earth--and I've been to 38 other major league stadiums--but high among my very favorite places, this was the perfect confluence of performer and place. There is literally no place on Earth I would rather be, ever, than where I was on Friday and Saturday night. 

Excepting perhaps a Cubs World Series game, but of course, that would be at the same place.

And though I've seen some special concerts there since they started allowing them in 2005--The Police, Billy Joel & Elton John, Roger Waters doing the Wall and two outstanding Paul McCartney shows last summer--I've been eagerly anticipating, to say the least, these concerts since they were rumored early this year.

To the point that I almost expected something to prevent them, or me being able to see them. Or that perhaps--though experience told me otherwise--they just wouldn't be as good as I was hoping.

But they were. And then some.

My friend Ken, who is a big music fan that (like me) considers rock to be his religion, had never before seen or fully appreciated Springsteen, so I insisted he go with me and my friends Paolo, Dave and sister Allison on Friday night.

Ken has seen many concerts in his day, and yet, within the first half-hour of the E Street Band taking the stage, turned to me and said, "I've never seen anything like this."

So yes, in large part, this review is unnecessary. If you were at the shows, or have ever seen the Boss with his band, you know--or can imagine--how good these two shows were. (While I'm sure there was much setlist nitpicking on the Backstreets.com message board, I thought Bruce mixed things up pretty perfectly, both nights; there is no setlist from this year's tour that stands out as substantially better. See all Bruce setlists on Backstreets or Setlist.fm)

And if you weren't there, or don't care, this review likely isn't going to convince you. But even if it isn't at the sacred grounds of Wrigley, I strongly suggest you see Bruce Springsteen & the E Street band live in concert any time you still can.

Few, if any, things in life get any better. 

---
Some video highlights:

Darkness on the Edge of Town (w/ Eddie Vedder), Saturday
The Ghost of Tom Joad (w/ Tom Morello), Friday
Thunder Road & Born to Run, Friday 
Atlantic City (w/ Vedder), Friday
Rosalita, Saturday

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Some more photos I took:









Friday, September 07, 2012

Withdrawal in Disgust is Not the Same as Apathy

Last night I watched President Obama speak at the Democratic National Convention. For about 5 minutes. It was the only time I spent with either of the political puppet shows.

While the President remains an amazing orator, I couldn't help but see the veracity of my friend Ken's analogy between presidential politics and professional wrestling.

In an exuberant charade, both sides boast about their righteous vision, emphasizing their differences on social issues while in truth drinking from same trough.

Because all politicians get their campaign money from the corporatocracy, no one--including, most notably, President Obama--has done much to curb Wall Street fraud, push for substantive regulation as it pertains to the financial sector and political influence, equitably tax the uber-wealthy and corporations, nor reallocate any military spending. In short, I haven't seen any change I can believe in, save for a little more lip service in the name of social justice.

Not to mention that the economy, for most of us, remains completely devastated while both candidates do a dance any time the unemployment rate goes up or down a tenth of a point.

Thus, while I will not vote for Mitt Romney, I also don't feel that Barack Obama has earned my vote.

Now, I know that many people I respect will recoil at that statement, but let me ask you this: If John McCain had been in the White House for the last 4 years and things stood exactly as they do now, would you be insisting that he be re-elected?

So perhaps on November 6, I'll exercise my right to abstain.

I certainly don't say this lightly, as I firmly believe, at least in principle, that all Americans have a responsibility to actively participate in our democracy.

As flawed as our republic may be, and as skewed as our electoral, representational and governmental systems may seem, the freedoms that allow people of all colors and creeds to vote--and otherwise express their opinions--without fear or recrimination (theoretically), shouldn’t be underestimated.

I will have turned 44 by the time Election Day rolls around on November 6, meaning that I have now been eligible to vote since 1986.

I don’t recall if I cast a ballot in the congressional elections of that year, but I have never failed to vote in a presidential election. In addition to voting in most congressional and local elections as well as many primaries, over the past decade I have worked on a handful of political campaigns and for awhile was substantively involved in a grass roots political organization.

The votes that I have cast and the candidates & causes I have worked for have almost exclusively been Democratic. My ideals and values align much more closely with the tenets that have typically distinguished the Democrats from the Republicans: concern for the common good, abortion rights, gay rights, gun control, the environment, social justice, tax equity and the open embrace of all goodhearted people, regardless of skin color, wealth, religion or any other differentiators.

Especially in this age of hyper-polarization and lock-step dogma, I have found that the principles in which I believe have put me solidly on the left and largely at odds with the “right.” Still, over the years, I have resisted—largely just in my mind—any knee-jerk identification with the Democrats. I have good friends who are Republicans, have encountered many a Democrat that turns my stomach and generally believe that the answer—to almost anything—lies somewhere between two extremes.

If we’re unavoidably stuck with a 2-party system, discourse and debate between those with differing perspectives and opinions but similar goals and open minds should be the epitome of legislative government, not the vitriolic rigidity that now seems to define party politics.

And somebody in power—if not everybody—should first and foremost fight for the interests, welfare and dignity of all American citizens. Not for Wall Street. Not for corporations. Not for the ultra wealthy. Not for the military industrial complex. Not for their own financial gain. Not to ensure the likelihood of re-election. But for you and me.

Having seen what’s happened in recent years to the U.S. and world economy, how it’s affected my career, home value and many in my community, and having ingested many books, articles, documentaries and opinions about the causes, culprits and casualties—and lack of corrective action—at this point I am rather exhaustively disillusioned and disenchanted by the Democratic Party and President Obama.

This doesn’t mean I want Mitt Romney to become president or will vote for him or support the GOP in any way. He certainly doesn’t seem to represent my interests, and from tax codes to Supreme Court nominees, I suspect a Romney-Ryan White House could make things substantially worse.

But while I once staunchly supported and championed Barack Obama, and celebrated with him (not personally) in Grant Park on Election Night 2008, and truly anticipated that he would bring surpassing vision, verve and vigor to the presidency, I now feel that he has failed in his promise to bring about “change we can believe in.”

Even worse, I perceive his failure as not simply a matter of results—which apologists will ascribe to the obstinance of the Republican-controlled House, ignoring that the GOP plurality came about as a rebuke of Obama’s first 2 years—but as one of principles.

This isn’t to say that he’s a terrible person or hasn’t had some nice accomplishments as President. Yes, he bailed out General Motors, oversaw the extinction of Bin Laden, brought troops home from Iraq and got legislation passed—albeit rather flawed—in the name of providing universal health care and curbing Wall Street corruption. And while I certainly wasn’t thrilled with the number of jobless weeks I experienced during his first term, I am grateful that the President and other Democrats repeatedly saw that the provision of unemployment benefits was extended.

I understand that the President's job is inordinately challenging and complicated and that he undoubtedly is responsible for much that the public never notices but would likely appreciate. I also realize that the system in which he and other politicians exist is terribly corrupted. Without even delving into labyrinthian plots, it’s easy to see how those who serve—even with the best intent—get caught in a stranglehold by the corporatocracy.
If you want to run for office, at any level, you need money, lots of it. Those who have lots of money to give you are rich people and even richer corporations. If you don’t take their money, they give it to your opponent and you lose the race. If you take their money, you’ll either feel obliged to pander to them, or even if you have the gumption to try to raise their taxes or curb their excesses, you won’t get much done in a freshman term—among more seasoned pols who have happily sold out—and everything under the sun will be done by the Koch brothers and other arch-conservative billionaires to ensure you don’t get re-elected.
If this sounds cynical, take a look at OpenSecrets.org, which lists the top contributors to every member of Congress. Even a guy like Sen. Dick Durbin, who is a solidly liberal Democratic senator from Illinois, has gotten most of his campaign money from lawyers, the financial sector, real estate interests and lobbyists.

And in 2008, three of President Obama’s top donors were Goldman Sachs, JPMorgan Chase and Citigroup.

Now, while it may be tempting to believe that Obama inherited a bad hand from Bush or that his hands were tied due to the way the system is structured, not only has he done virtually nothing to improve the economy, bolster housing prices, stem foreclosures or reduce unemployment, he has—as Michael Moore points out (in the latest issue of Rolling Stone)—frittered away a “10 million vote mandate” to substantially curb malfeasance of the financial sector.

And if you think that griping about Wall Street corruption simply equates to whining about the wealthy, you’re missing the point. Beyond the obvious—rampant unemployment, diminished home values—virtually everything in your life—from the quality of your children’s schools to gas prices to your grocery bill—is substantially and detrimentally affected by how the financial services sector operates, and its enormous fraud and failures.

I certainly am no expert on this stuff and take nothing, in itself, as gospel, but I have tried to educate myself about the subprime mortgage crisis, 2008 Wall Street collapse, government bailout and TARP programs, derivatives trading, etc., and pretty much all the sources I’ve referenced—from Matt Taibbi to Paul Krugman to Charles Ferguson to Michael Moore, and more (full list at bottom)—have suggested that President Obama has been impotent, or worse, in trying to reverse the damage and curb the corruption that continues to be wreaked by “Wall Street.” Despite the reformer, activist rhetoric that helped him get elected, as this recent Atlantic article details, President Obama has failed to do what he said he would in promising to "challenge the system."

It might sound unfair to disparage the President—given his vast realm of responsibility, and also his restrictions—for not being a better SEC watchdog. But between the billions (trillions?) the government has not collected from banks, corporations and tycoons who pay a relative pittance in taxes to the way the corporatocracy has tightened its grip on the political process due to the Citizens United case that enabled companies to contribute far more to candidates, I don’t know of anything that can benefit the masses in more ways than holding the fatcats’ feet to the fire. 

From the flaccidness of the Dodd-Frank bill that supposedly added some financial regulations but really did little to change Wall Street’s ways, to the fact that Obama’s economic braintrust—Larry Summers, Robert Rubin, Timothy Geithner—came from leadership roles on Wall Street and were heavily involved in pushing for deregulation that has been debilitating, his actions seem to convey that the President has been acutely disinterested in doing anything substantive that may distress the top 10% of the top 1%, but significantly benefit 99.9% of the country.

Also, without being naïve that when it comes to foreign policy and homeland security, being ethical and being effective don’t always co-exist, I also find myself somewhat distressed over the President's choices in these areas. From his “Kill Lists” through which proactive murder has become policy to his not shuttering Guantanamo Bay despite campaign promises to do so to the fact that we are still at war in Afghanistan, I have serious qualms with his record. And despite this study that indicated 75% of Americans would elect to reduce the 2013 Defense Budget, "including two-thirds of Republicans and 9 in 10 Democrats," neither the Presidents nor any Democrats I'm aware of seem to express that downsizing the military is something we should explore. 

His environmental initiatives have also been tepid at best, doing nothing to curb fracking and seemingly nothing of substance to confront global warming. And while it was bold that he came out in support of gay marriage a few months ago, it seemed way too tardy, opportunist and devoid of any actual advocacy to change law.

Anyway, by now you should get my point, though I don't mean this with disrespect to the President nor anyone who supports him.

Believe me, I want to believe. And I understand the alternative is worse. But sometimes, the emperor really isn't wearing any clothes.

---
I have found the following sources beneficial to my understanding of what has taken place in America and why I've been disillusioned by democracy inaction:

Matt Taibbi - Articles in Rolling Stone and the book Griftopia
Paul Krugman - New York Times and Stop This Depression Now
Michael Lewis - The Big Short and Boomerang
Charles Ferguson - The documentary Inside Job and the book Predator Nation
Michael Moore - The documentary Capitalism: A Love Story and his website
Andrew Bacevich - Washington Rules
Alex Gibney - The documentary Captain Jack and the United States of Money
Joseph Stiglitz - The Price of Inequality
Andrew Ross Sorkin - Too Big to Fail (Note: I haven't read this one but have heard good things; there's also an HBO Movie based on it)
Russ Feingold - The Progressives United organization
Christopher Hayes - Twitter
Chris Hedges - TruthDig
Charles Pierce - Esquire
Tom Morello - Twitter
Glenn Greenwald - The Guardian
Rachel Maddow
Jon Stewart
Bruce Springsteen

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Note: The headline of this post refers to a lyric from R.E.M.'s "What's The Frequency, Kenneth?" that actually goes, "Richard said, "Withdrawal in disgust is not the same as apathy."" Richard is a reference to filmmaker Richard Linklater, who included the line--though actually with "Withdrawing" being the first word--as text on a card seen in the film Slacker.

Monday, September 03, 2012

As An Insightful Variation on the Theme of Genius, '33 Variations' Strikes the Right Notes -- Chicago Theater Review

Theater Review

33 Variations
by Moisés Kauffman
TimeLine Theatre Co.
at Stage 773, Chicago
Thru October 21
@@@@1/2

As this blog conceivably portrays, I am endlessly fascinated by creative genius.

Whether in the realm of art, music, theater, film, architecture, literature, comedy, photography, television and even less obvious realms such as athletics, cooking and technology, exploring and deriving pleasure/enrichment from the creatively-gifted is in large part what gives my life nourishment and meaning.

Although I have seen or read numerous documentaries, biopics, articles and biographies about creators of brilliance, I have rarely found the dissection of genius anywhere near as captivating as the mere delivery of it. My favorite parts of the documentaries I've seen on Bob Dylan, as just one example, are simply when he's shown singing in concert.

Part of the problem, I perceive, with works that try to provide insights on artistic practitioners, is that the inspiration process is relatively impossible to delineate and yet, especially in its abstraction, is truly what separates the great from the common. There is no way to show how, or even why, Lennon & McCartney wrote songs that were better than most; they just did. And for me, just listening to a Beatles song has invariably been more gratifying than perusing any book, article or movie that tries to "explain" the Beatles.

While some biographical movies, documentaries, etc., have certainly been better than others, and many rather worthwhile, by and large I have found the theatrical stage to be the venue through which creative genius has been best explored.

Red, a play about painter Mark Rothko by John Logan, Fela!, a musical about Fela Kuti featuring music by the Nigerian percussionist, Frank's Home, a play about Frank Lloyd Wright by Richard Nelson and Amadeus by Peter Shaffer (though the movie was good, too) are just a few bio-based stage works that I have found satisfying, in part because they--particularly the dramas--have not attempted to paint a comprehensive portrait of their subject, but rather woven a more universal story around it.

Photo Credit: Lara Goetsch
Similarly, 33 Variations, a terrific play by Moisés Kaufman ostensibly about 33 variational compositions Beethoven wrote between 1819-1823 based on a mediocre waltz by a middling composer named Anton Diabelli, works largely because it is just as much about a fictional musicologist and her daughter as it is about the great maestro.

In fact, Katherine Brandt--not Ludwig--is clearly the lead role, one played by Jane Fonda on Broadway in 2009 and quite superbly by Janet Ulrich Brooks at Stage 773, which the TimeLine Theatre Company is using to expand its audience for this show. (TimeLine's own venue is at 615 W. Wellington; Stage 773 is at 1225 W. Belmont, the old Theatre Building).

Katherine is a noted musicologist, fascinated by the riddle of why Beethoven--beset by deafness and in otherwise declining health yet still capable of composing major works such as the Missa Solemnis mass--would even honor the request from Diabelli (more so a music publisher than composer) to create a variation of his waltz, let alone devote four years to producing 33.

Although I enjoy Beethoven's music and found the on-stage renditions of the variations performed by George Depauw to be sublime, I am far from a classical music expert and 33 Variations was the first I've ever heard of the titular compositions. I have to imagine the play's attempts at explaining Beethoven's inspiration and how the variations varied would have much greater resonance for a true aficionado.

Still, even in sharing the focus on Beethoven (well-played by TimeLine stalwart Terry Hamilton) with Katherine, her own debilitating illness, her relationship with daughter Clara (Jessie Fisher) and an evolving romance between Clara and Katherine's nurse, Mike (Ian Paul Custer), 33 Variations did an impressive job in helping me appreciate Beethoven's brilliance, along with his not-so-coincidental tempestuousness.

Photo Credit: Lara Goetsch
Although Diabelli's waltz is seemingly much more historically slight than Velasquez' painting Las Meninas, I was reminded of all the variations--58 in all--of that masterpiece Pablo Picasso painted in 1957. The idea that a genius would be stimulated in such a fashion doesn't seem that odd, and Kaufman's wonderful script provides plausible explanations for Beethoven's undertaking and accomplishment.

In doing so, it captivatingly tells a far more immediate tale about the bond, discomfiture, pride and, at times, overwrought concern among parents and children. The acting is outstanding throughout, and along with the above, I should also cite Michael Kingston as Diabelli, Matthew Krause as Beethoven's servant and biographer Anton Schindler and Juliet Hart as the keeper of Beethoven's archives in Bonn, where Katherine goes to research the maestro's manuscripts.

Leaving you to explore any further details of this play, which I found not only to be yet another excellent production by TimeLine, but quite reasonably priced on HotTix, I enjoyed the message that if one looks, appreciable "genius" can found just as much in our everyday lives as it can in the legacies of transcendent artists.

As such, 33 Variations stands as one of the best plays of recent vintage I've seen over the last year or so, ranking with Tony winners Red and Clybourne Park, and--per the Chicago productions I've seen--far superior to Yasmina Reza's God of Carnage, which beat it out for the 2009 Best Play Tony. In other words, although it is a drama, not a musical, this is an extremely well-composed, wonderfully-orchestrated work of theater. (Although I can't say I picked up on it, it is noteworthy that Kaufman wrote the play in 33 scenes).