Arts & Entertainment
Concert Recap: Titus Andronicus and Ceremony
It’s always a good feeling — or, at least, a holistically satisfying feeling — when you leave a show with your ears ringing, covered in equal parts your own sweat, other people’s sweat, and beer. That was the case after walking out of the basement of the First Unitarian Church near 21st and Chestnut after the Titus Andronicus show, opened by hardcore –favorite Ceremony. While Titus Andronicus is often grouped in the post– and pop–punk families, their musical influences are just as strongly rooted in indie rock. A lot of their fans were well into their twenties and preferred to inconspicuously bob their heads and sip their microbrews, while the younger crowd raucously danced right up next to the stage. Ceremony, on the other hand — a band who probably would have headlined at a more strictly punk show — brought the pissed–off adolescents in droves. The mosh pit immediately got underway when Ceremony took the stage, complete with kids running on stage and singing into the mic until someone else got up and tackled them — not necessarily my scene, but it was fun to watch Ceremony play some of their best songs from 2010's “Rohnert Park.” Titus Andronicus released their new album, “Local Business,” only a couple days before the show, so naturally they did a few new songs to show off the material. The bulk of the show was taken from their album “The Monitor,” with which the crowd was extremely familiar. Songs like “Richard II” had everyone in full sing–along mode. They played an extremely long set — well over two hours — that vacillated between slow build–ups and rocking choruses. The crowd was extremely receptive, as has been typical at First Unitarian. The show was a great mix of two bands different enough to have distinct sets, yet with enough cohesion to not feel incongruous.
Playlist of the Week: Hurricane Sandy Edition
Batten down the hatches and turn up the subwoofers, at least until the power goes out...
Get Your Grandpa Style On
It’s fall, and there’s no season that better suits our aspirations of dressing like a dapper aging gentleman.
Spinnin' (Sound)tracks
Download the score to any number of recent movies, and you may hear some familiar sounds coming through your speakers.
Get Up Offa That (Halloween) Thing
Mask & Wig's "Tights, Camera, Action!" Iron Gate Theater 37th & Chestnut St. 10/24–10/25, 8 p.m.; 10/26–10/27, 7 p.m.
Punk Arcade
Ever been to a traveling DIY games exhibit? That’s what we thought. Hop on Septa and check out this alternative arcade on its last weekend in Philly.
Philly Photo Day: October 26
Grab your Nikon (or iPhone, or whatever) and snap a pic!
Artist Profile: Christine Alix
Name and Year: Christine Alix, 2013 Hometown: West Bloomfield, MI Major(s): Fine Arts (Photography) + Communications Website: www.christinealix.com Blog: http://christinealix.tumblr.com Street: How did you first get into photography? Christine Alix: I’ve been interested in photographs for as long as I can remember.
Review: The Sessions
“The Sessions” follows the true journey of poet Mark O’Brien (John Hawkes), who, at age 38, finally decides to lose his virginity.
Review: Holy Motors
Every year, Cannes cedes one of its Hollywood–monopolized screens for a patriotic celebration of insanity.
Moviemaker Profile: Lance Wildorf
Street: What first got you interested in screenwriting? Lance Wildorf: Probably around eighth grade I realized I liked writing a lot and being creative, and when I was younger I wanted to be a comedian, but I realized I like the writing aspect more.
Interview: Antonio Campos
Film sat down with the director of this year’s “Simon Killer,” who is in town for the Philadelphia Film Festival. Campos also produced last year’s indie hit “Martha Marcy May Marlene.”
Album Review: Godspeed You! Black Emperor - "Allelujah! Don't Bend! Ascend!"
With the release of "Allelujah!
Trailer of the Week: The Canyons
The trailer for Paul Schrader’s neon–lit, lusty and dusty desert melodrama “The Canyons” communicates passion and danger in 21st century Los Angeles and an ancestral history in Hollywood pulp. What We Love: The dialogue–free trailer boasts granular, sepia–tinted cinematography and the score of a 1940s horror flick.
Album Review: Taylor Swift - "Red"
With the release of her pensive new album, “Red,” Taylor Swift shows off a more mature version of herself. The record's only anti–boy rant is the cutely cranky “We Are Never Ever Getting Back Together.” Everything else — such as the dubstep–esque “I Knew You Were Trouble,” and “The Last Time,” a surging duet with Snow Patrol’s Gary Lightbody — is adult. Both “22” and “Starlight” are about the timelessness of youth. The perky “Stay Stay Stay” mentions groceries and settling down. And “Everything Has Changed,” a raw duet with Ed Sheerhan, is a graduation into the indie coffeehouse jams of the thoughtful twentysomething. She’s still wholesome, lively, and genuine, but she’s older — and she’s seeing anything but red. 3/5 Stars
Concert Recap: Mayer Hawthorne and Cheers Elephant
In previous years, SPEC has brought indie rock groups to campus for its annual Fall Concert, but this year they decided to switch things up with neo–soul singer and all–in–all classy dude, Mayer Hawthorne. When Cheers Elephant, the local opening act, stepped onstage, audience members stayed cool and composed in their seats, waiting for the music to start as if waiting for a movie to play.
A Toast to Dear Old Wig
The oldest all–male musical comedy group in the nation is backed up by one of campus’ best bands.
Review: “Simon Killer”
Despite a promising name and a promising director at the helm, Simon Killer fails to really deliver anything to its audience.
Review: “Paranormal Activity 4”
“Paranormal Activity” is nothing more than your normal spooks and scares.
