As it is at any concert featuring a band that has recently been on Total Request Live, the average age of those attending the Simple Plan show couldn't have been over 16, and that's including the small upstairs 21-and-over bar area.
Dave Scher wishes people would dance at shows like they used to. One half of the duo that makes up California-based All Night Radio, Scher remembers his upbringing in Long Beach, California as a time when people danced at shows.
We're all relatively acquainted with the slew of coming-of-age teen comedies wherein implausibly attractive high school students overcome the bounds of social status, find love and provide a fortune cookie-sized moral to the tune of "Teenage Wasteland." The recipe works, though it usually makes for movies so saccharine that diabetics crumple to the floor of America's movie theaters.
There are things out there that go bump in the night," quips Professor Bruttenholm (John Hurt). "We are the ones who bump back." No, this isn't your average weekend-drunken-sorority-girl- hook-up; it's Guillermo del Toro's above average comic-to-movie film Hellboy. Mix two parts X-Men, two parts Men In Black technology and a sprinkle of The Hulk's big buff looks, and you have the recipe that not only looks good but doesn't leave a bad taste in your mouth.
Based on Mike Mignola's comic book series, Hellboy opens in 1944 as the Nazis, led by Grigori Rasputin, attempt to open a portal to another dimension.
Y'know that scene in The Silence of the Lambs when serial killer Buffalo Bill tucks his crotch between his legs and dances naked to an obscure '80s synth-pop song before sewing a suit made of human skin?
Hamilton Leithauser, lead singer of The Walkmen, isn't buying into any of the buzz. To him, the New York rock revival is nothing more than a press creation.
"I don't buy any of that shit," he explains.
Leithauser and bassist Peter Bauer left The Recoys in order to join The Walkmen, a group founded by three former members of Jonathan Fire*Eater -- Walter Martin, Paul Maroon and Matt Barrick.
Fire*Eater was a critical success, and one of many "next big things" to never actually make it in the mainstream.