I love doing my "concert bob" and Souzana joined me in the bobbing
"Things that are not featured in or are unlikely to occur at Death Cab's sold-out, 2,800-capacity Orpheum Theater show: flame-thrower guitars, the onstage presence of blood or any other bodily fluid besides tears, singer Ben Gibbard damaging his voice by excessive screaming of the words, "Soul! Meets! Body!," an impromptu cover of "Reign In Blood," or the phrase "Show us your tits!" Things that are, in fact, likely to happen: The band will be gracious and passionate; they will play your favorite songs; you will post about it in your LiveJournal later that night; your significant other will profess undying love for you."-Boston's Weekly Dig (shame the last bit isn't true...)
Souzana and I went to see Death Cab For Cutie, and our seats were fairly good, save for the tall, obese man in front of us who may have never showered in his life, ever. The crowd was surprisingly young, with some parents chaperoning. A majority of the fans were new, only knowing the
My major concern was that they would only play their most recent, popular work, but the concert was evenly divided between Plans (highlights being "Crooked Teeth" and "Marching Bands of Manhattan"), Transatlanticism ("The New Year", "Expo '86" and "Sound of Settling") and older songs ("I Am A Kaleidiscope" and "We Laughed Indoors"). Bird, when they played "Title and Registration," I did a little dance for you and Rocky!
My personal highlight came during the encore, when Ben Gibbard's soothing voice fell over the crowd as he sang "I'll Follow You Into The Dark" with only his guitar and the voices of the crowd accompanying him. Gibbard, who was the only band member to speak, was very endearing (he called the audience "campers"). As this was Souzana's first concert, she didn't realize that an encore was assured and became slightly concerned.
Nic and I made a pilgrimage to The Embassy on foot today to see Good Night, And Good Luck, which follows the story of a television journalist who challenged McCarthy. The film balanced the factual, documentary aspects of the story with creating drama and intrigue, which was highlighted by integrating large amounts of actual footage of McCarthy and the hearings seamlessly. Filmed only in black and white, Good Night, And Good Luck created a strong cultural context to support the story without feeling forced with the aid of much cigarette smoke and jazz. A lot of the scenes felt real, with ugly people talking over one another. Save a few other students enjoying their day off, Nic and I were the youngest audience members, and listening to the retirees behind us pointing out historical figures they recognized and commenting on them was an awesome experience.
Before viewing the movie, I suspected it would be a scathing attack on the current administration, and while it was, it was much more tasteful than I'd imagined-by showing how ludicrous American censorship has been in the past, the audience will hopefully realize that years from now, textbooks have similar thoughts on America's current predicament. The film also tackled other issues concerning journalistic integrity and patriotism, which are just as relevant today as they were fifty years ago.
Next on the list to see in theaters: MirrorMask.
Souzana and I went to see Death Cab For Cutie, and our seats were fairly good, save for the tall, obese man in front of us who may have never showered in his life, ever. The crowd was surprisingly young, with some parents chaperoning. A majority of the fans were new, only knowing the
My major concern was that they would only play their most recent, popular work, but the concert was evenly divided between Plans (highlights being "Crooked Teeth" and "Marching Bands of Manhattan"), Transatlanticism ("The New Year", "Expo '86" and "Sound of Settling") and older songs ("I Am A Kaleidiscope" and "We Laughed Indoors"). Bird, when they played "Title and Registration," I did a little dance for you and Rocky!
My personal highlight came during the encore, when Ben Gibbard's soothing voice fell over the crowd as he sang "I'll Follow You Into The Dark" with only his guitar and the voices of the crowd accompanying him. Gibbard, who was the only band member to speak, was very endearing (he called the audience "campers"). As this was Souzana's first concert, she didn't realize that an encore was assured and became slightly concerned.
Nic and I made a pilgrimage to The Embassy on foot today to see Good Night, And Good Luck, which follows the story of a television journalist who challenged McCarthy. The film balanced the factual, documentary aspects of the story with creating drama and intrigue, which was highlighted by integrating large amounts of actual footage of McCarthy and the hearings seamlessly. Filmed only in black and white, Good Night, And Good Luck created a strong cultural context to support the story without feeling forced with the aid of much cigarette smoke and jazz. A lot of the scenes felt real, with ugly people talking over one another. Save a few other students enjoying their day off, Nic and I were the youngest audience members, and listening to the retirees behind us pointing out historical figures they recognized and commenting on them was an awesome experience.
Before viewing the movie, I suspected it would be a scathing attack on the current administration, and while it was, it was much more tasteful than I'd imagined-by showing how ludicrous American censorship has been in the past, the audience will hopefully realize that years from now, textbooks have similar thoughts on America's current predicament. The film also tackled other issues concerning journalistic integrity and patriotism, which are just as relevant today as they were fifty years ago.
Next on the list to see in theaters: MirrorMask.