The Phoenix metropolitan area is onto me and my nefarious plot.
Flew into Phoenix from Fargo yesterday evening. Landed at 8, got to my hotel at 9 (local time). Jennifer, a fellow Donnaholic with whom I'm going to the Arizona State Fair with tomorrow to see Godsmack and Five Finger Death Punch, picks me up at 10:30, after she's done with class. We drive around looking for a place to eat before we find a Denny's. We sit, talk Donnas, tell stories, and have a good time. She brings me back to my room after we're done, at about 12:30 AM. It takes me a half hour to wind down, then I went to bed at 1.
Half hour later, my room phone rings. I wasn't asleep yet, but I'm thinking "Who knows where I'm at? Who could be that crazy enough to track me down and call me?" It's the front desk. Guy tells me he received a report from other guest that I was being a disturbance. I think, "Noise? Yeah, it's late and I was watching some TV before I tried to go to sleep."
Nope. The guy was concerned because the other guests at the hotel thought I was trying to use Facebook on my cell phone to build SkyNet and usher in the end of humanity. I assured him this was not my intention, and he insisted that I stop using Facebook forever.
I love this place. I may even have to move here... XD
Friday, October 29, 2010
Monday, September 20, 2010
We landed on the moon!!
America went to the moon in the late 60's and early 70's. No one's been back since. And if you believe the conspiracy theorists, we weren't there to begin with.
They say it was all filmed on a sound stage, because you don't see any stars in the background in those moon photos.
OK, fine. Answer me this then. You ever seen the stars in the sky on Earth IN THE DAYTIME?!?!
Done.
They say it was all filmed on a sound stage, because you don't see any stars in the background in those moon photos.
OK, fine. Answer me this then. You ever seen the stars in the sky on Earth IN THE DAYTIME?!?!
Done.
Wednesday, September 15, 2010
Uh, how full is my glass...?
Anybody who knows me knows I'm a pessimist. I'd like to think I'm more argumentative, or maybe more realistic when they're trying to drown me with optimism. I agree that I go looking for clouds amongst the silver linings. But I realized something about my outlook on life the other day.
I may look at life as "glass half-empty", but I never actually USE that term. I always describe the liquid is in a container by how full it is.
So, what would that make me? I just don't know...
I may look at life as "glass half-empty", but I never actually USE that term. I always describe the liquid is in a container by how full it is.
So, what would that make me? I just don't know...
Wednesday, September 8, 2010
American Idiot musical soundtrack review
Green Day has been a commercial juggernaut within the last 18 months. They followed up their most successful album to date, American Idiot, with 21st Century Breakdown, a very solid album in its own right, and worldwide tour to support it. EA released a Green Day Rock Band title. And most impressively, Billie Joe Armstrong worked with Broadway director Michael Mayer to turn American Idiot into a Tony award-winning musical.
If, in 1995, you tried to tell Green Day or any of their fans that they'd pull of something like this, he/she probably would have punched you in the face. But the soundtrack to the American Idiot musical shows how far Green Day has come in their 20 years together. This album shows both the band's maturity, as they all approach 40, yet how they've remained young at heart with their devotion to all things rock and their punk attitude.
I cannot stress how great this musical soundtrack is. In fact, I'd even say it's an improvement over the original American Idiot and 21st Century Breakdown albums. Everyone involved just took this thing to another level. The cast of the musical has incredible vocal range, hitting and sustaining notes in a way that Billie Joe never could. They made such a production of the music by adding string sections and choruses (I love that kind of stuff; the more, the better, IMO). But Green Day didn't just sit on the bench during the recording of these tracks. They did what they do best on this album: they recorded most of the music themselves. Yes, that's Mr. Armstrong on guitar, Mike Dirnt on bass, and Tre Cool on drums. Finally, the album is uncensored. Honestly, you think Green Day would allow that? Hell no. No parental advisory label on the album either (not sure how they pulled that off, as the F-bombs are clearly audible throughout the album).
This is the first album I've ever listened to that IMMEDIATELY gave me goosebumps. And this was on a warm, sunny Sunday afternoon, during the summer, in a hot car, after picking it up at my local Best Buy. It instantly got to me, and I fell in love with it (and Green Day).
The album starts off with the title track, and you notice the first of the subtle changes with the music itself. The intro is a little bit different than that from the original version of the song. The goosebumps kick in when the cast sings round during the bridge from the guitar solo to the final chorus. So good...
The goosebumps continue into track 2, Jesus of Suburbia. Especially when "Heather" (Mary Faber), one of the female lead character, comes in for part 4 of this song, Dearly Beloved, and again for part 5, Tales of Another Broken Home. It's haunting, sending chills down my arms.
The next track, Holiday, starts off with an awesome bass intro. Mike Dirnt did a great job with it, trumping Billie Joe's original guitar intro. The "ooh, ooh, OOOOOH" during the guitar solo, the "THREE FOUR!!", the deep-toned piano into and during the bridge. Amazing. They melded into the rest of the song very well.
Boulevard of Broken Dreams starts out with an acoustic guitar intro that nicely mellows down the raw energy from the first three tracks. This relaxed tone is calmed down even more by the string section and lead character "Johnny" (John Gallagher, Jr.), but it kicks back into gear during the second chorus and bridge into the guitar solo. The outro really drives it home and brings the goosebumps back in full force.
Track 5 is Favorite Son. At first, I thought this was a new song written for the musical, but after some digging around on the Internet, I found out it was an unreleased B-side from the original American Idiot album, and it was eventually used in the protest compilation "Rock Against Bush, Vol. 2". I won't get into the politics this song MAY convey, but it's a damn good song. A real hidden gem. I love the female backup vocals chanting "Oh no, it's a drag" during the chorus that are anything but. The song stops briefly before the third verse goes off with a very appropriate "Now where's your fucking champion?" and a series of "Doot doo doo"s from those ladies singing backup. Chants of "It's your favorite son" and a drum outro segue nicely into Are We the Waiting. The entire cast continues delivering goosebumps with the choruses of "Are we, we are/Are we, we are the waiting". Tre Cool finishes out this song with a very nice drum solo. The outros for these two songs are some of the best drum work on the entire album. Tre one of the best in the business these days BY FAR.
St. Jimmy has a very quick pace to it, full of all kinds of energy, bringing you back up from the last track. I didn't like this song at first, thinking it was too busy, too noisy, too all over the place, but after listening it to it a couple more times, it grew on me. I can listen to it without pressing the skip button on my media player, but it'll never be my favorite track of this album, unlike...
Give Me Novacaine. This is my favorite song from the original American Idiot album. You can keep all those other songs that got released as singles, but this one? It's all mine. It starts out with the same drum beat as the album cut, but then the drums stop and an acoustic guitar starts, with Michael Esper ("Will") singing a couple seconds later, then a stringed portion during the first chorus. It turns the goosebumps up to 11. It gets me EVERY time. Then after the second chorus, the drums come in hard and fast, the cast belts out a "Aaah, novacaine", and a small snippet from a stringed instrument, BOOM, right into the guitar solo. Turns the goosebumps up to 12!! After the final chorus, the tempo comes back down, but not for long.
Track 9 is a medley of Last of the American Girls from 21st Century Breakdown and She's a Rebel from American Idiot. The cast goes back and forth between the two songs, not just lyrically, but musically. Last of the American Girls is backed solely by a stringed section, with She's a Rebel with the full rock, like the original. This medley is greater than the sum of their parts. Each original was good, but the two together is unbelievable. Everyone involved in this arraignment is a genius.
This album turns somber again with the stringed intro for Last Night on Earth. Another haunting song with "St. Jimmy" (Tony Vincent), "Heather", and "Whatshername" (Rebecca Naomi Jones) on vocals. It's chilling. Finishing off the roller ride of down, up, down, and back up again from these last four songs on Disc 1 is Too Much Too Soon. Another Green Day B-side, this time from the American Idiot single. It's got that classic, "I don't give a fuck" Green Day attitude. You just want to sink your teeth into it. Strong guitar riff, constant drum beat, driving bass line. Real good modern punk rock sound. The big "FUCK YOU!!" drives that point home so well.
Disc 2 kicks off with the first half of Before the Lobotomy. The organ intro sets up the four-man round of cast members Stark Sands ("Tunny"), Chase Peacock, Joshua Henry, and Ben Thompson. Each one finishes their respective verses, then repeats their parts as the next man joins in. I can picture a dark stage, with a spotlight coming down on each one they enter. It gets a little busy at the end, but you can still make out most of the words. Very well done. Extraordinary Girl, sandwiched between the two parts of Before the Lobotomy, has a very Middle Eastern tone with the opening beats and backing vocals. The reprise of the former song lights the fire after these two very relaxed songs. Again, goosebumps start as soon as this track opens up and will stay with you the rest of the way.
When It's Time is a song from WAY back in the Green Day. According to Wikipedia, Billie Joe Armstrong wrote during the Kerplunk! days for his wife Adrienne. It's a very sad song, with "Johnny" alone on vocals and guitar. It really touches you. You won't feel down for long, as Know Your Enemy will pick you back up again. It moves you to get up and do something about all the crap you've experienced in you rlife. It ends abruptly after a couple of minutes, which is a little disappointing. The original version clocked in a little over three minutes. They certainly could have done more with it, especially when you crash right into...
...21 Guns. This is probably the best track on the whole album. Six of the seven main characters sing this together, but it's the women ("Whatshername", "Extraordinary Girl", and "Heather") who really knock it out of the park. Haunting, chilling, driving, all filling you up with more goosebumps. It's got all the emotions we've heard across the album rolled up into this song. It's easy to see why a version of it with Green Day and the entire cast all together (with Billie Joe Armstrong handling most of lead male vocals himself) was released as a single. It finishes up with a couple lines from Nobody Likes You, part 3 of Homecoming. "Heather" sings "Nobody likes you, everyone left you/They're all out without you, havin' fun". Those words will stick with you FOREVER. I just can't get them out of my head.
Letterbomb brings the bar back up again (it's just one roller coaster ride after another). "Whatshername" carries the torch on this one solo with her voice. I expect Rebecca Naomi Jones to have a long, successful career after all is said and done. She's definitely one of the stars on this album. She belts out, "It's not over 'til you're underground," and just have to nod my head in agreement. The great guitar work and drums also carry this song to that higher level. It comes down again with Wake Me Up When September Ends. Another one of the vast improvements over the original version by Green Day. Again, conveying great sadness, more appropriate to its original intent (a story about Billie Joe's father passing away while he was a teenager). It really makes you reflect on those low members in your life, when you just wanted the calendar to turn the page to something better.
Homecoming starts bringing the show to a close, but it's doing so at full speed. The energy rides high through all five parts of this song, closing out with the entire cast singing the same last lines as 21 Guns. Whatshername is the final track from the musical itself, with a sobering piano intro and "Johnny" reflecting back on everything that's happened throughout the story line. Those aspects and the stringed portion after the first verse make you think, "Geez, it's just never gonna be the same, and that sucks..." But all hope is not lost. In the final sequence of goosebumpery, the "Aaaaaah..."s and guitar solo carry you into the cast repeating the chorus of "Remember, whatever/It seems like forever ago", you get the hope back. Yes, things have changed, but you can't go back and "fix" them. You have to continue down the road you're on.
The album closes out with Green Day's own version of When It's Time. It reminds me a lot of Good Riddance (Time of Your Life), but this one has the weight of the full band behind it. It's also one of the rare exceptions on this album (and perhaps the ONLY one) where they did a better job than the musical cast did. The Green Day version just doesn't seem like the emotional drag that the musical version is, and I think that's why I prefer it.
Start to finish, you go up and down with Green Day and the cast. It's a journey full of all kinds of emotion. This album is so good, it makes me want to fly to New York so I could see this show on Broadway. And I HATE New York with every bone in my body. It's just that good. All musical theater should be like this. I'd love to see other bands try to pull this off. Maybe Weezer can resurrect Songs from the Black Hole (the follow-up to their debut album, but ended up becoming Pinkerton). Or The Donnas can go on tour to support their upcoming Meatballs musical.
Green Day is one of the greatest bands in the last twenty years. With work like this, I expect them to stay on top for another twenty years. Keep it up, guys.
If, in 1995, you tried to tell Green Day or any of their fans that they'd pull of something like this, he/she probably would have punched you in the face. But the soundtrack to the American Idiot musical shows how far Green Day has come in their 20 years together. This album shows both the band's maturity, as they all approach 40, yet how they've remained young at heart with their devotion to all things rock and their punk attitude.
I cannot stress how great this musical soundtrack is. In fact, I'd even say it's an improvement over the original American Idiot and 21st Century Breakdown albums. Everyone involved just took this thing to another level. The cast of the musical has incredible vocal range, hitting and sustaining notes in a way that Billie Joe never could. They made such a production of the music by adding string sections and choruses (I love that kind of stuff; the more, the better, IMO). But Green Day didn't just sit on the bench during the recording of these tracks. They did what they do best on this album: they recorded most of the music themselves. Yes, that's Mr. Armstrong on guitar, Mike Dirnt on bass, and Tre Cool on drums. Finally, the album is uncensored. Honestly, you think Green Day would allow that? Hell no. No parental advisory label on the album either (not sure how they pulled that off, as the F-bombs are clearly audible throughout the album).
This is the first album I've ever listened to that IMMEDIATELY gave me goosebumps. And this was on a warm, sunny Sunday afternoon, during the summer, in a hot car, after picking it up at my local Best Buy. It instantly got to me, and I fell in love with it (and Green Day).
The album starts off with the title track, and you notice the first of the subtle changes with the music itself. The intro is a little bit different than that from the original version of the song. The goosebumps kick in when the cast sings round during the bridge from the guitar solo to the final chorus. So good...
The goosebumps continue into track 2, Jesus of Suburbia. Especially when "Heather" (Mary Faber), one of the female lead character, comes in for part 4 of this song, Dearly Beloved, and again for part 5, Tales of Another Broken Home. It's haunting, sending chills down my arms.
The next track, Holiday, starts off with an awesome bass intro. Mike Dirnt did a great job with it, trumping Billie Joe's original guitar intro. The "ooh, ooh, OOOOOH" during the guitar solo, the "THREE FOUR!!", the deep-toned piano into and during the bridge. Amazing. They melded into the rest of the song very well.
Boulevard of Broken Dreams starts out with an acoustic guitar intro that nicely mellows down the raw energy from the first three tracks. This relaxed tone is calmed down even more by the string section and lead character "Johnny" (John Gallagher, Jr.), but it kicks back into gear during the second chorus and bridge into the guitar solo. The outro really drives it home and brings the goosebumps back in full force.
Track 5 is Favorite Son. At first, I thought this was a new song written for the musical, but after some digging around on the Internet, I found out it was an unreleased B-side from the original American Idiot album, and it was eventually used in the protest compilation "Rock Against Bush, Vol. 2". I won't get into the politics this song MAY convey, but it's a damn good song. A real hidden gem. I love the female backup vocals chanting "Oh no, it's a drag" during the chorus that are anything but. The song stops briefly before the third verse goes off with a very appropriate "Now where's your fucking champion?" and a series of "Doot doo doo"s from those ladies singing backup. Chants of "It's your favorite son" and a drum outro segue nicely into Are We the Waiting. The entire cast continues delivering goosebumps with the choruses of "Are we, we are/Are we, we are the waiting". Tre Cool finishes out this song with a very nice drum solo. The outros for these two songs are some of the best drum work on the entire album. Tre one of the best in the business these days BY FAR.
St. Jimmy has a very quick pace to it, full of all kinds of energy, bringing you back up from the last track. I didn't like this song at first, thinking it was too busy, too noisy, too all over the place, but after listening it to it a couple more times, it grew on me. I can listen to it without pressing the skip button on my media player, but it'll never be my favorite track of this album, unlike...
Give Me Novacaine. This is my favorite song from the original American Idiot album. You can keep all those other songs that got released as singles, but this one? It's all mine. It starts out with the same drum beat as the album cut, but then the drums stop and an acoustic guitar starts, with Michael Esper ("Will") singing a couple seconds later, then a stringed portion during the first chorus. It turns the goosebumps up to 11. It gets me EVERY time. Then after the second chorus, the drums come in hard and fast, the cast belts out a "Aaah, novacaine", and a small snippet from a stringed instrument, BOOM, right into the guitar solo. Turns the goosebumps up to 12!! After the final chorus, the tempo comes back down, but not for long.
Track 9 is a medley of Last of the American Girls from 21st Century Breakdown and She's a Rebel from American Idiot. The cast goes back and forth between the two songs, not just lyrically, but musically. Last of the American Girls is backed solely by a stringed section, with She's a Rebel with the full rock, like the original. This medley is greater than the sum of their parts. Each original was good, but the two together is unbelievable. Everyone involved in this arraignment is a genius.
This album turns somber again with the stringed intro for Last Night on Earth. Another haunting song with "St. Jimmy" (Tony Vincent), "Heather", and "Whatshername" (Rebecca Naomi Jones) on vocals. It's chilling. Finishing off the roller ride of down, up, down, and back up again from these last four songs on Disc 1 is Too Much Too Soon. Another Green Day B-side, this time from the American Idiot single. It's got that classic, "I don't give a fuck" Green Day attitude. You just want to sink your teeth into it. Strong guitar riff, constant drum beat, driving bass line. Real good modern punk rock sound. The big "FUCK YOU!!" drives that point home so well.
Disc 2 kicks off with the first half of Before the Lobotomy. The organ intro sets up the four-man round of cast members Stark Sands ("Tunny"), Chase Peacock, Joshua Henry, and Ben Thompson. Each one finishes their respective verses, then repeats their parts as the next man joins in. I can picture a dark stage, with a spotlight coming down on each one they enter. It gets a little busy at the end, but you can still make out most of the words. Very well done. Extraordinary Girl, sandwiched between the two parts of Before the Lobotomy, has a very Middle Eastern tone with the opening beats and backing vocals. The reprise of the former song lights the fire after these two very relaxed songs. Again, goosebumps start as soon as this track opens up and will stay with you the rest of the way.
When It's Time is a song from WAY back in the Green Day. According to Wikipedia, Billie Joe Armstrong wrote during the Kerplunk! days for his wife Adrienne. It's a very sad song, with "Johnny" alone on vocals and guitar. It really touches you. You won't feel down for long, as Know Your Enemy will pick you back up again. It moves you to get up and do something about all the crap you've experienced in you rlife. It ends abruptly after a couple of minutes, which is a little disappointing. The original version clocked in a little over three minutes. They certainly could have done more with it, especially when you crash right into...
...21 Guns. This is probably the best track on the whole album. Six of the seven main characters sing this together, but it's the women ("Whatshername", "Extraordinary Girl", and "Heather") who really knock it out of the park. Haunting, chilling, driving, all filling you up with more goosebumps. It's got all the emotions we've heard across the album rolled up into this song. It's easy to see why a version of it with Green Day and the entire cast all together (with Billie Joe Armstrong handling most of lead male vocals himself) was released as a single. It finishes up with a couple lines from Nobody Likes You, part 3 of Homecoming. "Heather" sings "Nobody likes you, everyone left you/They're all out without you, havin' fun". Those words will stick with you FOREVER. I just can't get them out of my head.
Letterbomb brings the bar back up again (it's just one roller coaster ride after another). "Whatshername" carries the torch on this one solo with her voice. I expect Rebecca Naomi Jones to have a long, successful career after all is said and done. She's definitely one of the stars on this album. She belts out, "It's not over 'til you're underground," and just have to nod my head in agreement. The great guitar work and drums also carry this song to that higher level. It comes down again with Wake Me Up When September Ends. Another one of the vast improvements over the original version by Green Day. Again, conveying great sadness, more appropriate to its original intent (a story about Billie Joe's father passing away while he was a teenager). It really makes you reflect on those low members in your life, when you just wanted the calendar to turn the page to something better.
Homecoming starts bringing the show to a close, but it's doing so at full speed. The energy rides high through all five parts of this song, closing out with the entire cast singing the same last lines as 21 Guns. Whatshername is the final track from the musical itself, with a sobering piano intro and "Johnny" reflecting back on everything that's happened throughout the story line. Those aspects and the stringed portion after the first verse make you think, "Geez, it's just never gonna be the same, and that sucks..." But all hope is not lost. In the final sequence of goosebumpery, the "Aaaaaah..."s and guitar solo carry you into the cast repeating the chorus of "Remember, whatever/It seems like forever ago", you get the hope back. Yes, things have changed, but you can't go back and "fix" them. You have to continue down the road you're on.
The album closes out with Green Day's own version of When It's Time. It reminds me a lot of Good Riddance (Time of Your Life), but this one has the weight of the full band behind it. It's also one of the rare exceptions on this album (and perhaps the ONLY one) where they did a better job than the musical cast did. The Green Day version just doesn't seem like the emotional drag that the musical version is, and I think that's why I prefer it.
Start to finish, you go up and down with Green Day and the cast. It's a journey full of all kinds of emotion. This album is so good, it makes me want to fly to New York so I could see this show on Broadway. And I HATE New York with every bone in my body. It's just that good. All musical theater should be like this. I'd love to see other bands try to pull this off. Maybe Weezer can resurrect Songs from the Black Hole (the follow-up to their debut album, but ended up becoming Pinkerton). Or The Donnas can go on tour to support their upcoming Meatballs musical.
Green Day is one of the greatest bands in the last twenty years. With work like this, I expect them to stay on top for another twenty years. Keep it up, guys.
Saturday, September 4, 2010
Thanks for nothing
I really hate the words "Thank you." It just never feels like it's ever enough.
When I'm at work, busting my ass to fix a computer problem for a customer, they'll thank me for helping them out. But it feels empty to me. I know I'm just doing my job, and I'm being paid nicely for it, but I wish they'd do little more to show their appreciation. Maybe a little kickback or bribe. A small snack, an offer of an alcoholic beverage after hours, a few extra bucks out of their own pocket. If you really were thankful for helping you out, you'd SHOW me. Or tell my boss.
On the reverse side, "thank you" doesn't properly show my gratefulness for someone helping ME out. I could say it until I was blue in the face, and I'd still fall short. Doesn't matter who: family members, friends, customer service. I usually want to offer someone something in return. "Hey, I'll buy you beer". "You want me to come over and give you a hand with that?". Seriously, is there anything I can do to repay you? I'd like to give what I get; I don't want to feel like I owe anybody anything.
When I was in college, my roommate Paul talked about this book he read about the five languages of love. Words of affirmation, quality time, receiving gifts, acts of service, and physical touch. I speak those last four languages pretty well. I want to spend time with the people I care for. I love gifts, usually receiving, but I'll put a lot of thought into giving something from the heart. I always want to lend a hand or borrow someone else's. Then there's the handshakes, pats on the back, man-hugs.
That first language? I understand most of it, but when you say "thanks", you might as well be talking French or Japanese, Arabic or Portugese. I'll show my appreciation for that on my face for about two seconds, then turn away in disappointment with a blank stare (I don't actually stare blankly, but that's how I feel on the inside).
Need help showing your love for me? I'd take advice from Gary Cherone and Nuno Bettencourt on that one.
When I'm at work, busting my ass to fix a computer problem for a customer, they'll thank me for helping them out. But it feels empty to me. I know I'm just doing my job, and I'm being paid nicely for it, but I wish they'd do little more to show their appreciation. Maybe a little kickback or bribe. A small snack, an offer of an alcoholic beverage after hours, a few extra bucks out of their own pocket. If you really were thankful for helping you out, you'd SHOW me. Or tell my boss.
On the reverse side, "thank you" doesn't properly show my gratefulness for someone helping ME out. I could say it until I was blue in the face, and I'd still fall short. Doesn't matter who: family members, friends, customer service. I usually want to offer someone something in return. "Hey, I'll buy you beer". "You want me to come over and give you a hand with that?". Seriously, is there anything I can do to repay you? I'd like to give what I get; I don't want to feel like I owe anybody anything.
When I was in college, my roommate Paul talked about this book he read about the five languages of love. Words of affirmation, quality time, receiving gifts, acts of service, and physical touch. I speak those last four languages pretty well. I want to spend time with the people I care for. I love gifts, usually receiving, but I'll put a lot of thought into giving something from the heart. I always want to lend a hand or borrow someone else's. Then there's the handshakes, pats on the back, man-hugs.
That first language? I understand most of it, but when you say "thanks", you might as well be talking French or Japanese, Arabic or Portugese. I'll show my appreciation for that on my face for about two seconds, then turn away in disappointment with a blank stare (I don't actually stare blankly, but that's how I feel on the inside).
Need help showing your love for me? I'd take advice from Gary Cherone and Nuno Bettencourt on that one.
Sunday, August 29, 2010
Having a Blast (or five)
I've been on a huge Green Day high the last couple of months. No, not Mary Jane, but the band. Partly because their recent commercial success permanently solidified them as my #3 band, but I'd also like to think it's because my Minnesota Twins have battled back from being 3.5 GB of Chicago to leapfrog them and Detroit for the AL Central lead. It'd had me thinking about one of my many fantasies: becoming the first player in MLB history to hit 5 (yes, FIVE) home runs in a game.
I know I stated that if I were a closer in the majors, I'd come onto the field to The Who's "Baba O'Riley". As a position player, however, I'd go with Green Day hits for my plate appearances. I'd rotate through a list of ten or twenty, including (but not limited to) "American Idiot", "Who Wrote Holden Caufield?", "Basket Case". The intros for each song would be played as I make my way from the on deck circle to home plate. If I were to hit a home run, the guitar solo would come over the sound system as I'm rounding the bases, greeting my teammates at home plate, and going back into the dugout. For my place in history, I'd go with these five, in order of game progression (first song for first plate appearance, etc.).
Picture a warm, early September afternoon at Target Field (or maybe Busch Stadium)...
** Geek Stink Breath - A power packed song to get the day started. Something to get the crowd going with a lot of energy (and they're going to need it). I'd start off with a solo home run in the 1st to give my team the early lead.
** Holiday - More energy for more power. And it'd work. A two-run shot in the third breaks the tie and puts us on top once again. Score at this point would be 3-1.
** When I Come Around - Take the tempo down a little bit. Try to play it cool from having a good day at the dish. This fifth inning, three-run homer would increase our team's lead to 6-2. After this third round-tripper, the fans would be giving me a standing ovation, and I'd come out of the dugout non-chalantly for a curtain call. I don't know why they'd be so into it. The game's far from over (as they'll soon find out), and plenty of people hit three home runs in a game all the time. Big deal...
** J.A.R. (Jason Andrew Relva) - Here's where things get interesting. Our opponent has battled back and taken an 8-7 lead on us. I'm coming up in the seventh, with a man on second and a shot at the record books. Only 15 men have accomplished this feat in MLB. With one swing, I become #16 and put us back in front 9-8. I get another standing ovation from the crowd and acknowledge it, showing a little more emotion about it compared to the last one.
** Hitchin' a Ride - That lead became short lived. Our opponent is up 11-9 heading into the bottom of the ninth. I come up with two outs, bases loaded. After a first-pitch ball, their closer fools me once with a nasty slider I swing at (shame on him), then catches me looking at a sweeping curve (shame on me). One more pitch to decide the whole thing. I swing and connect with his next offering, a fastball on the outside part of the plate. I start a VERY slow trot down the line, while I and everyone else in the stadium (including those of us on the field) watch the flight of the ball to left center field, the stringed portion at the end of the bridge comes on the speakers. As the ball clears the fence and lands, Billie Joe screams "SHIT!" and the solo kicks in. Everyone is going crazy. I jump for joy once on my way to first, then shake my right fist as I head to second. I give a big Kirby Puckett-esque fist pump on my way to third, then make the turn home where my teammates are awaiting. They've got a nice three-foot radius cleared out for me. After I touch home plate and raise both my arms in the air in celebration of our 13-11 win, we do a World Series-caliber jumping group hug/mob (like Joe Carter and the 1993 Toronto Blue Jays).
I stay on the field for a few minutes to take it all in, maybe give an interview (where I don't want to talk about my accomplishment, but how we won an important game to put us in prime position in our run into the playoffs). We ride the high of that game into the division lead, League Divison and Championship Series, and finally a World Series victory.
Certaintly a VERY far-fetched dream. But hey, it's for the love of the game, so it's OK.
I know I stated that if I were a closer in the majors, I'd come onto the field to The Who's "Baba O'Riley". As a position player, however, I'd go with Green Day hits for my plate appearances. I'd rotate through a list of ten or twenty, including (but not limited to) "American Idiot", "Who Wrote Holden Caufield?", "Basket Case". The intros for each song would be played as I make my way from the on deck circle to home plate. If I were to hit a home run, the guitar solo would come over the sound system as I'm rounding the bases, greeting my teammates at home plate, and going back into the dugout. For my place in history, I'd go with these five, in order of game progression (first song for first plate appearance, etc.).
Picture a warm, early September afternoon at Target Field (or maybe Busch Stadium)...
** Geek Stink Breath - A power packed song to get the day started. Something to get the crowd going with a lot of energy (and they're going to need it). I'd start off with a solo home run in the 1st to give my team the early lead.
** Holiday - More energy for more power. And it'd work. A two-run shot in the third breaks the tie and puts us on top once again. Score at this point would be 3-1.
** When I Come Around - Take the tempo down a little bit. Try to play it cool from having a good day at the dish. This fifth inning, three-run homer would increase our team's lead to 6-2. After this third round-tripper, the fans would be giving me a standing ovation, and I'd come out of the dugout non-chalantly for a curtain call. I don't know why they'd be so into it. The game's far from over (as they'll soon find out), and plenty of people hit three home runs in a game all the time. Big deal...
** J.A.R. (Jason Andrew Relva) - Here's where things get interesting. Our opponent has battled back and taken an 8-7 lead on us. I'm coming up in the seventh, with a man on second and a shot at the record books. Only 15 men have accomplished this feat in MLB. With one swing, I become #16 and put us back in front 9-8. I get another standing ovation from the crowd and acknowledge it, showing a little more emotion about it compared to the last one.
** Hitchin' a Ride - That lead became short lived. Our opponent is up 11-9 heading into the bottom of the ninth. I come up with two outs, bases loaded. After a first-pitch ball, their closer fools me once with a nasty slider I swing at (shame on him), then catches me looking at a sweeping curve (shame on me). One more pitch to decide the whole thing. I swing and connect with his next offering, a fastball on the outside part of the plate. I start a VERY slow trot down the line, while I and everyone else in the stadium (including those of us on the field) watch the flight of the ball to left center field, the stringed portion at the end of the bridge comes on the speakers. As the ball clears the fence and lands, Billie Joe screams "SHIT!" and the solo kicks in. Everyone is going crazy. I jump for joy once on my way to first, then shake my right fist as I head to second. I give a big Kirby Puckett-esque fist pump on my way to third, then make the turn home where my teammates are awaiting. They've got a nice three-foot radius cleared out for me. After I touch home plate and raise both my arms in the air in celebration of our 13-11 win, we do a World Series-caliber jumping group hug/mob (like Joe Carter and the 1993 Toronto Blue Jays).
I stay on the field for a few minutes to take it all in, maybe give an interview (where I don't want to talk about my accomplishment, but how we won an important game to put us in prime position in our run into the playoffs). We ride the high of that game into the division lead, League Divison and Championship Series, and finally a World Series victory.
Certaintly a VERY far-fetched dream. But hey, it's for the love of the game, so it's OK.
Sunday, August 22, 2010
Best idea ever!!
First Mark Cuban tried to buy the Cubs.
Then he tried to buy the Rangers.
I think Cuban should go after the Dodgers next. Try to save them from the divorce of Frank and Jamie McCourt, like the bankruptcy of Chicago and Texas. One of the biggest media markets in America? Flashy Los Angeles? A team with a very rich history? It'd be perfect!! Exactly what the Dodgers need to get to and stay on baseball's top tier in the current age.
Then he tried to buy the Rangers.
I think Cuban should go after the Dodgers next. Try to save them from the divorce of Frank and Jamie McCourt, like the bankruptcy of Chicago and Texas. One of the biggest media markets in America? Flashy Los Angeles? A team with a very rich history? It'd be perfect!! Exactly what the Dodgers need to get to and stay on baseball's top tier in the current age.
Friday, July 23, 2010
Weezer at 2010 Basilica Block Party - Concert Review
On Friday, July 9th, I crossed off one of the top priority items from my bucket list by attending the 2010 Basilica Block Party in the Twin Cities and seeing Weezer perform on stage.
The set kicked off with "Hash Pipe", a great choice for it's catchy guitar hook. Dun-dun-DUH-naa, dun-dun-DUH-naa... You knew you in for a hell of a show with that opening riff. After that, Weezer's true colors revealed themselves with the next song, "Troublemaker". Rivers Cuomo was singing lead WITHOUT a guitar, so he started started climbing the stage set onto speakers.
I felt a little ashamed watching his antics. I've always considered Weezer to be "geek rock", for the way my fellow geeks have embraced these guys as one of our own. The look, the attire, the meticulous attention to detail, their music evolution throughout their seven-album catalog. But that night, Rivers seemed more like a dork (heck, they all did with guitarist Brian Bell in a polo shirt, Rivers in his red jacket over the top of a polo shirt, bassist Scott Shriner in a brown kilt, and drummer/guitarist Patrick Wilson in a faded gray T-shirt and plaid green and blue shorts) with how he was flailing his arms around while "dancing" and belting out the lyrics. As the song came to an end, he tried to take one of the production crews' cameras and hoist it up on his shoulder, with mic still in hand and singing the last few lines. Someone should have given that kid a guitar...
The rest of the night continued in mostly the same manner as they played a nice variety of songs from the Blue Album to Raditude. After being troublemakers, Weezer charged through Undone (The Sweater Song) and Surf Wax America, to a "medley" of Trippin' Down the Freeway and Keep Fishin'. I use quotes there because they only did a few lines from Keep Fishin'. I wish they would have played more of that song. It's one of my top five favorite Weezer songs (if you want to know why, check out the music video).
After that medley, they played Perfect Situation, and then Dope Nose, with Scott taking on the lead vocals for Rivers. Over the last several years, from about Make Believe onward, Weezer has shifted away from being a Rivers-ocracy towards involving the rest of the band more in the performance and authoring process. That's a good thing. Scott, Brian, Patrick and are all very talented musicians in their own rights, and they bring a nice contrast to both Rivers' musical and lyrical style. I would have liked to seen more of this, maybe next time.
Next on the setlist was one of Weezer's crown jewels: Say It Ain't So. For most of the night, and ESPECIALLY during this song, I sang along at the top of my voice. This was also one of the first songs where Rivers was playing guitar while he sang (a VERY NICE white Gibson SG). After they finished this song, the rest of the band took a bit of a break while Rivers switched to an acoustic guitar and started out with a solo performance of Island in the Sun. This was a cool and collected performance, but as soon as Rivers completed the second chorus and went into the bridge, the rest of the band joined back in and turned it back up to 11. An excellent job kicking the show back into high gear, almost like a second wind.
After some Can't Stop Partying action, there was some more intra-band collaboration when Brian and Rivers shared the duties of lead vocals on El Scorcho. They played My Name Is Jonas, then made the turn at third and started bring it home by going to their bread and butter of their more recent hits, Beverly Hills and Pork and Beans, the lead singles off Make Believe and the Red Album, respectively.
They finished their set with a two-song medley. I didn't recognize the first half, so I made a note of the lyric "control yourself, take only what you need" to look it up online later. I found out it was MGMT's Kids. I'd never heard of it before, but after listening to their original version, I think Weezer did a better job with it than they did. The second part of that medley stabbed me in the back. Lady Gaga's Pokerface. Ugh, now I was REALLY embarrassed. I don't care for most pop stars from the last ten years, and even less of those who dress in ridiculous costumes like she does. But again, Weezer made an improvement over her version of that song.
The show was over after this final song. Or was it? No, of course not. Weezer came back on stage a couple minutes later to perform (If You're Wondering If I Want You To) I Want You To, the lead single off their most recent album, Raditude. Finally, THE Weezer song, Buddy Holly. And that was it, more than an hour and a half later. A very solid, balanced setlist from their 18 years together.
A few things to nitpick on after it was over. They only played one song from Pinkerton. I would have loved another one from that album, like Falling for You or maybe Why Bother?. As I mentioned before, they should have also played Keep Fishin' in its entirety. A little more Patrick Wilson; he seemed a little too quiet for the goofball he can be (check out the Photograph music video; there's a guy who really enjoys life). And I can never get enough Weezer. I wish they could have played a few more songs, at least enough to fill up another 20-30 minutes.
Overall, I give the concert a 9.5 out of 10. There was very little filler between songs, and they touched upon many of the top-tier tunes. I had been worried that I would have never seen my favorite band perform live after the bus accident last winter that almost took Rivers from us. I don't have to worry anymore; I'm as good as he and the rest of was on stage that evening.
The set kicked off with "Hash Pipe", a great choice for it's catchy guitar hook. Dun-dun-DUH-naa, dun-dun-DUH-naa... You knew you in for a hell of a show with that opening riff. After that, Weezer's true colors revealed themselves with the next song, "Troublemaker". Rivers Cuomo was singing lead WITHOUT a guitar, so he started started climbing the stage set onto speakers.
I felt a little ashamed watching his antics. I've always considered Weezer to be "geek rock", for the way my fellow geeks have embraced these guys as one of our own. The look, the attire, the meticulous attention to detail, their music evolution throughout their seven-album catalog. But that night, Rivers seemed more like a dork (heck, they all did with guitarist Brian Bell in a polo shirt, Rivers in his red jacket over the top of a polo shirt, bassist Scott Shriner in a brown kilt, and drummer/guitarist Patrick Wilson in a faded gray T-shirt and plaid green and blue shorts) with how he was flailing his arms around while "dancing" and belting out the lyrics. As the song came to an end, he tried to take one of the production crews' cameras and hoist it up on his shoulder, with mic still in hand and singing the last few lines. Someone should have given that kid a guitar...
The rest of the night continued in mostly the same manner as they played a nice variety of songs from the Blue Album to Raditude. After being troublemakers, Weezer charged through Undone (The Sweater Song) and Surf Wax America, to a "medley" of Trippin' Down the Freeway and Keep Fishin'. I use quotes there because they only did a few lines from Keep Fishin'. I wish they would have played more of that song. It's one of my top five favorite Weezer songs (if you want to know why, check out the music video).
After that medley, they played Perfect Situation, and then Dope Nose, with Scott taking on the lead vocals for Rivers. Over the last several years, from about Make Believe onward, Weezer has shifted away from being a Rivers-ocracy towards involving the rest of the band more in the performance and authoring process. That's a good thing. Scott, Brian, Patrick and are all very talented musicians in their own rights, and they bring a nice contrast to both Rivers' musical and lyrical style. I would have liked to seen more of this, maybe next time.
Next on the setlist was one of Weezer's crown jewels: Say It Ain't So. For most of the night, and ESPECIALLY during this song, I sang along at the top of my voice. This was also one of the first songs where Rivers was playing guitar while he sang (a VERY NICE white Gibson SG). After they finished this song, the rest of the band took a bit of a break while Rivers switched to an acoustic guitar and started out with a solo performance of Island in the Sun. This was a cool and collected performance, but as soon as Rivers completed the second chorus and went into the bridge, the rest of the band joined back in and turned it back up to 11. An excellent job kicking the show back into high gear, almost like a second wind.
After some Can't Stop Partying action, there was some more intra-band collaboration when Brian and Rivers shared the duties of lead vocals on El Scorcho. They played My Name Is Jonas, then made the turn at third and started bring it home by going to their bread and butter of their more recent hits, Beverly Hills and Pork and Beans, the lead singles off Make Believe and the Red Album, respectively.
They finished their set with a two-song medley. I didn't recognize the first half, so I made a note of the lyric "control yourself, take only what you need" to look it up online later. I found out it was MGMT's Kids. I'd never heard of it before, but after listening to their original version, I think Weezer did a better job with it than they did. The second part of that medley stabbed me in the back. Lady Gaga's Pokerface. Ugh, now I was REALLY embarrassed. I don't care for most pop stars from the last ten years, and even less of those who dress in ridiculous costumes like she does. But again, Weezer made an improvement over her version of that song.
The show was over after this final song. Or was it? No, of course not. Weezer came back on stage a couple minutes later to perform (If You're Wondering If I Want You To) I Want You To, the lead single off their most recent album, Raditude. Finally, THE Weezer song, Buddy Holly. And that was it, more than an hour and a half later. A very solid, balanced setlist from their 18 years together.
A few things to nitpick on after it was over. They only played one song from Pinkerton. I would have loved another one from that album, like Falling for You or maybe Why Bother?. As I mentioned before, they should have also played Keep Fishin' in its entirety. A little more Patrick Wilson; he seemed a little too quiet for the goofball he can be (check out the Photograph music video; there's a guy who really enjoys life). And I can never get enough Weezer. I wish they could have played a few more songs, at least enough to fill up another 20-30 minutes.
Overall, I give the concert a 9.5 out of 10. There was very little filler between songs, and they touched upon many of the top-tier tunes. I had been worried that I would have never seen my favorite band perform live after the bus accident last winter that almost took Rivers from us. I don't have to worry anymore; I'm as good as he and the rest of was on stage that evening.
Monday, July 5, 2010
You guys could learn a thing or two...
Even though Weezer is and will forever be my favorite band, and I fell head over heels in love with The Donnas last Labor Day, I really think Green Day is the team to beat now.
If Green Day continues the musical and commercial success they've had over the last 12 months, the bands in my top two could fall out of their respective rankings. How can Weezer and The Donnas solidify their spots? Easy, just borrow from Green Day's playbook.
For example, Rivers Cuomo and the rest of Weezer should go back to Songs From the Black Hole. This album was planned as the follow up to the Blue Album, but the idea eventually fell apart and the end result was Pinkerton (which itself was a good album, but not the immediate commercial success that the Blue Album was, and more or less caused Cuomo to disappear from the scene for a few years). With the success of the American Idiot musical on Broadway, maybe it's time for Weezer to go back to that fountain. They can make it work, Rivers is just a musical genius, and I'm sure he and a broadway director would hammer out a damn good show.
As for The Donnas, they should also release their own Rock Band title. I love playing Green Day: Rock Band, even more than Rock Band 2. I realize that The Donnas: Rock Band is probably more of an EA decision than anyone else's, but I've thought most of this out. Three of the four venues would be Hugh Center Court at Jordan Middle School in Palo Alto, CA, site of their first performance when they were still in the eighth grade; the auditorium hosting the battle of the bands in the Take It Off music video; and Pappy and Harriet's Pioneertown Palace, site of Desert Moon 2, the holy grail of live Donnas performances. As for the song list, I think there'd be significant overlap with this sampler platter playlist and the DM2 setlist. I don't think you'd have full albums like GDRB, but definitely 4-5 songs from every single album they've released (might be a little tricky, though, since The Donnas have been on 3 separate record labels in their 17-year history).
I really can't make it any simpler than that. You have your orders, so get to work. :D
If Green Day continues the musical and commercial success they've had over the last 12 months, the bands in my top two could fall out of their respective rankings. How can Weezer and The Donnas solidify their spots? Easy, just borrow from Green Day's playbook.
For example, Rivers Cuomo and the rest of Weezer should go back to Songs From the Black Hole. This album was planned as the follow up to the Blue Album, but the idea eventually fell apart and the end result was Pinkerton (which itself was a good album, but not the immediate commercial success that the Blue Album was, and more or less caused Cuomo to disappear from the scene for a few years). With the success of the American Idiot musical on Broadway, maybe it's time for Weezer to go back to that fountain. They can make it work, Rivers is just a musical genius, and I'm sure he and a broadway director would hammer out a damn good show.
As for The Donnas, they should also release their own Rock Band title. I love playing Green Day: Rock Band, even more than Rock Band 2. I realize that The Donnas: Rock Band is probably more of an EA decision than anyone else's, but I've thought most of this out. Three of the four venues would be Hugh Center Court at Jordan Middle School in Palo Alto, CA, site of their first performance when they were still in the eighth grade; the auditorium hosting the battle of the bands in the Take It Off music video; and Pappy and Harriet's Pioneertown Palace, site of Desert Moon 2, the holy grail of live Donnas performances. As for the song list, I think there'd be significant overlap with this sampler platter playlist and the DM2 setlist. I don't think you'd have full albums like GDRB, but definitely 4-5 songs from every single album they've released (might be a little tricky, though, since The Donnas have been on 3 separate record labels in their 17-year history).
I really can't make it any simpler than that. You have your orders, so get to work. :D
Sunday, June 27, 2010
Medical update - 6/27/10
Let's start with the good news. My back is doing much better. It was giving me the usual problems last Monday (6/21), plus some extra aching in my middle back, to the left of my spine. Then at about 9 or 10 that evening, I was able to stand fully upright once again, and have been able to do so ever since. Physical therapy has helped as well, especially the electro-massage on my lower back. My spine still looks like it's out of alignment, I've got a cortisone injection tomorrow morning, then two more physical therapy appointments next week. I'm trying to avoid overexerting myself at work. I'm using the spare roller backpack to "carry" my laptop, using the cart to move equipment around (regardless of size), and taking the elevator to my desk (I know the building only has 2 floors, but still...). The ultimate test will be to hit some golf balls; will have to MAYBE give it a shot next weekend (depending how this week goes, painwise).
The bad news? It's REALLY bad. Met with my doctor on Wednesday, and he informed me that I likely have MS. He can't say with 100% certainty, though. The lumbar puncture indicates I do. The MRI and vision problems do as well. But since my vision problem is the first and only attack, they can't absolutely confirm I have MS, until I have another one.
What does this mean? I'll start treatment to prevent additional symptoms soon. The doc gave me a bunch of homework on various steroid medications that I'd have to go on. I need to go through it and pick one. All of them are about the same; it's a question of how often I'll need to inject them and where I need to inject them (subcutaneously or intramuscularly). Also means I'll need to get yearly MRI's. It's not going to be cheap, either. Insurance will cover most of it, drug companies have programs set up to cover a good chunk of the rest. My doctor is also looking into getting me into a study program for a new oral medication; we'll see how it plays out. Follow up with him is at the end of July, but I'll probably select a treatment program before then. However, there's no guarantee that I'll fully get my vision back.
I'm not too worried about all that, though. I'm trying to think more bigger picture. How this is going to interfere with my life, which I've decided is zero. I'm going to continue being me, like nothing was ever wrong. In fact, I'm gonna start living like tomorrow's my last day on earth (even though it isn't). Prime example: I'm going to the Twin Cities in a couple weeks to see Weezer in concert. I had some concerns about my back problems stopping me, but this whole thing makes me realize that I can't be passing up opportunities like this.
On the other hand, this does handcuff me to my current job, I had thought about quitting so I could move to the Twin Cities and go full-steam on my search for a new one. But I certaintly can't do that now, or I'd lose my insurance coverage (I've been told by friends if I actively have insurance going into my next job, the new provider can't play the "pre-existing condition" card).
Again, I don't want to talk about this much further. That's all I've got to say about that. Let's talk about something else. Go out, grab a drink, maybe a bite to eat and discuss sports, music, movies, stories. I don't care, just anything but my impending doom.
Thank you all for all the good vibes you've been sending my way. Please keep 'em coming. And I hope to hear from you soon.
The bad news? It's REALLY bad. Met with my doctor on Wednesday, and he informed me that I likely have MS. He can't say with 100% certainty, though. The lumbar puncture indicates I do. The MRI and vision problems do as well. But since my vision problem is the first and only attack, they can't absolutely confirm I have MS, until I have another one.
What does this mean? I'll start treatment to prevent additional symptoms soon. The doc gave me a bunch of homework on various steroid medications that I'd have to go on. I need to go through it and pick one. All of them are about the same; it's a question of how often I'll need to inject them and where I need to inject them (subcutaneously or intramuscularly). Also means I'll need to get yearly MRI's. It's not going to be cheap, either. Insurance will cover most of it, drug companies have programs set up to cover a good chunk of the rest. My doctor is also looking into getting me into a study program for a new oral medication; we'll see how it plays out. Follow up with him is at the end of July, but I'll probably select a treatment program before then. However, there's no guarantee that I'll fully get my vision back.
I'm not too worried about all that, though. I'm trying to think more bigger picture. How this is going to interfere with my life, which I've decided is zero. I'm going to continue being me, like nothing was ever wrong. In fact, I'm gonna start living like tomorrow's my last day on earth (even though it isn't). Prime example: I'm going to the Twin Cities in a couple weeks to see Weezer in concert. I had some concerns about my back problems stopping me, but this whole thing makes me realize that I can't be passing up opportunities like this.
On the other hand, this does handcuff me to my current job, I had thought about quitting so I could move to the Twin Cities and go full-steam on my search for a new one. But I certaintly can't do that now, or I'd lose my insurance coverage (I've been told by friends if I actively have insurance going into my next job, the new provider can't play the "pre-existing condition" card).
Again, I don't want to talk about this much further. That's all I've got to say about that. Let's talk about something else. Go out, grab a drink, maybe a bite to eat and discuss sports, music, movies, stories. I don't care, just anything but my impending doom.
Thank you all for all the good vibes you've been sending my way. Please keep 'em coming. And I hope to hear from you soon.
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