August 14th through 16th was the Philadelphia Folk Festival and I had the opportunity to spend Saturday (the 15th) at its magical shire

The mermaids look a lot different that what you'd imagine from the stories

Being my first time at this long running festival, I had no real idea what to expect outside of dudes not wearing shirts and a butt load of acoustic guitars. Well, the festival definitely delivered on both those features (delivered in spades) but there was a ton of other stuff too.

The area they have this shindig is, well, dang near perfect. A large river runs through thick woods, music is heard throughout them from secret stages sprinkled throughout, and a large stage for the main acts sits at the bottom of a big hill decorated with the chairs and blankets of the sprawled out audience. People seem to be running back and forth between their tents, the various vendors tables, the river for a quick swim, and the stages for a listen of some of the music. Though I only spent one day there I could easily imagine filling an entire weekend.

The music was great, perfect for laying out in the sun and letting wash over you. Tune-age varied from folk to bluegrass to dudes with big honkin’ harps.

People there were awesome too. A vibe just flowed from everyone and made me want to spend two nights there all the more. I COULD HAVE MADE FRIENDS! Do you know how unique this situation is for a dude with as many Transformer toys as me?

Like a four leafed snowflake. That unique.

What I learned today: Cooking is a science. You come up with a theory and test it out then learn from the data. Last tested theory: I can make Pad Thai? Data received: This is a lie.

Writer’s Note: This article originally appear in La Salle Univeristy’s student run newspaper The Collegian.

The Roots: theory becomes fact

By Nick Elmer
Collegian Editor
September 13, 2006

The Roots’ newest magic shiny music plate (a.k.a. – CD), Game Theory, hit the stores on Aug. 29. An amazing album, Game Theory manages to keep from sounding repetitious during all of its 13 tracks.

The album sports the “big band” feeling more than other recent releases. The sense of camaraderie is especially strong in tracks like “Don’t Feel Right”, “Here I Come” and the title track. Picturing the band members playing and having the time of their lives in your head will come as second nature while listening to these tracks. Picturing yourself playing along with them on an instrument that is fun but simple to work (I think blowing into an empty jug would be appropriate), so as to not mess up their groove, is also relatively easy.

Game Theory is much darker lyrically than previous Roots albums, but the tracks themselves are appropriately diverse. A listen through the album will present the audience with varying emotions. Tracks like “Don’t Feel Right” and “Long Time” present the sadness of living in a world such as the one we live in now. “In the Music” is angry and lets you know it. Goodness gracious, does it ever let you know it!

Then a track like “Here I Come” will play, and the energy from the song will pick you right up after listening to the other tracks. Listening to this album as a whole will take you through “a day in the life” of The Roots’ collective minds.

The band’s last album, The Tipping Point, only gently persuaded the listener to maybe bob his head a bit or, if he’s up to it, tap a foot. Game Theory demands movement. Not awkward flapping around movement though, cool movement. Honestly, if you do not look cool while listening to Game Theory, or at least find yourself certain that you look cool, you are doing something wrong.

Old timey fans may be upset with the group’s continuing lean towards a rock and roll sound, as opposed to their jazz beginnings. But the album may appeal to newer listeners more than Roots connoisseurs.
Game Theory sports some of the most solid hip-hop a person can find these days. The songs are diverse enough to suit any person’s tastes at any moment of his or her life. To top off this musical wedding cake (since I keep mentioning “taste” and now I am hungry), every song on this album is great. Your skip buttons are going to start wondering why you never come to see them anymore after popping this disk in your CD player. Luckily, you’ll never miss them.

Writer’s Note: This article originally appear in La Salle Univeristy’s student run newspaper The Collegian.

Say Anything lives up to name

By Nick Elmer
Collegian Editor
October 31, 2007

After the release and then re-release of Say Anything’s …Is a Real Boy, fans have been impatiently awaiting the next installment of singer/songwriter Max Bemis’ toe-tapping, finger-snapping, horrible life.

In Defense of the Genre, the band’s new double-disced concept album about first loves and going crazy (based on the time Bemis first fell in love and went crazy) fills the need. With a hearty serving of defeat, righteously indifferent anger and self-proclaimed triumph, the album feels comfortably of a Say Anything release.

The formula’s intact, no worries there, but that doesn’t mean the release is without its innovations.

Say Anything fans will be satisfied with Bemis’ epic songs of disappointing, lukewarm relationships and frequent satire of the genre it inhabits. The catchy psuedo-showtune-hard-rock-emo hybrid melodies are still present in this album.

This time, though, the monster has leveled up with lots of synthesizers, more female back-up voices, some good oldfashioned Ma and Pa progressive rock time signature changes and the ability to cast “Fireball.”

It’s these new components (minus the fireball) that make the band feel like it’s moving forward in advanced territory. …Is a Real Boy can be considered a 100 or 200 level class in this manner while In Defense of the Genre is an upper 300 level class at the very least.

So you might not want to consider taking it unless Say Anything is your major or a minor you are really serious about. On a side note, everyone happy with their schedules next semester? Yes?

The double album suffers from being unnecessary. Many songs sound like additional thoughts tacked on to previous tracks. They could have easily been one song, just as this release could have easily been a one-disc affair. The double disc’s saving grace is that the release is sold at the price of a single album. So it can be thought that you are purchasing a single album with lots of “commercial breaks” or “background music.” Use these lulls during your listening to go to the bathroom, think of the cool song you just listened to, or get more chips. I can’t decide for you; I’m not in your shoes, man.

While the music on this album is more interesting than previous Say Anything releases, the lyrics are less clever and biting. Maybe the band just ran out of things to say and would rather rock out, or maybe they decided to focus on the song titles (which include such fun-to-type gems as “Retarded in Love” and “You’re The Wanker, If Anyone Is”).

Since the music is so infectious and the lyrics are not that great, it’s an unfortunate side effect to find oneself singing along to such dreadfully uninspired, yet catchy, choruses like “Girlfriend now/I have a girlfriend now/No way, no how/I have a girlfriend now” (“Girlfriend”) or even worse, “She drives me insane/She drives me insane!” (“Have at Thee!”). It can be a little embarrassing to be caught doing this by one’s Transformers Grimlock action figure.

Regardless, Say Anything satisfies its fans with this release while pushing itself forward musically. It’s just a shame the lyrics are not up to snuff and there’s so much empty space in this double album. New listeners might want to pick up …Is A Real Boy for a heartier music selection and then, if they find themselves with the Bemis-bug, snatch up In Defense of the Genre at a later date.