Saturday, November 24, 2012
Made Whole Again
I came back to Richmond for Thanksgiving, yearning for something familiar, aching to be able to relax, and, quite literally, exhale.
First, let me say that I love my mom, and I am very grateful she could host me this week, saving me the cost of a hotel. About six weeks after I left Richmond for Atlanta in August, mom left the apartment we shared and moved into a Senior Living Unit. It's a very cozy apartment, perfect for one person.
What that meant was that, even though mom fixed the full Thanksgiving meal (and it was FANTASTIC), her current abode didn't lend itself to me feeling completely comfortable. It is like a hotel that I am using, with the great added bonus of having mom nearby to talk to. Still, the setting meant that I couldn't quite relax.
I realized after being here for a couple of days that I don't miss Richmond very much at all. The city itself holds very little for me now.
It's the friends and family I miss.
I (intentionally) kept a very low profile upon my return. Tuesday, driving around running errands, mom and I passed Anthem.
"Wanna go say hi [to your former co-workers]?" mom asked.
Truthfully, I would've given my right arm and all the cash in my wallet to see Beth right at that very moment. But I couldn't even think about seeing Frank, Tony or the other wonderful people I used to see everyday. For a millisecond, my heart leapt at the prospect of popping in on Beth unannounced, but as soon as that feeling briefly swept over me, I answered quickly and directly.
"Oh, god no! I couldn't possibly go in there. That would be...too much."
Again, not that I didn't want to see Beth or Frank (and yeah, everybody else). It's just that I knew I wouldn't be able to answer the one question I was certain to hear:
"So, how are you doing?"
That question has had a very complicated answer for the past four months.
I saw Beth, as planned, on Friday. How long had I been waiting to see her? The night before I left Richmond, (August 13), I set a Countdown clock on my iPad for November 23, so quite literally the minutes ticked away. I went about my daily life, but I kid you not when I say a small part of me was always waiting. I would go days without checking the minutes remaining, because that hard number made it seem so distant, like it would never arrive.
I was never like that about Christmas as a kid. This whole thing was new for me. I hope she believes me when I say I miss her "more than I should be allowed to, and more than anyone who is not a relative should..."
Beth and her husband Seth arrived shortly after 1, and we decided to go to Five Guys for lunch, since I hadn't had a Five Guys burger since I moved. Like a chemical reaction, as soon as I sat in the passenger seat of their SUV and clicked the seatbelt -- a seat I had taken countless times over the years when Beth and I would go out to lunch in the middle of our workday -- even though Seth was driving this time, I immeadiatly felt I could relax; I finally exhaled.
After lunch, Frank called Beth and plans were made to meet Frank and his wife Carol for drinks. I initially was hesitant, but I'm thrilled I went. It was great to see them again and catch up.
The rest of the day and evening was spent at Chez deTreville, talking in the den while the television droned on in the background. No big plans, which was exactly how I wanted it. I had emailed Beth in late October, stating "I don't care what we do, or where we do it. I simply want to bask in the glow of "The 'Eths" for a night", and that's exactly what I did.
I love and live for our reunions, and while the moment is happening, I'm immersed. It's the leaving that devastates me.
Beth and I refuse to say goodbye to one another. I would say it's an unspoken rule as the night comes to an end, but I'm sure this summer, one of us stated out loud hat we were not going to say the word "Goodbye".
Now, as I write this, a few hours removed from getting one last hug in the parking lot, I really don't know when I'll see her again. It could be many months from now. While I can't say I'm happy about that, I can tell you that I know two things for certain:
A week after I left Anthem, I was riding around town with my brother Brian. He asked, "How ya feeling?"
My answer to him was, "I'm...okay. I stand by all of [what I chose]...except I don't know how I'm supposed to function without seeing Beth everyday."
"Oh", Brian said, "that'll pass. "
Well, one of the two things I'm certain of tonight is, no, it doesn't pass or fade. You cope. Because you have to.
Lastly, the night of my last day at Anthem in July, I compared not seeing Beth everyday to losing my right arm. While it's true that you can never really go home again, for a time on this Friday after Thanksgiving, I guess you could say I was made whole again, and it was wonderful.
Atlanta has a lot that I love. Richmond will always have my right arm.
Barry
11.25.12
3:16am
Saturday, October 27, 2012
It Wasn't Supposed To Go Like This [Atlanta Tales, Volume Four]
There was a night, in November 1994, when I was at my absolute lowest. I was 21, in a hospital bed and had just had my colon removed a few weeks prior. Now, on this night, doctors told me complications had arisen and the newly configured digestive tract had turned over on itself, causing anything I ate or drank to be trapped in my stomach. Doctors told me that night that the following morning they would have to go back in surgically to correct the issue if things didn't improve overnight.
As I turned out my bedside light, I resigned myself to another very long ordeal and a new recovery. I said, to no one or nothing in particular, "Okay, if I don't wake up tomorrow, that's fine with me. At this point I am tired of fighting, and if everything ends tomorrow, so be it." I told myself silently, as I listened to Procol Harum's "A Whiter Shade of Pale" on headphones in the dark, 'If I wake up tomorrow, I'll fight. I'll hate it, I'll complain...but I'll fight.'
Apart from the week my father died in 2001, no period in my life has ever had me feeling so emotionally beaten and insecure as that night in 1994.
That is, until this past week.
Even with the release of Taylor Swift's new album, this week was where I hit my emotional wall, or my emotional rock bottom. To quote a lyric from the new record (from a song that has been on repeat a lot this week), "I might be okay, but I'm not fine at all."
Back on Thursday, October 18, I had two interviews for jobs; one was in person and one was on the phone. And then, the following day, I landed another phone interview. All three positions were for Help Desk Support, and all three interviews went very well. I particularly felt I had 'knocked the in person interview out of the park'. After those three interviews in two days, I was confident enough to feel that things were finally breaking my way, but cautious enough that I only mentioned the interviews to two friends via text.
Wednesday I had to run an errand that could not be avoided, even though my knees were very sore and I really didn't feel well. I got back a couple of hours later from running that errand and looked at my phone to see a new email message. It was a 'Thanks but no thanks....' automated email from one of the three interviews.
That's when I hit my emotional wall and I kinda sorta lost it for an hour. I screamed. I threw books at bookshelves, hurled my cordless computer keyboard toward my bedroom wall. (It still works...not as cheaply made as I thought.) I was a complete and total emotional wreck.
After the episode was over, I took a bath to calm down. After getting dressed, I heard my phone's 'email notification' bell sound again, so I checked it. It was another 'Thanks but no thanks...' email, this time from the in person interview that I thought had gone so well a week earlier.
I was too numb to be mad. I texted a friend to tell her of the recent events and then I decided to go see a movie. As I sat in the theatre waiting for the previews to start, I was completely convinced that I would never be hired again. (If you're curious, I saw 'Seven Psychopaths'; good film. Sam Rockwell annoyed me to no end, but the movie is worth seeing for Christopher Walken.)
While I continue to send resumes and apply for jobs, my confidence, which was flying high a week ago this time, is now completely shot.
The ugly truth is, being broke sucks, no matter your zip code. While I am not actually broke, I'm close. I know I can pay rent for November. December? That's an unknown right now.
In an effort to save money, it's been a steady diet of peanut butter sandwiches and Cheerios. That's fine with me right now. It's not that I don't have other food, I do. My freezer has lots of chicken, hamburger and two steaks, but this week especially I have not felt motivated to cook much of anything.
I'm just tired. Tired of fighting. Tired of being turned down for jobs I am more than qualified for. Tired of asking and hoping for things that never materialize.
Trust me, all day every day, the phrase "You chose this!!" echoes loudly in my head.
Plan B? I don't know yet exactly. On Thursday I heard back from the third interview. They like me, but they don't foresee any openings for 30-60 days. I can't wait that long, so at some point, I will begin to make some very tough decisions, especially if things don't improve soon.
The morning after that dark night in November 1994, I woke up and doctors found that things had improved overnight, so a second surgery was avoided. I fought and I recovered.
I'll keep fighting now, but I admit, it's much easier to fight at 21 than it is at 39. Whereas my definition of 'winning the fight' in 1994 was being able to eat a full meal again, my definition tonight for 'winning the fight' is not going crazy.
It's gonna be a long fight...
--Barry
Tuesday, October 23, 2012
Taylor Swift Sounds Confident, Mature And Melancholy on "Red"
First, I readily, happily admit that I am a Taylor Swift fan, so if you are looking for a purely objective review of her new album, you won't find it here.
Okay. Now, on to the review.
It took four studio albums, but Taylor Swift has finally written her 'break up album'. Oh sure, all of her albums have breakup songs {most famously, "Dear John" from 2010's 'Speak Now'], but with her latest effort, titled 'Red', Taylor explores the pain, regret and even wistfulness of love found and love lost. It's a theme that colors all sixteen songs and, despite some great moments of pop and dance, the mood is melancholy.
That the various stages of relationships are covered in song should surprise no one. Also, it really shouldn't surprise her fans that this album is mostly 'pop' and not very 'country', though if country radio is smart, they will play any and all songs they can from what is sure to be another platinum seller. (In fact, I bet Swift breaks her own record and sells over one million copies in the initial week). Genres don't really matter when an album sells, everyone wants a part of it, so you'll be just as likely to hear a song from 'Red' on the Top 40 pop radio station as well as country radio.
The opener, "State of Grace" has huge guitars in an obvious nod to U2, "I Knew You Were Trouble" sounds like it could be a Katy Perry tune, and the title track 'Red' has a vocal effect on the chorus that sounds like something I heard on the last Lady GaGa record. Even with these moments that bring to mind other artists, what sets this album apart from most, even from Taylor's other releases is the confidence and self-assuredness in her lyrics and vocals. She's at the top of her game.
Unlike 2010's "Speak Now", which saw Taylor write all of the songs by herself, with "Red" she's back collaborating with some big names. Max Martin, who co-wrote and produced the album's lead single, "We Are Never Ever Getting Back Together" has worked with Justin Timberlake, Britney and Kelly Clarkson, just to name a few. Dan Wilson, who co-wrote 'Treacherous", also co-wrote tracks on Adele's Grammy-winning '21' disc. The most welcome name though for me is co-writer Liz Rose, who helped Swift pen 'You Belong With Me' and 'Fearless' in 2008. For "Red", Rose and Swift write what I think is the album's strongest track, 'All Too Well', a song that I assume is about the infamous relationship Taylor had with actor Jake Gyllenhaal, which began just before Thanksgiving 2010 and was over before Taylor's 21st birthday that December. But, unlike other songs in her catalog, Taylor doesn't name drop here. Instead, she paints a very vivid picture of the pain and heartache that follows any breakup, and notes how most of us save at least one keepsake from a past relationship, even if it's against our better judgement.
While I feel the album's overall tone is somewhat sad, there are still some upbeat, even funny moments. "Stay, Stay, Stay" is a song with such a catchy chorus that I dare you not to sing along before the song ends. A bit of Taylor laughing after finishing a vocal take is included, which only adds to the fun. "22" and the aforementioned 'I Knew You Were Trouble" are made for the dance clubs, suitable for remixing by DJs. And the album's closing track, 'Begin Again' leaves the listener on a hopeful, positive note that love will find us once more.
There's a lot here, a lot to take in, and even though the theme is constant throughout, it never gets boring or predictable. On a personal note, for me, the song that has been on repeat the most today has been 'I Almost Do.' While I'm not mourning an ordinary breakup, the lyrics sum up my mood right now in much the same way "You Belong With Me' spoke to me on a very personal level when I heard it for the first time. It doesn't matter if you're fifteen, twenty-two or thirty-nine years old, if you've loved with everything you had, and then survived the breakup, there's something on this album you will identify with.
As a listener, that's the moment when you rediscover why you love music.
RED - Taylor Swift
State of Grace
Red
Treacherous
I Knew You Were Trouble
All Too Well
22
I Almost Do
We Are Never Ever Getting Back Together
Stay Stay Stay
The Last Time (featuring Gary Lightbody)
Holy Ground
Sad Beautiful Tragic
The Lucky One
Everything Has Changed (featuring Ed Sheeran)
Starlight
Begin Again
Target Deluxe Edition Bonus Tracks:
The Moment I Knew
Come Back... Be Here
Girl At Home
Treacherous (Original Demo Recording)
Red (Original Demo Recording)
State Of Grace (Acoustic Version)
Thanks for reading,
Barry
Okay. Now, on to the review.
It took four studio albums, but Taylor Swift has finally written her 'break up album'. Oh sure, all of her albums have breakup songs {most famously, "Dear John" from 2010's 'Speak Now'], but with her latest effort, titled 'Red', Taylor explores the pain, regret and even wistfulness of love found and love lost. It's a theme that colors all sixteen songs and, despite some great moments of pop and dance, the mood is melancholy.
That the various stages of relationships are covered in song should surprise no one. Also, it really shouldn't surprise her fans that this album is mostly 'pop' and not very 'country', though if country radio is smart, they will play any and all songs they can from what is sure to be another platinum seller. (In fact, I bet Swift breaks her own record and sells over one million copies in the initial week). Genres don't really matter when an album sells, everyone wants a part of it, so you'll be just as likely to hear a song from 'Red' on the Top 40 pop radio station as well as country radio.
The opener, "State of Grace" has huge guitars in an obvious nod to U2, "I Knew You Were Trouble" sounds like it could be a Katy Perry tune, and the title track 'Red' has a vocal effect on the chorus that sounds like something I heard on the last Lady GaGa record. Even with these moments that bring to mind other artists, what sets this album apart from most, even from Taylor's other releases is the confidence and self-assuredness in her lyrics and vocals. She's at the top of her game.
Unlike 2010's "Speak Now", which saw Taylor write all of the songs by herself, with "Red" she's back collaborating with some big names. Max Martin, who co-wrote and produced the album's lead single, "We Are Never Ever Getting Back Together" has worked with Justin Timberlake, Britney and Kelly Clarkson, just to name a few. Dan Wilson, who co-wrote 'Treacherous", also co-wrote tracks on Adele's Grammy-winning '21' disc. The most welcome name though for me is co-writer Liz Rose, who helped Swift pen 'You Belong With Me' and 'Fearless' in 2008. For "Red", Rose and Swift write what I think is the album's strongest track, 'All Too Well', a song that I assume is about the infamous relationship Taylor had with actor Jake Gyllenhaal, which began just before Thanksgiving 2010 and was over before Taylor's 21st birthday that December. But, unlike other songs in her catalog, Taylor doesn't name drop here. Instead, she paints a very vivid picture of the pain and heartache that follows any breakup, and notes how most of us save at least one keepsake from a past relationship, even if it's against our better judgement.
While I feel the album's overall tone is somewhat sad, there are still some upbeat, even funny moments. "Stay, Stay, Stay" is a song with such a catchy chorus that I dare you not to sing along before the song ends. A bit of Taylor laughing after finishing a vocal take is included, which only adds to the fun. "22" and the aforementioned 'I Knew You Were Trouble" are made for the dance clubs, suitable for remixing by DJs. And the album's closing track, 'Begin Again' leaves the listener on a hopeful, positive note that love will find us once more.
There's a lot here, a lot to take in, and even though the theme is constant throughout, it never gets boring or predictable. On a personal note, for me, the song that has been on repeat the most today has been 'I Almost Do.' While I'm not mourning an ordinary breakup, the lyrics sum up my mood right now in much the same way "You Belong With Me' spoke to me on a very personal level when I heard it for the first time. It doesn't matter if you're fifteen, twenty-two or thirty-nine years old, if you've loved with everything you had, and then survived the breakup, there's something on this album you will identify with.
As a listener, that's the moment when you rediscover why you love music.
RED - Taylor Swift
State of Grace
Red
Treacherous
I Knew You Were Trouble
All Too Well
22
I Almost Do
We Are Never Ever Getting Back Together
Stay Stay Stay
The Last Time (featuring Gary Lightbody)
Holy Ground
Sad Beautiful Tragic
The Lucky One
Everything Has Changed (featuring Ed Sheeran)
Starlight
Begin Again
Target Deluxe Edition Bonus Tracks:
The Moment I Knew
Come Back... Be Here
Girl At Home
Treacherous (Original Demo Recording)
Red (Original Demo Recording)
State Of Grace (Acoustic Version)
Thanks for reading,
Barry
Thursday, October 4, 2012
Thanks Chipper! [Atlanta Tales, Volume Three]
The regular season has ended for Major League Baseball. No teams ended in a tie, forcing a one game playoff....but thanks to Commissioner Bud Selig's new fangled playoff format, there will be two Game 7s...without playing Games one thru six.
See, this year there are two additional Wild Card teams, which now means TEN teams make the playoffs [WTF is this, HOCKEY??] Anyway, the two Wild Card teams now play one another on Friday. The winner advances to what used to be the first round of the playoffs, the Division Series. The Braves host the St. Louis Cardinals at 5pm on Friday, and I will be there.
It could be the start of a deep run into the postseason...or it could all be over by 8pm Friday.
My stomach will be in my throat for the entire day, I promise you that.
But, before that nerve-wracking exercise in stress overload commences, let me take a moment to look back at the portion of the 2012 season I was able to see in person.
I saw 19 games at Turner Field, beginning with an August 14th win against San Diego, and ending with a September 30th win over the Mets. I only missed one series, the weekend of August 17-19 against the Dodgers, partially because I wasn't originally planning to be in Atlanta until August 20, so I never bought tickets for that series, but mainly because the night of the 17th was spent buying and installing a new TV with friends Vickie and Travis, and the 18th and 19th, friends Mimi and Mandy were in town...plus on the 19th I saw Duran Duran.
The Braves lost two of three of the games against the Dodgers that I did not see, but when I was in attendance, the club went an impressive 15-4. I saw Kris Medlin and Paul Maholm dominate from the mound, and most memorably, I witnessed two walk-off home runs; first on September 2 against the Phillies when the club came down from a 7-1 deficit to win it on Chipper Jones' three run home run, making the final 8-7. It will probably be the only time I will be rendered speechless at a ballgame. I don't even remember screaming, though I am sure I did. I just remember thinking for the next hour as I made my way home, 'Did that really happen? Did I really see that?' It has been called the best ending to a regular season game in Atlanta Braves history. I truly felt privileged to be there.
The other walk off moment happened on September 25 against the Marlins. The Braves were behind 3-2 in the ninth. Funny thing is, no one in my section of the park at least publicly doubted that the team would win it. The inning began with a double by Chipper, and Freddie Freeman took the third pitch he saw deep into the Atlanta night, winning the game and securing a spot in the playoffs. I can't say that I expected a walk off home run, but I was not at all surprised that the Braves won that game.
The other moment I was very happy to be there for was 'Chipper Jones Night' on Friday, September 28, It was the first of what would be three sellout crowds at The Ted that weekend, and while The Ted will never be as loud as old Fulton County Stadium [simply because the sound doesn't reverberate like it did at the Launching Pad], when Turner Field is sold out, it is amazing!
This was the game I wanted to see, because they had a 30 minute ceremony before the game honoring Chipper. I was there to see Pete Van Wieren and Bobby Cox, who both spoke about Chipper's career and place in baseball history. Appropriately, Bobby got the loudest ovation of the night, maybe of the entire weekend. No disrespect to current manager Fredi Gonzales, but there is and will only be one Bobby Cox, and he is missed since he retired at the end of the 2010 season.
Between innings of the game on Friday night, they showed video messages from teammates, legends like Hank Aaron and Michael Jordan and opposing players (Jeter). The line of the night though goes to catcher David Ross, who said in his video message to Chipper: "I remember my granddaddy tellin' me about seeing you play in the old days..." That line had me laughing for the rest of the night.
I thought as Braves Country said farewell to Chipper over three days, I would be a bit more emotional, but I wasn't. As I thought about it, so much of my life has changed in the last three months, that the fact that number 10 won't be at third base next season, while a bit of a letdown, doesn't make me sad. In fact, when he tore his ACL in Houston on August 10, 2010, I thought right then and there that his career was over. To his credit, his 2012 season has been one of his best ever, and the best by a player in his final season since Ted Williams in 1960. I'll miss Chipper, no doubt, but I have many important people in my life that, daily, I miss on a level that cannot be equaled by a baseball player. So, above all I am happy he is able to exit on his own terms, and his career will end as it began: in a Braves uniform.
But let's not say our final goodbye until very late in October, okay? There's still work to do, and it starts Friday!
Thanks for reading,
Barry
Sunday, September 16, 2012
Atlanta Tales, Volume Two
I figured it was time for another update, even though not a lot has changed since my last post. Well, I did turn 39 Saturday, but apart from that, the only changes have really been setbacks.
Item #1 and by far the most troubling for the last nine days has been severe swelling in my legs. Swelling was so bad on Monday (09/10) that, as I prepared to go to a grocery store, it became apparent that my legs were so swollen that I could not get my braces on; they simply would not fit. I had some slight swelling the first week I was in Atlanta in August, but it dissipated after a day or two, so to look at my legs and not be able to get braces or shoes on, I was shocked.
I spent Monday evening with my legs elevated, even while sleeping. When I woke up Tuesday, I could at least get my braces and shoes on, but it was a very tight fit. I managed to get to the drugstore, bought some over the counter fluid pills and potassium and hoped that would do the trick after a few days.
Well, here I am on Sunday evening and, truthfully, there has been no change in the swelling. I can still barely fit my braces and shoes on, but nothing is improving. The pain is minimal [it takes a lot for something to register on my pain scale]; the main thing is just annoying and puzzling that the swelling is happening and not decreasing.
So, even though I have tried to avoid it, I will be going to the ER on Monday whenever I wake up. I looked at some urgent care centers, but since I still have Virginia based insurance, urgent care centers will not accept it. Grady Hospital will [and yes, I know this from previous experience last year]. A friend asked why I didn't go to the ER this weekend once I realized the swelling wasn't going down? Well, I really didn't want to go to a hospital on my birthday and, as I have learned, nothing happens at hospitals on the weekend. So, I will go in Monday, hope they can give me some Lasix via IV and send me home. I really don't want to be admitted...but we'll see what happens.
Health is the only thing that can move the job search down to Item #2 on my list. Still sending resumes; still not hearing much of anything back in reply. I have even applied for ca;; center jobs that are for debt collections. At this point, I can't afford to be very picky any longer. Believe me when I say I am doing my best to remain positive, and I am leaning on a small circle of friends via text to help keep me focused. I know I would feel better if I were sleeping at night and I at least had some replies to my resumes.
Baseball remains a great distraction. The Braves are 8-3 in games I have attended this year, with a game tonite. Truthfully, the only time I am happy is at the ballpark. When I'm away from the ballpark, the reality I face is very scary.
Having said that, I spent the weekend watching WWII documentaries, knowing 'it could be worse...'
Here's hoping this is the week where it all changes for the better. For now, I am en route back to Turner Field to see the ESPN Sunday Night Game of the Week. I really don't like when the Braves play late on Sundays, but I have nowhere to be except the ER tomorrow so I'll deal with a very late night trip home. I will have no complaints if they get the win.
Thanks for reading. Wish the news was a little better, but better not to sugarcoat things, right?
Until next time,
Barry
Tuesday, September 4, 2012
Atlanta Tales, Volume One
I'll be honest, I've been putting off this blog for a long time. I originally intended to write one weekly once I arrived in Atlanta. Week One passed and I didn't feel like there were enough interesting things to write about. Week Two? I'd rather forget about Week Two completely. Wednesday, September 5 will mark 21 days as an Atlanta resident.
In some respects, it feels a lot longer!
So, your first question is probably, "How's it been so far? How great is Atlanta?"
I love this city and the fact that I can get around almost anywhere on my own, independently, without the need for a cab driver. That is a big plus that not many cities, especially Richmond, can offer. I'm not gonna lie though, it has not been an easy transition. In fact, it has been extremely difficult. As you may remember, I was approved to move into this apartment in mid-June. That's what really started the ball rolling on relocating. As a welcome bonus, in late July, I was contacted by a recruiter about a Help Desk job that was with a very well known company and on the MARTA line, and when I told him my move in date was in mid-August, he even had an interview with the hiring manager scheduled for Friday August 17th and, assuming I passed that (and based on my resume, he had no doubt I would) I was even given a 'very tentative start date' of September 4.
Key word? Tentative. On the morning of my scheduled interview (which was an in person interview that afternoon), I had a phone message from the recruiter that the HR Manager had cancelled all interviews for the day with no explanation.
During my second week in Atlanta, I had three great leads on jobs [not counting the canceled interview]. By Friday of week two, all three had evaporated. I'm still sending resumes everyday for at least three hours in the afternoon, but have yet to hear back on any.
To say that the situation has me stressed is a bit of an understatement.
Amid the stress and uncertainty, there have been several highlights during my time here thus far, such as:
* My first weekend here, I saw Duran Duran at an outdoor amphitheatre. In fact, part of the reason I moved a bit sooner than planned once my original moving plans fell thru was so I would be in town to see this band. My friend Mimi and her friend Mandy made the trip and saw the show. Since I bought a solo ticket long after Mimi and Mandy bought theirs, I ended up with a 12th row seat. I originally planned to write a review about the show, but when I woke up the next morning and read this review by Melissa Ruggieri (formerly the music critic for the Richmond Times-Dispatch and now the music critic for the Atlanta Journal-Constitution), I knew I could add nothing. She's pitch perfect in her synopsis and it is very apparent that she is a long time Duran Duran fan. The only thing I will add is that I did meet a very attractive fellow fan who was kind enough to invite me backstage. I declined for several reasons (I know...Sarah LeClaire will probably never speak to me again, but really, I'd rather the pass go to a fan who would freak out upon seeing Simon, Roger, John and/or Nick. I'm a fan, but I'm not that guy who needs or wants to meet Duran Duran.) I will say that it did wonders for the ego to be invited backstage. So, to fellow fan S, thank you...and you made my night!
*Of course, baseball is a great escape. Even on tough nights when the Braves lose, it's still a great escape. Friday night, the team had a one run lead in the 9th, only to have their closer Craig Kimbrel give up a tying home run and then the Phillies scored three in the tenth inning to win it. That wasn't easy to watch, but it was fun chatting up a very cute blonde sitting in my seat by mistake (I wasn't gonna ask her to move, and thankfully no one asked me to move from the seat I chose, which apparently was never purchased.) But what's one of the great things about baseball? You never know when something unforgettable is going to happen. Sunday night, after a listless first six innings where the team was down 7-1, the Braves cut it to 7-5 and, with 2-out in the 9th this happened.(Click the green arrow to hear the radio call). It was one of those moments where everyone who stuck around knew they had seen something special. And, as such, after the game ended, no one really wanted to leave the stadium. Everyone in my section stayed at least another ten minutes, high-fiving, screaming and just generally basking in the buzz that suddenly enveloped the place. I'm thrilled that I was there to personally witness a moment that people will be talking about for years to come.
While there have been great moments and I truly love the city, there have also been some setbacks. I am reminded of a line from a Sophia Loren film, maybe 'Divorce, Italian Style'? The line is 'Never divorce your wife to marry your mistress!' What's changed now that Atlanta is home and not just a yearly vacation spot? Walking. Lots and lots of walking. Now that Atlanta is no longer a mistress, we're at that phase where we are still crazy about one another, but we are learning a lot about one another, some of it quite surprising.
MARTA [which stands for Metro Atlanta Rapid Transit Authority] does allow me to get around town, but I have discovered that almost everything is a bit of a walk from a MARTA stop. I don't mind the walking while I am doing it. I usually have my iPod and headphones so I have a soundtrack as I walk around town (and there is very little cooler than lip-syncing the lyrics to 'The Seventh Stranger' while crossing the street en route to a train station), but when I finish walking and I am back at the apartment, within two hours or so, the leg/knee pain hits. And it doesn't let up for a long time; sometimes entire days. Last week (the forgettable Week Two) I stayed in for two days straight to rest, knowing eventually I would have to go out and start the cycle all over again.
I have a pedometer waiting for me in the business office. It came in the mail on Friday but the office where they dropped the package off locked up for the weekend before I got back to the apartment to retrieve it. I guesstimate that I average about four or five miles on foot when I go out. The masochist in me wants to know exactly how much I walk, just because I am sick and twisted like that.
The apartment itself is very old, and most of the appliances are on their last legs. The staff here are very nice but it does take about three reminders/follow up phone calls to get maintenance to complete a request. Currently my ice maker is disconnected because it was infested with mold and rather than bleach it (which both maintenance and I feared would cause each subsequent batch of ice to taste like, well bleach), they are awaiting parts to repair the unit. I doubt they still make parts for a 1986 ice maker...
Right now, I am very stressed, and I don't like that. Apart from wonderful friends Vickie and Travis, I have adapted to having almost no support system here locally, (that's what Facebook is for). I'm adapting to doing everything myself. The only item that needs to change, and soon, is the job. Until then, this will all seem like a very expensive folly. Once I secure a job and an income, then this place will begin to feel like home.
This has been the most emotional, nerve-wracking summer since my parents divorced in 1985. I got through that, and I will find a way through this.
Until next time, thanks for reading,
Barry
In some respects, it feels a lot longer!
So, your first question is probably, "How's it been so far? How great is Atlanta?"
I love this city and the fact that I can get around almost anywhere on my own, independently, without the need for a cab driver. That is a big plus that not many cities, especially Richmond, can offer. I'm not gonna lie though, it has not been an easy transition. In fact, it has been extremely difficult. As you may remember, I was approved to move into this apartment in mid-June. That's what really started the ball rolling on relocating. As a welcome bonus, in late July, I was contacted by a recruiter about a Help Desk job that was with a very well known company and on the MARTA line, and when I told him my move in date was in mid-August, he even had an interview with the hiring manager scheduled for Friday August 17th and, assuming I passed that (and based on my resume, he had no doubt I would) I was even given a 'very tentative start date' of September 4.
Key word? Tentative. On the morning of my scheduled interview (which was an in person interview that afternoon), I had a phone message from the recruiter that the HR Manager had cancelled all interviews for the day with no explanation.
During my second week in Atlanta, I had three great leads on jobs [not counting the canceled interview]. By Friday of week two, all three had evaporated. I'm still sending resumes everyday for at least three hours in the afternoon, but have yet to hear back on any.
To say that the situation has me stressed is a bit of an understatement.
Amid the stress and uncertainty, there have been several highlights during my time here thus far, such as:
* My first weekend here, I saw Duran Duran at an outdoor amphitheatre. In fact, part of the reason I moved a bit sooner than planned once my original moving plans fell thru was so I would be in town to see this band. My friend Mimi and her friend Mandy made the trip and saw the show. Since I bought a solo ticket long after Mimi and Mandy bought theirs, I ended up with a 12th row seat. I originally planned to write a review about the show, but when I woke up the next morning and read this review by Melissa Ruggieri (formerly the music critic for the Richmond Times-Dispatch and now the music critic for the Atlanta Journal-Constitution), I knew I could add nothing. She's pitch perfect in her synopsis and it is very apparent that she is a long time Duran Duran fan. The only thing I will add is that I did meet a very attractive fellow fan who was kind enough to invite me backstage. I declined for several reasons (I know...Sarah LeClaire will probably never speak to me again, but really, I'd rather the pass go to a fan who would freak out upon seeing Simon, Roger, John and/or Nick. I'm a fan, but I'm not that guy who needs or wants to meet Duran Duran.) I will say that it did wonders for the ego to be invited backstage. So, to fellow fan S, thank you...and you made my night!
*Of course, baseball is a great escape. Even on tough nights when the Braves lose, it's still a great escape. Friday night, the team had a one run lead in the 9th, only to have their closer Craig Kimbrel give up a tying home run and then the Phillies scored three in the tenth inning to win it. That wasn't easy to watch, but it was fun chatting up a very cute blonde sitting in my seat by mistake (I wasn't gonna ask her to move, and thankfully no one asked me to move from the seat I chose, which apparently was never purchased.) But what's one of the great things about baseball? You never know when something unforgettable is going to happen. Sunday night, after a listless first six innings where the team was down 7-1, the Braves cut it to 7-5 and, with 2-out in the 9th this happened.(Click the green arrow to hear the radio call). It was one of those moments where everyone who stuck around knew they had seen something special. And, as such, after the game ended, no one really wanted to leave the stadium. Everyone in my section stayed at least another ten minutes, high-fiving, screaming and just generally basking in the buzz that suddenly enveloped the place. I'm thrilled that I was there to personally witness a moment that people will be talking about for years to come.
While there have been great moments and I truly love the city, there have also been some setbacks. I am reminded of a line from a Sophia Loren film, maybe 'Divorce, Italian Style'? The line is 'Never divorce your wife to marry your mistress!' What's changed now that Atlanta is home and not just a yearly vacation spot? Walking. Lots and lots of walking. Now that Atlanta is no longer a mistress, we're at that phase where we are still crazy about one another, but we are learning a lot about one another, some of it quite surprising.
MARTA [which stands for Metro Atlanta Rapid Transit Authority] does allow me to get around town, but I have discovered that almost everything is a bit of a walk from a MARTA stop. I don't mind the walking while I am doing it. I usually have my iPod and headphones so I have a soundtrack as I walk around town (and there is very little cooler than lip-syncing the lyrics to 'The Seventh Stranger' while crossing the street en route to a train station), but when I finish walking and I am back at the apartment, within two hours or so, the leg/knee pain hits. And it doesn't let up for a long time; sometimes entire days. Last week (the forgettable Week Two) I stayed in for two days straight to rest, knowing eventually I would have to go out and start the cycle all over again.
I have a pedometer waiting for me in the business office. It came in the mail on Friday but the office where they dropped the package off locked up for the weekend before I got back to the apartment to retrieve it. I guesstimate that I average about four or five miles on foot when I go out. The masochist in me wants to know exactly how much I walk, just because I am sick and twisted like that.
The apartment itself is very old, and most of the appliances are on their last legs. The staff here are very nice but it does take about three reminders/follow up phone calls to get maintenance to complete a request. Currently my ice maker is disconnected because it was infested with mold and rather than bleach it (which both maintenance and I feared would cause each subsequent batch of ice to taste like, well bleach), they are awaiting parts to repair the unit. I doubt they still make parts for a 1986 ice maker...
Right now, I am very stressed, and I don't like that. Apart from wonderful friends Vickie and Travis, I have adapted to having almost no support system here locally, (that's what Facebook is for). I'm adapting to doing everything myself. The only item that needs to change, and soon, is the job. Until then, this will all seem like a very expensive folly. Once I secure a job and an income, then this place will begin to feel like home.
This has been the most emotional, nerve-wracking summer since my parents divorced in 1985. I got through that, and I will find a way through this.
Until next time, thanks for reading,
Barry
Sunday, August 12, 2012
The Rocky Horror Show at The Firehouse Theatre Project (Or, whaddaya mean I can't yell 'Asshole!'?)
The Rocky Horror Picture Show is (and has been for 40 years) a true phenomenon, inspiring generations of "freaks "; letting them know they are not alone.
That's a fantastic legacy for a play and film that has about 45 minutes of good material.
It's known mostly as a film that is at times so poorly paced and acted that fans in the 1970s began to fill silences onscreen by talking back to the movie. That's why it was a bit of a disappointment, though not unexpected, when I saw a note on the font of the program stating "audience participation is strictly prohibited".
Ah, bummer man!
Even though I know the film (very well), I didn't know what to expect seeing a live production; and the first surprise came with the first song, "Science Fiction Double Feature", sung by a very sultry and sexy Magenta (Joy Newsome). Newsome's time onstage is worth the ticket price. While she was wearing glitter and lingerie, her voice was truly enough to get my attention.
"The Master", Frank N. Furter is played by Terence Sullivan. Upon his entrance number (the iconic "Sweet Transvestite"), Sullivan tried very hard to channel Tim Curry (who played the role on film), but by the end of the song, and every song afterward, Sullivan sounded more like Adam Lambert. Only when he spoke dialogue did he have Curry's accent and rhythm down. It's a tough role and he has some imposing fishnets to fill, I just wish he would've chosen one of the two to use as his template. He did a great job, but the differences in his vocal and dialogue delivery were at times frustrating.
If you know "Rocky Horror" then you know that for almost the entire show, most of the cast slips into (and out of) lingerie. There was a lot of 'shock value' in that wardrobe choice in 1975, but, How to push the envelope for a 2012 audience?
The answer: trading in innuendo for silhouetted -sex scenes that, while no nudity is involved, leave nothing to the imagination. See this play with someone you know very well. That will spare you some very awkward moments and post-show conversation.
Richard O'Brien wrote the book, lyrics and music, and this Richmond production does include songs that were not part of the original play: "Round Like A Record", a solo moment for Columbia that was a single for Little Nell, who played Columbia on film, the year after Rocky. The song was okay, but a bit forced to try and fit into the story. Also included for some unknown reason is the title to the Rocky companion piece "Shock Treatment" from 1981 (Don't call it a Rocky sequel!).
The First Act of any production of Rocky Horror is always its strongest portion, namely the first five songs. After Act One ends, the songs become average and the plot, in a word, disappears entirely.
This production definitely has the right spirit and enthusiasm. The whole cast is strong, particularly Brad (Nick Shackleford) and Janet (Aly Wepplo). Newsome as Magenta is BETTER than the portrayal in the movie, and, from a selfish perspective, just like the movie, Columbia is portrayed by a very sexy redhead (Maggie Horan, who has a much better voice than Little Nell)
Go see it (again, with someone you know VERY well) and enjoy a fun, sexy, campy good time.
Remember, it's just a jump to the left...
Thanks for reading,
Barry
Details:
The Rocky Horror Show at Firehouse Theatre Project thru August 25.
http://www.firehousetheatre.org/
Tickets $14-$28
That's a fantastic legacy for a play and film that has about 45 minutes of good material.
It's known mostly as a film that is at times so poorly paced and acted that fans in the 1970s began to fill silences onscreen by talking back to the movie. That's why it was a bit of a disappointment, though not unexpected, when I saw a note on the font of the program stating "audience participation is strictly prohibited".
Ah, bummer man!
Even though I know the film (very well), I didn't know what to expect seeing a live production; and the first surprise came with the first song, "Science Fiction Double Feature", sung by a very sultry and sexy Magenta (Joy Newsome). Newsome's time onstage is worth the ticket price. While she was wearing glitter and lingerie, her voice was truly enough to get my attention.
"The Master", Frank N. Furter is played by Terence Sullivan. Upon his entrance number (the iconic "Sweet Transvestite"), Sullivan tried very hard to channel Tim Curry (who played the role on film), but by the end of the song, and every song afterward, Sullivan sounded more like Adam Lambert. Only when he spoke dialogue did he have Curry's accent and rhythm down. It's a tough role and he has some imposing fishnets to fill, I just wish he would've chosen one of the two to use as his template. He did a great job, but the differences in his vocal and dialogue delivery were at times frustrating.
If you know "Rocky Horror" then you know that for almost the entire show, most of the cast slips into (and out of) lingerie. There was a lot of 'shock value' in that wardrobe choice in 1975, but, How to push the envelope for a 2012 audience?
The answer: trading in innuendo for silhouetted -sex scenes that, while no nudity is involved, leave nothing to the imagination. See this play with someone you know very well. That will spare you some very awkward moments and post-show conversation.
Richard O'Brien wrote the book, lyrics and music, and this Richmond production does include songs that were not part of the original play: "Round Like A Record", a solo moment for Columbia that was a single for Little Nell, who played Columbia on film, the year after Rocky. The song was okay, but a bit forced to try and fit into the story. Also included for some unknown reason is the title to the Rocky companion piece "Shock Treatment" from 1981 (Don't call it a Rocky sequel!).
The First Act of any production of Rocky Horror is always its strongest portion, namely the first five songs. After Act One ends, the songs become average and the plot, in a word, disappears entirely.
This production definitely has the right spirit and enthusiasm. The whole cast is strong, particularly Brad (Nick Shackleford) and Janet (Aly Wepplo). Newsome as Magenta is BETTER than the portrayal in the movie, and, from a selfish perspective, just like the movie, Columbia is portrayed by a very sexy redhead (Maggie Horan, who has a much better voice than Little Nell)
Go see it (again, with someone you know VERY well) and enjoy a fun, sexy, campy good time.
Remember, it's just a jump to the left...
Thanks for reading,
Barry
Details:
The Rocky Horror Show at Firehouse Theatre Project thru August 25.
http://www.firehousetheatre.org/
Tickets $14-$28
Friday, August 3, 2012
KISS: Destroyer [Resurrected] - A Fan's Thoughts
As a whole, the band KISS have very few albums, or even songs, that a fan can share with a non-fan and say proudly, 'This is KISS at their best, delivering the goods on vinyl, no gimmicks needed.' For a brief time, a very long time ago, KISS was more than a hype machine, they were more than just merchandise; they were a kick ass rock and roll band.
How long ago, exactly? 1976. In the late fall of 1975 thru the winter of 1976, KISS ALIVE! put KISS on the map as a live band, spawning the top-ten hit 'Rock And Roll All Nite.' After years of struggle and hardship, the four members [Gene Simmons, Paul Stanley, Ace Frehley and Peter Criss] were now expected to follow up that success with a studio record, to prove to their record label that this was no gimmick.
The band went outside their comfort zone, called on Alice Cooper's producer Bob Ezrin and, on the Ides of March, 1976, "Destroyer" was released to a hungry KISS Army.
Then things exploded.
You have to understand, this record moved KISS from 'rock stars' to part of the national consciousness. Those four faces became as recognizable as the Coke logo. The album only had nine songs on it, but several of those are still part of KISS' live set. 'Masterpiece' is a bit much when describing a rock album, but 'Destroyer has long been hailed by many critics and fans as 'the best KISS album in their catalog, and 36+ years later, most of it stands up well.
So, why try to 'fix' something that ain't broke?
Tuesday [7.31] the band released "Destroyer [Resurrected]', a remixed version of the 1976 classic. My first thought when seeing the title was 'I didn't know it had died!' But, being curious, I downloaded this iTunes exclusive this week to see how it was different from the version I have lived with and listened to constantly since I was a toddler.
The album begins with an audio scene: someone listening to a news report on the radio about a Michigan youth killed in a head on collision the previous night. Then we flashback to that fan, as he gets in his car and makes his way to 'the midnight show' while listening to 'Rock And Roll All Nite' from KISS ALIVE. Why am I mentioning this? Because the first noticeable difference on this remixed album came forty seconds in, when I heard the car door slam shut. It had much more bass than I remembered and it made me go 'Whoa! Okay...let's see what else has been changed.'
Ah, how soon my hopes were dashed.
On the opening song, 'Detroit Rock City', Ezrin and company do indeed have a lot more bass in the mix and it almost sounds like Peter Criss' snare drum has a damper on it. It's more dense, almost like a floor tom. But then, Ezrin messed up the best musical moment on record in KISSTORY. At the 3:55 mark of the song begins the 'dual guitar solo' that truly is KISS' best sounding sonic moment...and Ezrin and company inserted a background vocal track over part of the solo. The same thing happened to this section of 'Detroit Rock City' when it was included on the 1978 Greatest Hits package 'KISS Double Platinum' but on this 2012 remix, the vocal is louder and even more annoying.
I was crestfallen. No matter what improvements have been made sonically, that one decision basically ruined it for me.
So, what improvements were made? Well, the drums are definitely turned up louder in the mix than they were in 1976. In fact, Peter's rolling intro to 'King of the Night Time World' was so far out front, I heard notes/beats I had never heard before [the first two notes he plays on snare were completely hidden in the original mix]. Overall the album is a bit 'dirtier' and has lost some of the gloss that made it seem so jarringly different from its predecessors upon its release. I know why they did that, but I have heard the gloss for most of my life. I miss the gloss.
One of the other classic songs from Destroyer is Gene's show stopper, 'God of Thunder.' I've never really cared for the studio version, though Ezrin did go out of his way to create a very scary audio landscape, even using audio of his two kids screaming into a microphone, drenched in reverb, to make it seem like they were being terrorized by The Demon. It still packs a punch years later, but the only notable difference with the new remixed version is that the kids' screaming and yelling has been moved up in the mix, so they are even more annoying than they were on the first version.
'Shout It Out Loud' didn't sound all that different. This song became the Ezrin calling card for decades, so most of the gloss was left in tact. Maybe the background vocals are a bit more prominent.
'Beth' was the song that brought KISS an entirely new audience when it went from a B-side throwaway to multi-platinum hit, and the changes to this song are subtle, but they are perfect. The acoustic guitar is brought out front, truly competing with the strings for attention.
'Sweet Pain' is the only song that sounds radically different, with a completely different guitar solo. I don't know if this was recorded in 1976 or 2012 (no liner notes until the CD and LP versions are released later this year) but I can guarantee you that, whenever it was done, it was not recorded by Ace Frehley. Dick Wagner played the solo on the original LP and I don't know if the remixed version simply includes an alternate take from that session, or if someone [named Tommy Thayer!] recorded a new solo. I doubt the truth, whatever it is, will ever be known.
So, bottom line: I'm not sure the reason this was released, apart from the obvious Gene $immon$ motivation. Some long time fans will like the new sound. It won't win any new fans, and if a new fan finds this version of Destroyer first, then I remind you KISS Army that it is your duty to make sure that new fan hears the original 1976 version.
If this leads to a remixed/re-imagined re-release of 'Music From The Elder', which was also a Bob Ezrin project, then we're all done for.
Thanks for reading
Barry
08.03.12
How long ago, exactly? 1976. In the late fall of 1975 thru the winter of 1976, KISS ALIVE! put KISS on the map as a live band, spawning the top-ten hit 'Rock And Roll All Nite.' After years of struggle and hardship, the four members [Gene Simmons, Paul Stanley, Ace Frehley and Peter Criss] were now expected to follow up that success with a studio record, to prove to their record label that this was no gimmick.
The band went outside their comfort zone, called on Alice Cooper's producer Bob Ezrin and, on the Ides of March, 1976, "Destroyer" was released to a hungry KISS Army.
Then things exploded.
You have to understand, this record moved KISS from 'rock stars' to part of the national consciousness. Those four faces became as recognizable as the Coke logo. The album only had nine songs on it, but several of those are still part of KISS' live set. 'Masterpiece' is a bit much when describing a rock album, but 'Destroyer has long been hailed by many critics and fans as 'the best KISS album in their catalog, and 36+ years later, most of it stands up well.
So, why try to 'fix' something that ain't broke?
Tuesday [7.31] the band released "Destroyer [Resurrected]', a remixed version of the 1976 classic. My first thought when seeing the title was 'I didn't know it had died!' But, being curious, I downloaded this iTunes exclusive this week to see how it was different from the version I have lived with and listened to constantly since I was a toddler.
The album begins with an audio scene: someone listening to a news report on the radio about a Michigan youth killed in a head on collision the previous night. Then we flashback to that fan, as he gets in his car and makes his way to 'the midnight show' while listening to 'Rock And Roll All Nite' from KISS ALIVE. Why am I mentioning this? Because the first noticeable difference on this remixed album came forty seconds in, when I heard the car door slam shut. It had much more bass than I remembered and it made me go 'Whoa! Okay...let's see what else has been changed.'
Ah, how soon my hopes were dashed.
On the opening song, 'Detroit Rock City', Ezrin and company do indeed have a lot more bass in the mix and it almost sounds like Peter Criss' snare drum has a damper on it. It's more dense, almost like a floor tom. But then, Ezrin messed up the best musical moment on record in KISSTORY. At the 3:55 mark of the song begins the 'dual guitar solo' that truly is KISS' best sounding sonic moment...and Ezrin and company inserted a background vocal track over part of the solo. The same thing happened to this section of 'Detroit Rock City' when it was included on the 1978 Greatest Hits package 'KISS Double Platinum' but on this 2012 remix, the vocal is louder and even more annoying.
I was crestfallen. No matter what improvements have been made sonically, that one decision basically ruined it for me.
So, what improvements were made? Well, the drums are definitely turned up louder in the mix than they were in 1976. In fact, Peter's rolling intro to 'King of the Night Time World' was so far out front, I heard notes/beats I had never heard before [the first two notes he plays on snare were completely hidden in the original mix]. Overall the album is a bit 'dirtier' and has lost some of the gloss that made it seem so jarringly different from its predecessors upon its release. I know why they did that, but I have heard the gloss for most of my life. I miss the gloss.
One of the other classic songs from Destroyer is Gene's show stopper, 'God of Thunder.' I've never really cared for the studio version, though Ezrin did go out of his way to create a very scary audio landscape, even using audio of his two kids screaming into a microphone, drenched in reverb, to make it seem like they were being terrorized by The Demon. It still packs a punch years later, but the only notable difference with the new remixed version is that the kids' screaming and yelling has been moved up in the mix, so they are even more annoying than they were on the first version.
'Shout It Out Loud' didn't sound all that different. This song became the Ezrin calling card for decades, so most of the gloss was left in tact. Maybe the background vocals are a bit more prominent.
'Beth' was the song that brought KISS an entirely new audience when it went from a B-side throwaway to multi-platinum hit, and the changes to this song are subtle, but they are perfect. The acoustic guitar is brought out front, truly competing with the strings for attention.
'Sweet Pain' is the only song that sounds radically different, with a completely different guitar solo. I don't know if this was recorded in 1976 or 2012 (no liner notes until the CD and LP versions are released later this year) but I can guarantee you that, whenever it was done, it was not recorded by Ace Frehley. Dick Wagner played the solo on the original LP and I don't know if the remixed version simply includes an alternate take from that session, or if someone [named Tommy Thayer!] recorded a new solo. I doubt the truth, whatever it is, will ever be known.
So, bottom line: I'm not sure the reason this was released, apart from the obvious Gene $immon$ motivation. Some long time fans will like the new sound. It won't win any new fans, and if a new fan finds this version of Destroyer first, then I remind you KISS Army that it is your duty to make sure that new fan hears the original 1976 version.
If this leads to a remixed/re-imagined re-release of 'Music From The Elder', which was also a Bob Ezrin project, then we're all done for.
Barry
08.03.12
Friday, July 27, 2012
KISS, Crue and Meeting Mimi [THE TOUR in Atlanta, GA 07.24.12]
Tuesday night (7.24), THE TOUR featuring KISS and Motley Crüe made a stop in Atlanta, and I will write about the show in a bit, but first, some background information about why I made the trip to begin with.
Way back in August 1994, when America Online (AOL) more or less was the Internet, I found a message board mere minutes after becoming an AOL member. The message board was for KISS fans and it was called the KISS Army OnLine (KAOL). I was very ill in a hospital bed, and AOL became my lifeline (at like, $4.00 an hour, if you can believe that!). I quickly had a new group of friends who instantly understood my fandom. In this community, there were two people I chatted with every day without fail for months: Steve and Mimi. In fact, for a time, Mimi and I would talk on the phone for hours at a time.
In July 1995, KISS announced their KISS KONVENTION tour, that was more or less an all day meet and greet where the band signed autographs, did an acoustic show and took requests. When it was announced, it was determined the best location for Steve (who lived in Florida), Mimi (who was in Tennessee) and me to meet was Atlanta. Mimi bought the tickets and an epic road trip was planned where Mimi would pick me up in Richmond and then the two of us would go to Atlanta and meet Steve. I was finally healthy, and very stoked to finally be able to meet these two in person.
But then, real life got in the way.
Less than a week before the trip, Mimi had a relative fall ill, so she had to back out of the trip. Luckily, my dad agreed to drive to Atlanta (he saw a Braves game the night of the KISSKON), and I met Steve. We had a great time, and I even visited Steve the next year to see my first show of the KISS Reunion Tour...but Mimi and I never managed to meet in person.
Mimi disappeared from AOL and we lost touch around 1999. When I joined Facebook in 2008, Steve and I had the same question: Where's Mimi? In 2011, Steve found Mimi on Facebook and we were back in touch again for the first time in over a decade.
When I saw KISS for two shows in 2010, I truly believed those were my last KISShows, and when plans for THE TOUR with Motley Crüe were announced in March, I wasn't hyped or even really planning on attending a show. But then a conversation started with Mimi and she said, "Pick any show in the southeast and we'll do it!" I immediately figured that by the time THE TOUR cranked up in July, I would be a resident of Atlanta. In fact, a week before KISS tickets went on sale, I was in Atlanta seeing Bruce Springsteen. So, even though the first two shows were in Virginia, Mimi and I chose Atlanta. We tried to get Steve to join in on the fun, but he had already made a commitment to see a show in Florida. While I'm not yet a resident of Atlanta, this trip back, this show and, most importantly meeting Mimi in person could not have arrived at a better, more necessary time.
Okay, that concludes the history lesson.
Tuesday afternoon, just after 1:00, Mimi knocked on my hotel room door, and after the hellos and hugs, it was instantly like we were simply resuming a conversation we started years ago. Some friends who knew I was meeting Mimi for the first time on this trip wondered aloud, "What if you two don't get along? Won't hat be awkward?" Truthfully that possibility never entered my mind. I knew we were gonna have a blast.
And I was right!
After a long lunch of catching up and consuming mammoth hamburgers at The Vortex Bar & Grill, we chatted more at the hotel. As the clock moved past 6, Mimi said, "We should venture out..."
Oh yeah, there's that show we wanted to see tonite!
Mapquest directions in hand, we headed toward the outdoor amphitheater, Aaron's at Lakewood.
A more apt description would've been Aaron's in the Middle of Nowhere Georgia!
Jesus, the drive in, via the Mapquest directions took us into what you might call "the bad part of town", so bad in fact I thought we had the address wrong. No way there could be a concert venue...here?! We parked on sand and had to ask a parking attendant "Which way to the venue?" he pointed and said "Keep walkin' down that road".
So we walked. And walked. As we walked, the 2012 edition of "Heavy Metal Parking Lot" unfolded before my eyes. Some guy had a mic and an amp in the bed of his pickup and shouted gems such as "Who here is gonna get DRUUUUUUUUNK?" I laughed and knew that was as close as we were gonna get to the stage rap intro for "Cold Gin"; and Mimi and I kept walking.
Tickets said a 7pm start, but on the first three shows of THE TOUR, Motley Crüe didn't go on until the sun went down. That's why it surprised us to hear the "no name uncredited opening band" wrapping up their set about 6:50. Could it be that the Crüe would go on earlier then 8?
Everyone still meandering in from the parking lot was in for a shock when "The Crüe Clock" appeared on a large screen at the back of the stage. It counted down from "7:30" to "7:57", and the Crüe walked from the back of the covered seat section to the stage, escorted by a bevy of girls (who may very well have been actual escorts). Then the clock slowly "struck" 8:00...but in reality it was 7:42!
Okay, fair warning...if you want no show spoilers before you see THE TOUR in your city, stop reading now.
I won't say much about Motley. They sounded good, but the sound mix was very muddy. I was going to blame the outdoor venue but the mix for KISS, while not great, was considerably improved. Vince was huffing and breathing heavy by song three, but he kept trying (something he did not do when I last saw them in 2006). The Crüe were a cohesive unit, and musically, Tommy Lee, Nikki Sixx and Mick Mars were spot on. As always, the vocals continue to be the glaring weakest link in the band. But, Vince Neil's performance was an omen of what was to come.
One observation I noted: You know it is a completely different time and generation when the kids down front of the stage are too busy snapping pictures and video with their cell phones to bother raising their fists during "Shout at the Devil"!
A strange aspect of the "dual headliners" setup is that Motley Crüe performed almost their entire set while the sun was still up. One would think this would've caused Mick Mars to burst into flames but it did not.
A half hour after The Crüe finished, the droning bass note emitted from the hundreds of speakers, and that now almost laughable intro that's been shouted since 1975 was heard: "You wanted the best, you got the best. The hottest band in the world...KISS!"
Um, okay. Show me what you've got!
The band opened with my very favorite KISSong, "Detroit Rock City" and they literally descended from the rafters high above the stage, just like the band did in 2000 on their (wait for it!) Farewell Tour. It's still a great entrance and a great way to begin a larger than life show.
But...something was off.
It's well known that original members Ace Frehley and Peter Criss are long gone, and their personas are carried on by Tommy Thayer and Eric Singer, respectively. I'm okay with that. I don't necessarily like it, but that won't keep me from seeing a show. KISS now have a much bigger problem than a "Fake Ace" or "Fake Catman."
They have a lead vocalist who can't sing anymore.
For me, there is no better frontman in rock than Paul Stanley. At his best, he combined the outlandishness of Bowie, the mystique of Robert Plant and the swagger of Mick Jagger. Most importantly, on most nights, he could sing the songs reasonably close to how they sounded on vinyl. Tuesday night, on every song where Paul handled the lead vocal duties, the band tuned down the songs, playing them in a much lower key. This was such a drastic change, it caused the solo in "Detroit Rock City" to become an unrecognizable mess. One of my favorite moments on record was now reduced to this.
Thankfully (and I never thought I would say this), the set featured many songs sung by Gene and I didn't notice any drastic down-tuning, so those songs were on par.
KISS' set was similar to what they've brought on the road with them the last few tours, with a huge High-Definition screen to show the closeups. The screen also served as the KISS logo at times. Neat effect, but I missed seeing the actual lighted logo on stage instead of a video image of one. For a time on tours in 1998 and in the 2000s, the band had TWO logos onstage and now they were down to zero, save for a video image. It just didn't seem right.
They did bring back a version of the drum riser art as seen on the KISS ALIVE II gatefold, only this time it was on a tapestry that hung from the top of the drum riser rather than part of the riser itself. It was a small, seemingly inconsequential thing, but it was very cool and well done.
Gene, Tommy and Eric carried the night while Paul struggled. I applaud them all for trying, but when your frontman has an off night, people notice. Maybe not everyone, but some do.
Had Mimi not been there, it would have been a very different mood, almost sad. Instead, it was more "Okay...that's the best you've got in 2012? Noted and thank you." I know I have said it before, but I truly believe THE TOUR will be THE (LAST) TOUR for Paul Stanley and therefore, KISS. Portions of the show (Lick It Up, Love Gun) were truly painful to listen to. Paul knows this, but he's soldiering on, because that's what the job calls for. I don't think he'll be back on the road once they release their new album "MONSTER" in October.
This was the first KISShow where I knew the band bit off more than they could chew. I wasn't disappointed because this trip, this show was all about meeting Mimi; I did that, so anything else is a bonus. The show was still fun, but there was an air of desperation around it, because whether it was Vince Neil's winded vocals or Paul Stanley's painful wail, both were too obvious to cover up and hide. Confetti cannons and greasepaint couldn't hide the flaws.
If you're seeing THE TOUR this summer, I hope you see it on a night following a day off. I saw them after they had Monday off and this probably meant Vince's voice held out longer than it would had they played the previous night. If you are seeing them on a third consecutive night, you may wish the singers were lip-syncing.
I'm 99.9% sure I've seen my last KISShow. I'm okay with that. I've seen (I think) sixteen shows since 1988 and the band, in all of its incarnations, has toured far longer than anyone thought it would.
Most importantly, this week I visited the city I will soon call home, and I finally met someone I'd been waiting to see for 17 years. No matter how lackluster the show was, this was one of the best KISS-themed experiences ever; proof that KISS is far more than just the band or the current tour.
But then, if you're a KISS fan, you know this.
Set lists (from setlist.fm):
Motley Crüe
Saints of Los Angeles
Wild Side
Shout at the Devil
Same Ol' Situation (S.O.S.)
Sex (New song)
Don't Go Away Mad (Just Go Away)
Home Sweet Home
Drum Solo
Live Wire
Primal Scream
Dr. Feelgood
Girls, Girls, Girls
Kickstart My Heart
KISS
Detroit Rock City
Shout It Out Loud
I Love It Loud
Firehouse (Gene spits fire)
Love Gun (Paul flies)
War Machine
Hell or Hallelujah (New single from MONSTER)
Bass Solo (Gene spits blood and flies)
God of Thunder
Lick It Up
Black Diamond (with short Paul guitar solo)
Rock and Roll All Nite
Thanks for reading,
Barry
07.27.12
Monday, July 23, 2012
Change of scenery
I'm writing this from my hotel room (which is about the size of a closet with a bathroom attached) in Atlanta. I'm waiting for my phone to charge before heading out for a late dinner. While I'm waiting, I'm listening to the game on the iPad (no "real" TV channels in the room) and drying out my t-shirt (yes, a 15 minute hike from the train to the hotel probably cost me two pounds in total weight). More importantly, I "get it", and the last two weeks finally make sense.
I can honestly say that I haven't needed a change of scenery more urgently than I needed one this week. Stepping on the train to the hotel inside the Atlanta airport, I did something I hadn't done in almost three weeks.
I smiled.
It was a nice, necessary reminder of why I made the decision I made back in June. One of the hardest things for me since I left work on July Sixth was to "begin to move on" and remember why I left dear friends and a very well paying job. Whatever reason I arrived at over the last two weeks seemed to no longer warrant such a cataclysmic change. But then I went back to Atlanta.
Maybe Thursday morning, when I'm back in Richmond and I instinctively wake up for a moment right when my alarm used to sound, I'll feel the pang that I should be getting up and getting ready for work, but the brief time spent here in this nondescript hotel room has shown me that those pangs will subside once I have an Atlanta zip code.
I can't tell how relieved I am to realize that.
Thanks for reading. Now I'm off to the Landmark Diner for pancakes! (Wednesday I'll write another blog about why I'm in Atlanta this week (when the Braves are in Miami). It's a trip that's been 17 years in the making!)
Barry
07.23.12
I can honestly say that I haven't needed a change of scenery more urgently than I needed one this week. Stepping on the train to the hotel inside the Atlanta airport, I did something I hadn't done in almost three weeks.
I smiled.
It was a nice, necessary reminder of why I made the decision I made back in June. One of the hardest things for me since I left work on July Sixth was to "begin to move on" and remember why I left dear friends and a very well paying job. Whatever reason I arrived at over the last two weeks seemed to no longer warrant such a cataclysmic change. But then I went back to Atlanta.
Maybe Thursday morning, when I'm back in Richmond and I instinctively wake up for a moment right when my alarm used to sound, I'll feel the pang that I should be getting up and getting ready for work, but the brief time spent here in this nondescript hotel room has shown me that those pangs will subside once I have an Atlanta zip code.
I can't tell how relieved I am to realize that.
Thanks for reading. Now I'm off to the Landmark Diner for pancakes! (Wednesday I'll write another blog about why I'm in Atlanta this week (when the Braves are in Miami). It's a trip that's been 17 years in the making!)
Barry
07.23.12
Friday, July 6, 2012
My right arm...
First, let me say that the last three weeks of my life have completely changed everything, and turned my daily life upside down. In mid-June, I was a "approved" to move into an Atlanta apartment. Getting that news via email on June 18 made me giddy with excitement. I kept it a secret until I saw mom after work and then, the next morning, I told my boss I would be moving to Atlanta and I was officially giving my three week notice, which made today (July 6) my last day at Anthem.
Job wise, I am more than ready to move away from Anthem. The team I was part of has been under the gun for months and it's plain to anyone who bothers to read the writing on the wall that in about six to eight months from now, things will be very different.
Frank Creasy is, hands down, the best, most honorable person I have ever worked for. He had "very mixed feelings" about my exit, but above all he was happy for me, and it's obvious yo both of us that though the work relationship was ending, the friendship would endure. Once I made the commitment to plan my exit, I was excited, anxious and just ready to get on with it. I could wrap my head around leaving the job, that was easy. I could even fathom not seeing Frank every day; I mean, on some days when we were both n the office, Frank would be in meetings most of the day, so apart from a brief conversation and commiserating about inane processes, we wouldn't interact that much on some days.
So, I could imagine not seeing Frank every day. It wouldn't be easy, but I could do it.
No matter how excited I am for the future and moving to Atlanta, I have known for 17 days that one facet of this life-altering decision was going to be impossible. It was going to hurt and, to be blunt, it was going to suck. Hard.
Even though it happened about seven hours ago, I still can't get my brain around the fact that I won't see Beth deTreville every day. She was the one who kept me sane when it got crazy, made me laugh when I needed it, and most importantly, I knew that if she was there, then no matter what "surprises" awaited us, we were going to be okay, and we were going to get through it in tact.
Honestly, tonight I feel like I've lost my right arm and I now have to figure out how to cope.
Rationally, I know I will see Beth at least one more time, maybe more, before I move to Atlanta in August, and this feeling of profound loss will dissipate as I begin to fully focus on the move. Emotionally, I know saying 'Goodbye' to Beth again in August won't necessarily be easier, but it won't hurt and shock my system as much as today. This afternoon the immediate reality hit me like a sucker punch to the gut.
I already know my summer will have a very happy ending, with me finally living where I've wanted to for a long time. Tonight though, I just really miss my friend.
Barry
07.06.12
Job wise, I am more than ready to move away from Anthem. The team I was part of has been under the gun for months and it's plain to anyone who bothers to read the writing on the wall that in about six to eight months from now, things will be very different.
Frank Creasy is, hands down, the best, most honorable person I have ever worked for. He had "very mixed feelings" about my exit, but above all he was happy for me, and it's obvious yo both of us that though the work relationship was ending, the friendship would endure. Once I made the commitment to plan my exit, I was excited, anxious and just ready to get on with it. I could wrap my head around leaving the job, that was easy. I could even fathom not seeing Frank every day; I mean, on some days when we were both n the office, Frank would be in meetings most of the day, so apart from a brief conversation and commiserating about inane processes, we wouldn't interact that much on some days.
So, I could imagine not seeing Frank every day. It wouldn't be easy, but I could do it.
No matter how excited I am for the future and moving to Atlanta, I have known for 17 days that one facet of this life-altering decision was going to be impossible. It was going to hurt and, to be blunt, it was going to suck. Hard.
Even though it happened about seven hours ago, I still can't get my brain around the fact that I won't see Beth deTreville every day. She was the one who kept me sane when it got crazy, made me laugh when I needed it, and most importantly, I knew that if she was there, then no matter what "surprises" awaited us, we were going to be okay, and we were going to get through it in tact.
Honestly, tonight I feel like I've lost my right arm and I now have to figure out how to cope.
Rationally, I know I will see Beth at least one more time, maybe more, before I move to Atlanta in August, and this feeling of profound loss will dissipate as I begin to fully focus on the move. Emotionally, I know saying 'Goodbye' to Beth again in August won't necessarily be easier, but it won't hurt and shock my system as much as today. This afternoon the immediate reality hit me like a sucker punch to the gut.
I already know my summer will have a very happy ending, with me finally living where I've wanted to for a long time. Tonight though, I just really miss my friend.
Barry
07.06.12
Monday, March 19, 2012
Bruce Springsteen &The E Street Band - Phillips Arena; Atlanta, GA 03.18,12
"Are we missing anybody?!"
When Bruce Springsteen announced in January that he and his E Street Band were going to launch a world tour with a show in Atlanta (my favorite city), I immediately felt compelled to attend.
Something told me I had to be there to witness the first arena show by the band since saxophonist/percussionist/Secretary of the Brotherhood Clarence Clemmons died in July. Part of me was happy the band was releasing a new album ("Wrecking Ball") and touring. But I also couldn't fathom an "E Street Show" without The Big Man standing stage left, beside Bruce.
The only thing I wasn't conflicted about was that I had to be there.
As excited as I was to be seeing this show, I really didn't know what to expect. Why am I typing this on my iPad in my Atlanta hotel room just two hours after it's concluded?
Because I have to get this down, just to process all of it. I'll flesh this out and post the entire set list later this week, but these are some immediate thoughts:
Bruce and the band opened with two songs from the new record, and they sounded great. The third song in the set was "Badlands". The song has an iconic saxophone solo. I knew it was coming, and even still, about halfway through that solo, I started to cry. It suddenly hit me. Hard. The audience wildly cheered every sax solo throughout the night, partially to reassure and welcome the multiple horn players now in The E Street Band (I won't say they are "filling Clarence's shoes", because they would be the first to admit that cannot be done), and they cheered in part to honor The Big Man.
As the night progressed, the magnitude of the loss became more and more apparent.
After "Badlands" came the song "My City Of Ruins" from The Rising album. In the middle of this song, Bruce said "Roll call Max!", and began to introduce the many members of The E Street Band.
"Damn, this wont be easy," I said out loud After he said the names of everyone present, he then said "Are we missing anybody?"
Then again, "Are we MISSING ANYBODY?!"
[Side note: Original E Street organist Danny "The Phantom" Federici died of skin cancer in 2008, so now there are two 'missing members' of The E Street Band.]
Pacing the front of the stage, Bruce bellowed again "Are we MISSING ANYBODY?!!" he then stopped center stage, leaned on a mic stand and spoke as the band continued to play "My City Of Ruins" quietly.
"There is...there's a void here tonight. The only thing I can guarantee is that...if you're here...and we're here, they're here."
True enough, Bruce.
Clarence's nephew Jake handled the solo from "Born to Run" beautifully, and with the houselights up full blast, the moment had a very cathartic effect.
As "American Land" roared toward it's conclusion, I thought the show was over, I sighed heavily and awaited the cue to head toward the door.
But Bruce wasn't done. With his classic count-off, the piano intro to "Tenth Avenue Freeze Out" filled the arena. Since the lyric mentions The Big Man by name, I really thought the song would not be part of the set. And then I saw a moment I will cherish forever.
As the song moved toward that lyric, Bruce said the customary "Now, this is the important part!", and sang "When the change was made uptown and The Big Man joined the band!"
Then the music stopped. Cold. Bruce, Steven, Max, Roy, Nils and everyone else on stage looked skyward in tribute as the entire crowd screamed, cried...whatever cathartic gesture worked for them.
After what seemed like five minutes (but it was probably only 60 seconds), Jake Clemmons took his solo moment and the song rode a wave of emotion until the final lyrical declaration:
"Oh yeah...it's all right!"
I wasn't sure at the outset, but by night's end, I knew that The E Street Band will roll on, celebrating the new record and honoring the ones who are missing...but not forgotten.
Thanks for reading,
Barry
03.19.12
When Bruce Springsteen announced in January that he and his E Street Band were going to launch a world tour with a show in Atlanta (my favorite city), I immediately felt compelled to attend.
Something told me I had to be there to witness the first arena show by the band since saxophonist/percussionist/Secretary of the Brotherhood Clarence Clemmons died in July. Part of me was happy the band was releasing a new album ("Wrecking Ball") and touring. But I also couldn't fathom an "E Street Show" without The Big Man standing stage left, beside Bruce.
The only thing I wasn't conflicted about was that I had to be there.
As excited as I was to be seeing this show, I really didn't know what to expect. Why am I typing this on my iPad in my Atlanta hotel room just two hours after it's concluded?
Because I have to get this down, just to process all of it. I'll flesh this out and post the entire set list later this week, but these are some immediate thoughts:
Bruce and the band opened with two songs from the new record, and they sounded great. The third song in the set was "Badlands". The song has an iconic saxophone solo. I knew it was coming, and even still, about halfway through that solo, I started to cry. It suddenly hit me. Hard. The audience wildly cheered every sax solo throughout the night, partially to reassure and welcome the multiple horn players now in The E Street Band (I won't say they are "filling Clarence's shoes", because they would be the first to admit that cannot be done), and they cheered in part to honor The Big Man.
As the night progressed, the magnitude of the loss became more and more apparent.
After "Badlands" came the song "My City Of Ruins" from The Rising album. In the middle of this song, Bruce said "Roll call Max!", and began to introduce the many members of The E Street Band.
"Damn, this wont be easy," I said out loud After he said the names of everyone present, he then said "Are we missing anybody?"
Then again, "Are we MISSING ANYBODY?!"
[Side note: Original E Street organist Danny "The Phantom" Federici died of skin cancer in 2008, so now there are two 'missing members' of The E Street Band.]
Pacing the front of the stage, Bruce bellowed again "Are we MISSING ANYBODY?!!" he then stopped center stage, leaned on a mic stand and spoke as the band continued to play "My City Of Ruins" quietly.
"There is...there's a void here tonight. The only thing I can guarantee is that...if you're here...and we're here, they're here."
True enough, Bruce.
Clarence's nephew Jake handled the solo from "Born to Run" beautifully, and with the houselights up full blast, the moment had a very cathartic effect.
As "American Land" roared toward it's conclusion, I thought the show was over, I sighed heavily and awaited the cue to head toward the door.
But Bruce wasn't done. With his classic count-off, the piano intro to "Tenth Avenue Freeze Out" filled the arena. Since the lyric mentions The Big Man by name, I really thought the song would not be part of the set. And then I saw a moment I will cherish forever.
As the song moved toward that lyric, Bruce said the customary "Now, this is the important part!", and sang "When the change was made uptown and The Big Man joined the band!"
Then the music stopped. Cold. Bruce, Steven, Max, Roy, Nils and everyone else on stage looked skyward in tribute as the entire crowd screamed, cried...whatever cathartic gesture worked for them.
After what seemed like five minutes (but it was probably only 60 seconds), Jake Clemmons took his solo moment and the song rode a wave of emotion until the final lyrical declaration:
"Oh yeah...it's all right!"
I wasn't sure at the outset, but by night's end, I knew that The E Street Band will roll on, celebrating the new record and honoring the ones who are missing...but not forgotten.
Thanks for reading,
Barry
03.19.12
Subscribe to:
Posts (Atom)
