The 2nd WOBC showcase is coming up! It’s November 2nd, this Friday!
Cover bands rule, and you can make one with just a few easy steps. First, corral your friends, give them instruments and some wigs (optional), then think of a band name. This part is the most fun. Next, you’ll (probably) want to practice a few times, so you’ll make a big splash on the big stage. WOBC has some big shoes to fill after last year’s event, but this one should be a load of fun!
The showcase will start at 8PM, Friday @ Above Subway and will see 20 student cover bands including:
Creed Paradise II: Studio on the Park
and many more!
And here are some sample ideas for inspiration:
Cockblock Twins (Cocteau Twins)
Crosby, Pills, and Cash (Crosby, Stills, and Nash)
Juggalo Wrestling (Insane Clown Posse)
Smells Like American Spirits (Nirvana)
Steve Chiller Band (Steve Miller Band)
Email firstname.lastname@example.org for more info and be sure to come out this Friday to the 2nd Annual Cover Band Showcase!
The Top 30 is a weekly section of the WOBC blog where we highlight the 30 most-played new albums each week. Check out what our DJs are spinning!
1 MARK FELL Sentinel Objectif Actualite
2 DANIEL BACHMAN Seven Pines
3 WILLIAM HOOKER STRINGS 3 A Postcard From The Road
4 DEERHOOF Breakup Song
5 DINOSAUR JR. I Bet On Sky
6 ARIEL PINK’S HAUNTED GRAFFITI Mature Themes
7 SIC ALPS Sic Alps
8 SANTIGOLD Master Of My Make Believe
9 DAN MELCHIOR The Backward Path
10 CULT OF YOUTH Love Will Prevail
11 FUSHITSUSHA Hikari To Nazukeyo
12 SPIRES THAT IN THE SUNSET RISE Ancient Patience Wills It Again Part II
13 BRETT NAUCKE Home By Now
14 CAN The Lost Tapes
15 ROBERT TURMAN Flux
16 THE ORB The Orbserver In The Star House The End
17 DJ RASHAD TEKLIFE Vol. 1: Welcome To The Chi
18 TAME IMPALA Lonerism
19 TRAXMAN Da Mind Of Traxman
20 GODSPEED YOU BLACK EMPEROR Allelujah! Don’t Bend! Ascend!
21 LIGHT ASYLUM Light Asylum
22 MOUNT EERIE Ocean Roar
23 HOW TO DRESS WELL Total Loss
24 DUM DUM GIRLS End Of Daze
25 CAT POWER Sun
26 DAVID BYRNE AND ST. VINCENT Love This Giant
27 C S YEH Transitions
28 LA SERA Sees The Light
29 KAKI KING Glow
30 HOLY OTHER Held
School is great, Oberlin is fun, but it’s easy to get sick of everything. I spent about two weeks in a hazy, caffeinated state in a corner of Mudd preparing for finals and writing papers, effectively listening solely to either Girls’ Father, Son, Holy Ghost, James Blake, or Ariel Pink’s Before Today. After finals ended, I started summer with a tired, college-sucks mentality, and above all, I was completely sick of my music library. In trying to relax and de-stress, I went to a lot of movies, laughed a lot, and heard some intriguing soundtracks. Moonrise Kingdom, Wes Anderson’s latest film, particularly helped me in my search for new music, by essentially delving into music of old.
Although Hank Williams is considered the “father of country,” I had never heard his music. As I finished watching Moonrise Kingdom, the two Hank William songs featured in the film, sparked my curiosity; I essentially spent my entire summer listening to 1950’s and 1960’s country. The songs are simple, stripped down, but have meaning and purpose, whether it be the insatiable urge to “hit the road,” or the cliché of finding lost love. This music seems so natural, so pure, and there wasn’t a synthesizer or drum machine to be found, which I found too appealing. I got so enveloped in 1950’s and 1960’s country that I now have a radio show on WOBC solely dedicated to this genre. It’s on at 6am on Wednesday. Below is some good music from the time period, somethings you might hear on my show.
The Apollo is now open. It has spent a long year in remodeling, but now students in Oberlin can go to the movies without needing a car. Although small, the theatre, in my opinion, has succeeded in its selection of films. Last week it was Looper and Hotel Transylvania, this week it is The Master and Arbitrage. As I found solace knowing that Taken 2 was not showing, I entered the Apollo for the first time last week. Looper and Hotel Transylvania were screening, allowing me the choice between a time- travel, action movie starring Joseph Gordon- Levitt and Bruce Willis, or a child- friendly animation headed by Adam Sandler as Dracula. I decided upon Looper, primarily because of its intriguing premise and the general positive reception surrounding the film. In its enveloping storyline, efficiently developed plot, and general excitability, Looper was all the success it was proclaimed to be.
Looper primarily focuses on the dichotomy between present and future, with time travel serving as a bridge. Joe, played by Gordon- Levitt, is a present-day Looper, responsible for killing those sent back to his time to be “erased” by futuristic criminal organizations. The profession has its perks, with good pay and a lavish lifestyle, yet ultimately proves problematic for Joe upon his realization that his latest target is actually his older self. As Bruce Willis enters the fold, playing “Old Joe,” the film evolves from time- travel action movie, to an actual pure, emotionally driven film. In this sense, the movies sole means of success no longer clings on appealing action sequences or the fluidity in its occasionally convoluted plot; it hinges on its characters and the length they are willing to carry Looper.
Throughout the films progression, Gordon-Levitt and Willis are able to convey a profound humaneness upon Looper, juxtaposed to the bleakness of the distant utopia that now resembles the world. While neither character truly personifies moral integrity, each character has his own redeemable cause, allowing the viewer to sympathize with “the Joe’s” motives. In particular, “Young Joe” dominates the film upon encountering Sara, played by Emily Blunt, and her son Cid. The scenes when these three are together provide hope to the film, effectively depicting “Young Joe’s” growth from Looper to person. As Looper reaches climax, “Young Joe’s” newfound selflessness manifests, and it is in his sacrifice that vague promise concludes the film.
p-pop b-bop banana nana bo-bop POP!!! This week is names….roll call!!!
1. Stacey Grove – Marc Bolan & Tyrannosaurus Rex
::: So self-indulgent! This song evokes the classic ‘nice guys finish last’ archetype in a draining, mundane manner. That Stacey Grove must be quite the catch for Bolan to refer to her by her actual name instead of some weirdo 70’s sweet talk. Then again, I think most of us would prefer to partake in some hot love rather than have him get our name straight.
::: The name Angie has never sounded so tragic. It evokes memories of crying in my car after saying goodbye to my great love. Just kidding, it only reminds me of the fact that I’ve never had a great love to say goodbye to. Great song–what a jam.
::: Grimes is the queen of pop and the intergalactic princess. You already love her and you probably already love this song so go ahead and give it another play. Vanessa is pretty cool too. GRIMEZ4EVR.
Homeboy Sandman is a rapper from New York City who is signed to the holy grail of all hip hop labels– Stones Throw, home to Madlib, Dilla, Doom, and a veritable treasure chest of other hip hop luminaries. Sandman’s latest release, First of a Living Breed, is his most refined release to date, and should hopefully give this earnest hip hop revivalist the recognition he deserves.
The keyword with Homeboy Sandman, and what sets him apart from other rappers, is grassroots. Through interviews, live shows, and ciphers, he has displayed an earnestness and clarity of purpose that is a breath of fresh air in a hip hop culture where the hype outweighs the substance a million to one. This grassroots ethic is embodied in his latest video, where Homeboy Sandman walks down a New York City Street in a single take, getting dap from fans and admirers, throwing down in an impromptu cipher, and signing records– all while rapping the lyrics to his ode to things staying the same. “People ask me if my life changed. Here’s what I might say: Not really.” These days, hip hop is high on excess, escapism and fantasy. Homebody Sandman brings it back to the source, by rapping straight from the heart about his experiences with a distinct lack of excess and frills. This music isn’t underground or mainstream– it’s just hip hop, plain and simple. This, for me, is what makes Homeboy Sandman an important hip hop artist.
Here’s an excerpt from an article Homeboy Sandman wrote for Huffington Post:
“I’ve had the honor of becoming friends with Crazy Legs of Rocksteady Crew, the legendary breakdancing crew that was featured so prominently in early hip hop movies like Style Wars and Wild Style. A conversation that I had with him about hip hop’s birth (which he was there for in person in the 70s in the South Bronx) helped me formulate my theory about why hip hop has become the most popular musical genre among youth in the entire world, to where Rio de Janiero is denser with graffiti than Queens, and kids in the Czech Republic wear baseball caps and call each other n******. It’s because somehow all those broke South Bronx kids captured the essence of cool. The spirit of it. Couldn’t be cool because of money, everyone was broke. Couldn’t be cool because of where you lived, everyone was in the slums. Couldn’t feel good about yourself because of your school because schools were a nightmare, or even because of your family as families in the South Bronx in the 1970 were plagued with every societal ill that society has to offer. But if you were an athlete, you could be a bboy. If you had some charisma, you could be an emcee. If you were artistic, you could be a graffiti writer. This was the inception of hip hop. Being cool without anything. Without being any certain type of person. Being cool only because of your talent.”