Naked Music Magazine Staff Table of Contents Heads Erin Bensinger - Editor in Chief Mireya Guzman-Ortiz - Head of Design features Jessie Hansen - Page Editor Audiotree )estiYaO BranFhes ,nto KaOamazoo 4 Grifͤ n 6maOOey - Head of Design Mimi 6trauss - Head Editor 4uadstoFN Was BitFhin̵ 6 Get NaNed Zith the 6taff 7 Designers Christine Cho An ,nterYieZ Zith History DeSartment Deadhead Dr James /eZis 10 $OiFia Gaitan Judy Kim 5aFheO /ifton editorials Ayumi Perez Don̵t Pirate 7hese AObums 2 MaOaYiNa 5ao
9inyO Ys DigitaO 5 Cover design by Paris Weisman A PhiOadeOShia E[SerienFe 5 Photographers 7he One 7rue 8nderground MusiF )estiYaO CoatheOOya 8 Zoe Johannsen Robert Manor What Do We 7aON About When We 7aON About AFtiYism" BeyonF« MaOaYiNa Rao and 7ayOor 6Zift 9 Why Maroon E[SOoited CoZs 11 Writers Hannah BaFFhus 8ndressed RefOeFtions 13 JoeO Bryson Maggie DoeOe ,n Memoriam - Death GriSs 13 Abby )OoZers NaNed Person of the ,ssue 14 EOoise GermiF KeOan GiOO NaNed POayOist 14 EOise HouFeN AOeF Juarez EmaOine /aSinsNi events 6heOby /ong DoubOe PheOi[ CoOOeFtiYe 6hoZFase 2 KeOsey MattheZs 6̵mores in )our ConstruFting a Community 12 Braeden Rodriguez 6teYen 6e[ton Mitten MusiF 7A8K at 7he /oft E/ 12 CoOin 6mith Amanda 6tutzman /iYe 6Fore at the AOamo Drafthouse 13 EriFa 9anneste CamiOOe Wood reviews AOt-J - 7his ,s AOO
Random ReFord ReYieZs 9 /NKDMagazine /eonard Cohen - PoSuOar ProbOems 10 7he 8nderaFhieYers - CeOOar Door 7erminus 8t E[ordium 10 NznaNedmagazine# gmaiOFom 7A8K - CoOOisions 11 Weezer - EYerything WiOO Be AOright ,n 7he End 11 #nNdmagazine
Page 1: Naked Magazine “Now we’re Lasso!” Described as “pine ȱȄǰȱȱęȱȬȱ¢ȱȱ ȱ ȱ ȱ ȱ ¢ȬĚȱȱ country/rock jams. Lasso’s sound is hard to pin down in few words, but is described with the likes of “psych”, “western”, and (Don’t) Pirate “weird America” on the group’s Bandcamp page, lasso.bandcamp.com. The band’s These 2014 release, the full length album Golden Lasso, is also available on their Bandcamp. After a twenty minute intermission, sev- Albums Collective en performers—two of which were return- ing musicians from the previous bands— Showcase took the stage. MARAJ, a psych hip-hop Sam Smith - In the Lonely Hour group featuring four rappers/singers, was In the Lonely Hour showcases Smith’s vo- ȱ ȱ ȱ ȱ ȱ ȃęȱȬ ȱęȱȱȱȱȱȱ ȱȱȱȱ cal range and includes an orchestral back- Wgers”, I imagine a large bird with and dance with them. Given the nature of K ground. “Like I Can” stands out by being ǰȱ Ȭȱ ęȱǯȱ ȱ ȱ ȱ students and the large proportion of adult an homage to the 70s rock era. be further from the physical description alumni in the audience, few people obliged, -Olivia Bouchard ȱ ȱ Ĵȱȱ ǰȱ ȱ ȱ but the increase in the room’s energy dur- Andy McKee - Art of Motion singer and guitarist ing MARAJ’s set was McKee uses a variety of instruments to cre- of the local band Bird- undeniable. The four ate a variety of songs that are reminiscent ęȱǰȱȱ¢ȱȱ vocalists danced about of sounds found in nature. He is very in- ěȱȱ ȱ ȱ ¡ȱ the stage as the band novative; he beats his guitar for percussion Collective Showcase. took extended jam in the song “Drifting.” On the chilly evening breaks. Cam, one of the -Jon Jerow of October 10th, mem- rappers, announced bers of the Kalamazoo that he was excited to ȱĴȱȱȱȱȱ College Community be performing because -The Lion The Beast The Beat gathered in Dalton Theater to see three the band had only been together since Janu- ȱ ĴȱȂȱ ȱ ȱ ȱ ȱ bands from Kalamazoo-based music label ary, which was hard to believe given their this album, as always. They also manage to incorporate some synthesizers to give it a Double Phelix, which is a collective of col- great chemistry on stage. They announced more electronic sound. laborating artists as well as a label. This was the recent release of their full length album -Zoe Johannsen apparent to audience members, as many of Voyager, which they were selling for $10 the bands shared members—two perform- (and can also be purchased on the band’s ¢ȱȱȬȱSadnecessary ers were in all three acts. One of these ver- Bandcamp, maraj.bandcamp.com). After a This German duo combine classic instru- satile performers was K grad Andy Catlin solid half hour set, Catlin thanked the audi- mental guitar with some reggae beats that ‘09, co-founder of Double Phelix. This was a ence for coming out and the band played make for a very relaxed and interesting lis- large draw for College alumni to stop by for ȱęȱȱȱȱȱȱ ȱ ȱ ten. the show, and the lobby Ĝȱȱ¢ȱǯȱ¢ȱ Ȭ ¢ȱĴȱȱ had an air of reunion audience members, about it before the show who were friends of ȱȬȱKaleidoscope Dream With funny and interesting lyrics and an began at 7:30. the members of the amazing voice, Miguel really stands out in ȱęȱȱȱȱȱ collective, gathered the R&B world. to perform was Bird- around the stage to -Tess Lathrop ęȱǰȱ ȱ ¢ȱ give hugs and catch Catlin as “country & up. Some stayed for G-Eazy - These Things Happen mystic calm”. Catlin, on over an hour after An American rapper with a sound similar keyboard, was joined ȱ ȱęȱǯȱ to Hoodie Allen’s, G-Eazy uses personal ¢ȱȱȱ ȱȬ PHOTOS: ZOE JOHANNSEN Although Dalton themes on this album, making it really ȱȱȱȱȱǯȱęȱȬ Theater is not traditionally a concert venue stand out. The title song is the most dynam- gers’ set was very mellow and a bit spooky, for any performances other then the Sym- ic and is the best listen. which felt very appropriate in October. The phonic and Jazz bands, the location pro- -Asia Morales band’s slow, psychedelic folk-rock sound vided a surprisingly intimate vibe with the ȱ ȱȬȱStarting Over ȱȱ¢ȱȂȱȱǯȱȱ majority of the audience seated in the front Halter is a indie pop/rock songwriter heavi- four-piece played for about thirty minutes, center section. The show will hopefully kick ¢ȱĚȱȱ¢ȱȱȱȱȱ ǯȱ and at that time the members of the band ěȱȱȱȱ¢ȱȱǰȱȱ £ȱȬ His lyrics are very personal and relatable. rearranged themselves on stage. ent performing on campus. Erin Bensinger With one new member and Catlin now -Kristen Ellefson on guitar and vocals, Catlin announced Page 2: Naked Magazine KAREN O A Restaurant Review in Six Acts Crush Songs awoke at 10:30 am, the wee hours of a about ten minutes. The food was served Sept. 9th, 2014 I hungover morning, and grudgingly ȱ ȱ Ĵȱȱ ȱ ȱ ȱ Ȭȱ Cult Records pulled myself out of bed. It was a Tuesday. style box. Honestly, I didn’t think there A very cold and dark Tuesday. I walked to was too much of it. I began eating my food, my closet, grabbed clothes, and said good slightly disappointed at the amount of cho- ȱǰȱȱȱȱȱȱȱȱ morning to my fermenting beer. Hey, who rizo, when I noticed there was a purple-red ȱȱȱȱȱȱȃȱ said yeast can’t be a pet too? While show- vegetable in the potatoes. I immediately ȄȱȱȱęȱȱHer, released her own ering, I decided it was a brunch type of thought, “Did someone actually fry beets album, Crush Songs, on September 9, 2014. morning. So I got dressed and woke up my and put them in the potatoes?” It later oc- The album is a compilation of eight-year- ǰȱǯȱȱ ȱěȱȱȱȱȬ curred to me that the potato medley liter- old living room recordings that in their venture. There was a small breakfast place ¢ȱȱěȱȱ¢ȱȱǯȱȱ rawness, Karen O explains in a note to her that had opened just down the street on salmon burger, Austin said, was good and fans, “are the soundtrack to what was an Douglas, Station 702. It seemed like a good ¢ȱęȱǯȱȱȱ ȱȱȱ ǯ ever continuing love crusade.” While the choice, being only a few minutes away. About a minute into our meal, we no- recordings are quite grainy in quality, this The building is nestled between mul- nicely complements Karen’s soothing gui- tiple abandoned buildings, including what “As I approached the counter, I tar strumming and natural vocals. Crush seems to have been a grill right next door. Songs’s honest lyrics contrast the mellow The whole area was stark from the rapidly noticed the cashier was wearing ǰȱ Ěȱȱ ȱ ȱ Ȭ approaching fall, not helping the scene. a name tag that read, ‘My name is ness and pain of “crushing” on someone. As I walked into Station 702, I was im- While all centered on the same topic, the mediately struck by the kitschy, clashing Laura, I play the bassoon.’” tracks each have their own essence. Songs décor of the restaurant. There was a water like “Ooo,” carried by swung three/four wall made of laminate, a broken sliding ticed that there was a small TV on the wall time and wispy vocals, and “Rapt,” with door, and exposed brick. It was a combi- playing a stream of the League of Legends its heavy tempo and aggressive lyrics, ex- nation of styles that did not go particularly world championship. This discovery only emplify the variety of songs that comprise well together. The indoor space itself was sent me deeper down the rabbit hole of the album. Maggie Doele ǰȱ ȱ¢ȱȱȱ¢ȱȱȱęȱȬ “What is this place?” For the duration of teen patrons at a time. As I approached the our meal, the only other customers were a counter, I noticed the cashier was wearing pair of old men who had likely been there a nametag that read, “My name is Laura, I for most of the morning (any restaurant ALT-J play the bassoon.” At this point, I began to specializing in breakfast will inevitably at- suspect that the décor was a symptom of an tract old men who like to hang out and tell This is All Yours Ĵȱȱȱȱȱ¢ȱȱȱ each other bad jokes until they’re too tired Sept. 22nd, 2014 awry. to continue). Infectious Music Ltd. It became clear to me, based on the large quantity of disposable silverware, that this ȱęȱ¢ȱȱȱȱȱ¢ȱȱȱ ȱ¢ȱȱȱęȱȱǰȱAn Awe- leave. The service was exceptionally fast, some Wave, Alt-J has released their sopho- but that was likely the result of a nearly more album, This is All Yours. As to be ex- empty restaurant. The food was decent, but pected with any group, the album sounds ȱ ȱȱȱȱĴȱǯȱ ȱ ȱ ęȱȱ ȱ ȱ ȱ ǰȱ Ȭ my mind, there are two acceptable types playing their musical growth since 2012. of breakfast places for college towns: the The songs seem much fuller and more greasy diner that gives you heaps of food, polished than those on An Awesome Wave. and the “hip” place that advertises its vegan But while the overall sound of the group STATION HASH, PHOTO BY STEVEN SEXTON options. Station 702 has an air of fast “get it might have matured, the album still plays ȱȱȱěȱȱȱȱȱDzȱ ȱȄȱȱȱǰȱȱĴȱȱȱ with the exotic experimentation that seems a potato medley topped with eggs, cheese, ȱȱęȱȱǯ trademark to the group. Alt-J continues to and meat. Austin ordered their salmon Ultimately, I’m not sure how well this mix unique vocals, acoustics with electron- burger, which comes served on naan in lieu works. Nothing in the restaurant makes ics, and undistinguishable lyrics. Upbeat of a traditional bun. The price was some- ȱǯȱȱȱȱ¢ȱȱȱ songs like “Left Hand Free” pick up the ȱȱȱȱĴȱȱȱǞŗŖȱȱ¢ȱ high prices in no amazing quantity. As a pace on the album but still seem to lull the meal and upwards of $14 for Austin’s. At painfully frugal college student, I couldn’t listener into a sense of relaxation. The band a diner I frequent in my hometown, this justify eating there again. From an econom- has pulled through on this fourteen-song would easily net your two full plates worth ical standpoint, we’re talking about around album and created another success. of piled potatoes, meat, gravy, eggs, etc. ȂȱȬȱȱ ȱȱƚȱȱ Jessie Hansen The food came out to us quickly, within quantity and quality. Steven Sexton Page 3: Naked Magazine Audiotree )estiiYaO BranFhesh ,nto KaOamazoo JD2 came out on stage like a Star Wars Because the festival is Rdroid. He donned a welder’s mask and still new, tickets were inex- a red LED-lit sampler over his groin, asking pensive ($20 if bought far in an automated voice if the audience was in advance, $40 at the door) ¢ǯȱ ȱ ȱȱęȱȱȱȱȱȬ and the festival wasn’t ond-ever Audiotree Festival. Other big acts crowded. It was a local and included Tokyo Police Club, Slow Magic, inexpensive way of seeing and the Four Fists. They set up two stages up-and-coming groups at (one indoors and one outdoors) at the Wild any point during the fes- Bull in downtown Kalamazoo on Septem- tival. The most energetic ber 6. and invigorating acts were Kalamazoo has lacked music festivals earlier in the day, but the outside of certain genres after the local fes- headliners have aged past tival Boiling Pot shut down two years ago. their prime. Audiotree is trying to change this year by Thurston said, “there PHOTOS: COLIN SMITH year. are enough festivals in Chicago already, ¢ȱ ȱ ȱ ěȱȱ ȱ ȱ Ȭ Audiotree co-founder Adam Thurston and we have roots here.” He acknowledged ȱ ȱ ǰȱ ȱ ¢ȱ ęȱȱ ȱ ȱ said, “there’s not much of a music scene a steep learning curve when organizing intimate indoor space. Their frontman sang here, but there are people into music.” festivals. Last year they welcomed Dr. Dog like The Smith’s Morrissey, and the gui- As a Chicago-based music company, Au- and Greensky Bluegrass at Wings Stadium, tars channeled through delay and chorus ȱȱȱȱȱȱęȱȱ¢ȱ but, in spite of these acclaimed names, the ěȱǰȱ ȱ ěȱȱ ȱ ¢ȱ ȱ ȱ ago, but they’ve since found their niche as ȱ Ȃȱ ȱĴȱǯȱȱ¢ȱ¢ȱ sheen. a video session series called Audiotree Live. ȱȱȱȱȱęȱȱȱȱȱȱ Electronic percussionist Slow Mag- ¢ȱęȱȱ ȱǰȱȱ¢ȱȱȱ downtown area. ic wore a neon-painted animal mask played at this year’s festival, including Soil The genres ranged from electronic to and brought one of his tom drums into and the Sun and Wayne Szalinski. indie rock and post-rock to rap. The band the crowd and started improvising. His Ĵȱȱȱȱȱȯȱȱ rhythm-heavy music combined traditional wild. The Kickback would be any English and contemporary percussion by blending major’s favorite band with their nods to drums with electronic samples. He often post-modern writers and tangential lyrics. played around the beat—not on it—and left The instrumental post-rock band Gates de- the crowd by making heart symbols with livered emotions without vocals. his hands. This year one of the headliners, Tokyo And whether it’s Slow Magic hauling a Police Club, played classics like “Boots of tom drum into the crowd, or Soil and the Danger (Wait Up),” but they weren’t as Sun harmonizing among their seven mem- energetic as they have been. They unen- bers, Audiotree is a good way to see up- thusiastically asked the audience to join in and-coming bands for its cheap tickets and for the chorus—as if it were routine—while easy access to the front. It’s still new, and their lead guitarist slipped up a few licks. they’re still growing. Colin Smith Whereas some members of Tokyo Police Club sported gray hair, the younger bands were also some of the least well known and the most enthusiastic. Ȭ ȱęȱȱȱǰȱ¢ȱ £ǰȱ ȱ ěȱȱ ȱ ǯȱ ¢ȱ Page 4: Naked Magazine Study Away For & Against Check In
Vinyl Digital A Philadelphia Experience he strongest memories we recall are igital downloads help combat the Tthose rooted in our senses: the sun’s Dlimitability of physical media, allow- acked like sardines in the minivan of sweltering radiance on a midsummer after- ing more people to access music than lim- Pȱ ǰȱ ȱ ȱ ȱ ȱ ȱ noon, the gentle roar of a river deep within ited-press records and homemade tapes. sidestreets of North Philadelphia. Maria the forest, a warm drink alongside a blaz- ȱęȱȱȱȱȱ ȱȱ ȱȱǰȱȱ ȱȱȱęȱȱȱ ȱ ęȱȱ ȱ ȱ ǰȱ ȱ detrimental side of regionalism in local ȱȱĜȱȱȱȱȱ¢ǰȱ ȱȱ ęȱȱ ȱ ¢ȱ ȱ Ȭ scenes, aiding a global community of music will probably inform you of upon intro- ȱ Ěȱǰȱ ȱ ȱ ¢ȱ ȱ ȱ production and consumption, and giving duction. Prior to hurdling in the rain, we being able to hear, touch, and see the full more opportunities for exposure to smaller ȱ ¢ȱ Ĵȱȱ ȱ ȱ ȱ ǰȱ spectrum of how an artist intended their re- bands. It’s been well-established that pur- ęȱȱ ȱȱȱȱȱȱǯȱ cord to be experienced. While the average chasing digital downloads is no more eco- With a phone call, and three minutes to major record label would love for everyone nomically accessible than physical media, get ready, Maria had extended the invita- ȱȱ¢ȱȬěȱȱȱȱȱȱ but Internet piracy and bands who distrib- tion to take me and my house-mates to get twenty-nine a pop, to be absently heard ute for free open the door for people with “authentic Korean food. None of that crap through one earbud while reading or over lower incomes to indulge in music culture. you’ve probably had in the past.” a distant stereo during a shower at dawn, Bands with less funding are able to gain Once seated at the restaurant, our server such ethic won’t lead the listener to tap into exposure without having to invest in tapes proceeded to have an extensive conversa- the full potential of what they are hearing. or records, and bands can more realistical- tion with Maria, none of which we could There must be ritual. There must be art. ly price their music. Even if music is being understand. After we had been ordered Any heroin junkie will tell you that pirated, studies have indicated that piracy for (we never even see menus), Maria be- what really hooks you is the needle – not can often make an artist more money than gins telling stories in her usual manner. She just what’s being shot up. It’s the ritual of digital sales, as distributors such as iTunes starts with how her father knew all along preparation for that rush that keeps people often take very large cuts of the income, and that China would rise, but then veers the ȱȱǰȱȱĴȱȱȱȱȱȱ piracy encourages rapid exposure of music. conversation into her college days and how turntable is the exact same way: a hushed Quote Unquote Records relies on a do- she and her husband would break-dance, room, a moment of careful adjustment, a nation-based sales format, allowing con- together the life of the party. held breath, and when the sound kicks in, sumers to choose how much they would The food arrives. A collection of small it’s like being knocked back by a wave in like to pay for any of the digital downloads ȱ ȱ ęȱȱ ȱ ȱ ȱ ȱ Ȭ the ocean. on the site. The founder of Quote Unquote, eties of kimchi (fermented cabbage) than Aside from improving the listener’s ex- ěȱȱ ǰȱ ȱ ȱ ȱ ȱ Ȃȱ I ever imagined existed (including kimchi ǰȱ¢ȱȱȱęȱȱȱ signed bands make more money since the soup), various sauces, pickled sardines, artist to a far higher degree than digital dis- switch to donations, providing more en- noodles with vegetables, a boat of sashimi tribution; services in the vein of Spotify and couragement to musicians to continue a ȱ ǰȱ ȱ ȱ Ĵȱȱ ȱ ȱ ȱ ȱ iTunes pay musicians minuscule fractions steady stream of output. Arguably the big- garlic. Conversation again changes as we of a penny for every sale of their music, ȱ ęȱȱ ȱ ȱ ęȱȱ ȱ ȱ ȱ are told what everything is and instructed whereas vinyl self-distribution allows for close it brings the artist to the listener. In an on how to eat it. Maria slaps the meat and artists to take home the majority of their age of only physical releases, the listener is garlic onto the hot metal above the coals Ȃȱęȱǯ restricted to buying music through record in the middle of our table. The succulent It would be ignorant to deny that digital stores or often another middleman, causing beef, cooked to perfection with crisp edg- formats will typically trump their physical separation from the artist. Digital music ǰȱ ȱȱĴȱȱ ȱȱ¢ȱȱ counterparts in terms of portability and downloading is almost always paired with sauce, toasted garlic, and pickled bean general ease of use, but if one is dedicated digital music discussion, and avenues to ȱ ȱęȱȱȱȱ ¢ȱ ȱȱĴȱȱȱȱ¢ȱȱȱȱ communicate with the artist and provide ¢ǯȱȱȱǰȱěȱȱ¢ȱǰȱ music, a physical record can open the door feedback. For aspiring musicians, this is happier than ever to be in Philadelphia. to a listening experience far richer than vital, as they can more readily gauge pub- Mimi Strauss anything before. Alec Juarez lic reaction to their music, and adapt their music to the audience’s tastes if necessary. Kelan Gill
Page 5: Naked Magazine “Quadstock Was Bitchin’”
stock incorporated an array of musical genres. There were a capella groups, R&B groups, garage rock bands, neopostfolk groups, and even a barbershop quartet. Each band would play a 10-25 min- ute set. In between sets current students would try their hand at wit and emcee the show. Quadstock would begin in the evening and end around midnight. Once the show came to a close a dance would be held where the show had taken place. All of this sounds fundamentally ideal for Kalamazoo College, but Quadstock still met its maker in 1997. What went wrong? Even in the last year of Quadstock students were hopeful of its return in Spring Quarter instead of during the newly defunct Summer Quar- ter. However, when the Summer Quarter was thrown out so too was Quadstock. If students truly wanted they could have made Quad- stock happen. Over the years the celebration became less of a good ȱȱȱȱȱȱȱĴȱȱ¢ǯȱȱȱ The Index regarding Quadstock went from titles like “Quadstock ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ěȱȱ ǯȱ ȱȂȄȱȱŗşŞřȱȱȃȱȄȱȱŗşşśǯȱȱȱ IOf course there will be an occasional live music experience on become disillusioned with Quadstock. They all knew what they campus but nothing like a music festival. For a music festival one wanted it to be and when it was not exactly as they had imagined must look elsewhere. In the late 1970’s, when K students were jam- it just became another subject to lament over. Nearing its demise ming to the likes of Blondie and Bee ȱĴȱȱ ȱǯȱ Gees, a student-run music festival was “A common atmosphere existed, one of One year Quadstock had barely one spawned. This event was held annual- relaxation and simplicity. All the photos ȱ ȱ Ĵȱǯȱ ȱ ȱ ly for almost twenty years—beginning was meant to happen it would, but no in 1979 when an alumnus decided depict scenes of students lounging and one at the time envisioned Quadstock he needed to promote his band and ȱ ȱ ęȱ¢ǯȱ ȱ ¢ȱ ȱ thought Kalamazoo College the per- dancing, perfectly at ease and in Quadstock’s passing, The Index print- ȱ Ĵȱȱ ȱ ȱ ǯȱ complete revelry” ed a picture of the quad with instruc- The event was aptly titled Quadstock ȱȱęȱȱȱȱȱȱȱȱ after the larger scale, equally as organized Woodstock of 1969. the picture. One of the items listed was Quadstock, and in a box Quadstock soon became an annual event held each summer quar- underneath printed upside down it read, “unfortunately you can ter, although not always on the quad. ȱ ȱ ęȱȱ ¢ȱ ȱ ȱ ȱ ȱ £ȱ ȱ ¢ȱ Looking through photographs of Quadstock from the 1970s more.” Although an annual Quadstock still takes place, it is only on through the 1990s it is always the same scene. A common at- Quadstock in name. It is no longer a musical festival for K students. mosphere existed, one of relaxation and simplicity. All the photos Who knows if Quadstock is gone for good? The true Quadstock depict scenes of students lounging and dancing, perfectly at ease might be worth exhuming from the grave some day. Shelby Long ȱȱȱ¢ǯȱȱȱ Ĵȱȱȱȱ ¡ȱȱŗşŞŚȱ described Quadstock as “an uninhibited pagan ritual and wanton dance ceremony” by then student Christopher Tower. Beer was ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ęȱȱ beers per student, each beer priced at 35-cents. This did not last ǰȱȱ ȱ¢ȱȱȱȱŗşŞřȱȱȱȱȱŗşŞŚǰȱ ȱ ȱ ȱ ǯȱĴȱȱ ȱ ȱ ȱ ȱ ȱ ȱ issue, the student organizations wouldn’t have to beg for partici- pants until the late 90’s. Finding local and student bands never seemed to present a prob- lem. From the inception to the death of Quadstock, organizers al- ways wanted to bring obscure bands to the forefront. The roster of bands that participated over the years makes up a strange laundry list of idiosyncrasy: Public Embarrassment, The Harmones, Plate O’ Shrimp, Lost in The Funhouse, Triplemint and Liquid Gift. An- ȱǰȱȱ¢ȱȱȱȱȱȱŗşŞŘǰȱȱȱ name for each show that they put on. Some of their chosen tem- porary band names were: Retching in the Suburbs, Cats on Nerve Gas, and Dismembered Marine Animals. Although the majority of the bands that played at Quadstock were of the rock variety, Quad- Page 6: Naked Magazine Get Naked With The Staff
Hannah Bacchus Kelsey Jessie Hansen Get to know some of our Writer Writer and Copy MaĴ hews staff members and their Writer Editor 1. Beyoncé 2. Rihanna 3. The Weeknd favorite musicians! 4. Jay Z 5. Kid Cudi 1. Coldplay 1. Nickel Creek 2. Phillip Phillips 2. Alt-J řǯȱȱȱ 3. Death Cab for Giant Cutie 4. Imagine 4. Ben Howard Dragons 5. Trampled by 5. Frankie Valli Turtles and the Four Seasons
Ayumi Perez Designer and Erica Vanneste Advertiser Writer
1. Hozier 1. Mac Demarco 2. Ben Howard 2. DIIV 3. Kodaline 3.Earl Sweatshirt 4. Bon Iver 4. MF Doom 5. Lewis Watson 5.David Bowie
Maggie Doele Eloise Germic riĜ n Writer Writer Smalley Co-head of Design 1. Wilco 2. Andrew Bird 3. Breathe Owl 1. Atmosphere 2. Lana Del Rey Breathe 4. Scrapper Blackwell 3. Ike Reilly 4. Weezer 5. Karen O ŗǯȱȬŗŞŘ 5. The Appleseed Collective Řǯȱęȱȱ řǯȱȱĴȱ¢ȱǭȱ The Heartbreakers 4. Childish Judy Kim Gambino Mimi Strauss Steven Saxton Designer 5. Los Writer and Head Writer Campesinos Editor 1. Wheezer 1. La Dispute 2. Ed Sheeran 1. David Bowie 2. Swans 3. Fall Out Boy Christine Cho 2. David Byrne 3. Death Grips 3. Joe Strummer 4. Double Murder 4. Alt-J Designer Abby Flowers 5. OneRepublic 4. Nicki Minaj Suicide 5. James Murphey 4. Kanye West Writer 1. Passion Pit 2. Rilo Kiley 3. Caro Emerald 4. Bastille 5. Two Door 1. Beirut Cinema Club 2. Belle and Sebastian Amanda Stutman Malavika Rao 3. Fidlar 4. The Velvet Writer Designer Underground 5. The Violent ŗǯȱȱȱĴȱȱŘǯȱȱȱ 1. Travis 2. Coldplay 3. Edward Sharpe Femmes ȱřǯȱ¢ȱ¢ȱŚǯȱȬŗŞŘȱ & The Magentic Zeros 4. Norah Jones 5. J Roddy Walston and The Business 5. Iron & Wine
Page 7: Naked Magazine ver since “Bonna- Eroo” became the sec- ond thing Google suggests after you type “bonnaro” I knew it had happened; cover of “Head, Shoulders, Knees, and Toes.” It was closing night ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȃȱ ĚȱȱĚȱǯȱ and the ballad sparked a sense of sentimentality in the crowd. The Sadly, summer music festivals, like Bonnaroo, have become post- band was joined by all twelve audience members in belting out Grammy Arcade Fire-overrated and commercialized. I admit I was the infamous chorus. One woman in the crowd remarked, “It’s ready to call time of death on the summer music festival. That is, just really cool to hear people come together like that. The lyrics until I heard about Coathellya. ȱ Ĵȱ¢ȱ ¡ǰȱ ȱ ȱ ȱ ȱ ȱ £ȱ ȱ Ȭ Coathellya is a truly underground music festival. It takes place ¢ȱȱĴȱ¢ȱěȱȱ ȂȱȱȬȱ ȱȱȱǰȱ in an abandoned Chilean mine (not associated with the 2010 inci- shoulders, knees, and toes.” dent). The lineup contains everything from Hungarian rap to spin- Unfortunately, the festival was cut short due to a misinter- ster techno. The atmosphere truly sets the stage for the performers. preted rescue mission. After the Chilean government heard, “wails The cavernous mine walls are slathered and what sounded like concrete on cheese ȱ Ȭ¢ȱ ȱ Ĵȱȱ ȱ £ȱ “Coathellya spared no ex- graters,” a rescue team plunged into the ǰȱ ȱ ȱ Ěȱȱ ȱ ȱ ȱ mine shaft. The man behind the operation scratched DVDs from a bankrupted was “confused” at a spectacle that he de- Blockbuster. Coathellya spared no ex- pense in transporting fes- scribed as “hellish, grotesque, and a Jack- pense in transporting festival goers to a son Pollock blend of emotions.” Festival land that can only be described as “Dr. tival goers to a land that goers experience was not marred by the Seuss’ wet dream.” impromptu end of Coathellya, but many Many festivals have been under scruti- were slightly blinded by the sun when ny for poor safety practices, dehydration can only be described as they returned to the surface. always topping the list of safety concerns. My time at Coathellya was magical. It Fortunately, at Coathellya you’re in Dr. Seuss’ wet dream.” revived my faith in the summer music fes- good hands, the hands of Dean Winters, tival free of top-forty lemmings. Of course the Allstate front man, to be precise. Guests can get a handful of once this article is read, Coathellya will already have become too ȱ¢ȱǻ ȱȱȱȱřDZŗŝȱȱŞDZŘŘǼǯȱȱ mainstream, but it was fun while it lasted- rest in transient hipness guns full of Tang are available twenty-four-seven. Coathellya has Coathellya, 2014. Camille Wood worked hard to accommodate guest’s diets. Whether you’re a plati- num level vegan or a sellout pescetarian, there’s a food truck serv- ing corkboard. ȱ¢ȱȱ¢ȱęȱȱȱǯȱ Ȃȱȱȱȱȱȱ ȱǰȱȱ ȱȱȱȱȱȱĴȱȱ¡ȱȱȬ enal headliners like Cue Ball Ham, Wanderer Q, Pasteurized Cha- os, and Dial Tone Sound. Skunk Jizz, the Swedish punk collective, ȱȱȱ ȱȱȱ ȱȱȃ ȂȱĴȱȱȱ ȱǰȄȱȱȱŗşŞşȱǰȱWet (Dream) Burrito. Dur- ing the forty-seven minute triangle solo, the lead singer completed a lite-bright portrait of Dana Carvey using only his toes. The por- trait was a looser interpretation of the comedian, but if you squint- ȱȱ ȱĴȱ¢ȱǯȱȱȱęȱȱȱ ȱȱ ȱ track, “Empty Mustard Packet in my Dryer.” Drummer, Sven Law, took the lead vocals while main-singer, Henrik Torch, performed sleight-of-hand magic tricks with special guest star Mr. Bean. Following Skunk Jizz, was the Green Acres Retirement Home choir, Wobbly Stool Sample. During their acoustic set, Chris Martin ate an entire can of spam on stage. This prompted an overwhelm- ing social media response which gave Coathellya the award for “Most Tweeted Moment of 2014.” The trending hashtag was #cold- playcoldcuts. All of the tweets came from me. So did the can of spam. The highlight of the festival took place during Salted Snails’ Ş Page 8: Naked Magazine What Do We Talk About When We Talk Random Record About Activism? BeyoncE and Taylor Swift Reviews nless you’ve been living under a rock, you’d know that within the past couple Uȱ ǰȱ Ȭęȱȱ ȱ ¢·ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ s a record collector myself, I’ve the world that they are feminists. This is great news for those of us who believe that Abeen in awe of WJMD’s record women are people. Anyone who has done any sort of activism knows that if you have collection and have been dying to go Ȭ ȱȱȱ¢ȱǰȱ¢ȱȱ ȱȱĴȱ¢ȱ ǯȱ ǰȱ through it. This assignment gave me the way both of these women declared their feminist leanings and the reaction of the the excuse I needed. general populace to these declarations speaks to how people view activism in general, especially regarding the “right” kind of activism. ȱ DZȱ ȃ ȱ ȱ ǰȱ Beyoncé’s declaration of feminism came with her surprise album in December of ȱ ȱ ¢ȄȦȱ ȃ ȱ ȱ Ȅȱ 2013. One of the most popular tracks on her album, “Flawless,” featured a sample of 1969 Chimamanda Ngozi Adichie’s TED talk about feminism. Adiche’s quote ends with a ȱ ȱĴȱȱȱȱȱȬ powerful statement: “Feminist: a person who believes in the social, political, and eco- cause of the colorful label on it. The nomic equality of the sexes.” This blew up within the musical and feminist communi- songs were catchy with an underly- ty, making an already big album even bigger. The fact that one of the most powerful ing soul groove. “In those Bad, Bad celebrities in the world declared herself a feminist in a time when “feminist” has been Old Days” is an upbeat tune with a considered a dirty word was phenomenal. full sound. The lyrics are about how ¢·ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȱ ęȱȱ ȱ Ȭ ȱĴȱȱȱȱȱ ȱȱȂȱ formance medley included “Flawless,” with the Adiche quote. However, many main- found his partner. The B-side, “Give stream news articles were quick to point out that Beyoncé’s second declaration of femi- Me Love,” has a darker vibe. The nism was a false one – her performance was deemed “too sexual” to be feminist, going song is threatening a woman that if with the age-old stereotype that all feminists are frigid and abhor sex. Even though she does not give him enough love ¢·ȱȱȃ Ȅȱ ȱȱ ȱȃȄȱȱŘŖȬȱȱĴȱȱȱȬ he will leave her. While I don’t agree hind her, many found it hard to believe that her performance was feminist in any way. with the misogynistic message of the Taylor Swift also came out as a feminist, but in a much more demure way. Original- second song, I would still recom- ly, Swift was adamantly against calling herself a feminist, stating that she didn’t like mend the single to anyone who likes Ĵȱȱȱȱ ȱȱȱǯȱ ȱȱŘŖŗŘȱ ǰȱ ȱȱȱ ȱ 60s pop songs. raised to believe that if you worked as hard as men, you could do as much as men. “Eventually the song adds some Now, nearly two years later, Swift has had a change of heart. In an interview with The Guardian in August, Swift declared that she was a feminist at heart, simply be- horns and some people clapping in cause she educated herself on what the word “feminist” actually meant. This reedu- the background, but that’s as excit- cation came in the form of her friendship with Lena Dunham, known for her feminist ing as it gets.” commentary. While Dunham’s brand of feminism has been controversial, it’s nice to see that Taylor has taken steps to correcting her view towards gender equality. ȱ DZȱ ȃȱ ȱ Ȅȱ Both Beyoncé’s and Swift’s individual declarations of feminism are also indicative 1971 ȱȱěȱȱ¢ȱȱȱȱ¡ȱ ȱȱȱȱǯȱȱȱȱ I chose this record because I be seen in small spaces like Kalamazoo College, where social justice activism is ram- wondered if it had the same song ti- pant, and especially when it comes to what declarations of activism are suitable. Quiet ȱ Ĵȱȱȱȱȱȱȱǯȱ ǰȱĚȱǰȱȱȱȱǰȱȱȱĴȱȱȱȱȱ¢ȱ Turns out, it’s because both sides of ȱ ȱȱĴȱȱȱȱǯȱǰȱȱȱȱȱȱ¢ǰȱ the record contain the exact same re- ǰȱȱȱȱěȱȱȱ¢ȱȱȱȱȱ ȱȱ cording of the same song. This song safe space. Protests consisting of the angry and frustrated oppressed are threatening is a mix of cheesy early 70s music to the oppressor. with some 50s horn sounds. It would Which begs the question: which is the “right” kind of activism? There is no simple make okay background music, but ȱȱȱȱȮȱȱȱȱȱęȱȱȱ ǯȱȱȂȱȱȱ it’s not something I would recom- debate over whether protests or discussions are the best way to achieve equality – this ȱȱĴȱȱȱȱDzȱȂȱ detracts from the larger problems of oppression. Beyoncé’s feminist message certainly ¢ȱȱȱěȱȱȱȱ got to a larger range of people; millions were viewing her performance on television, and over. Eventually the song adds and even more have seen the videos, pictures, some horns and some people clap- ȱ ȱ Ĵȱȱ ǯȱ ȱ ȱ ¡ȱ ping in the background, but that’s as “bubbly pop princess,” telling the world that exciting as it gets. If you like repeti- all you need to do is be educated about the tive songs that hardly build up at all, movement and she’s a role model for thou- then this record is for you. sands of young women. Neither expression is particularly “right” or “wrong,” both are Digging through WJMDs records important in achieving the goals of a move- ȱȱǯȱȱȱȱȱȱȱ ȱ ȱ Ĵȱȱ Ĵȱȱ ȱ ǯȱ you get the chance. Abby Flowers While education and discussion is important, protests and performances also have the same message—ęȱȱȱȱȱȱ¢ǯȱEmaline Lapinski Page 9: Naked Magazine THE UNDERACHIEVERS ൺඇංඇඍൾඋඏංൾඐඐංඍඁඁංඌඍඈඋඒൽൾඉൺඋඍආൾඇඍ
DEADHEAD '5-$0(6/(:,6 Cellar Door: Terminus Ut ϯͺͱϬϫͻͻͻ͵ͱ͵ͷͶͷϫϬͺͷϜͱϬͷϭ;ͶͷͱͶ Exordium ͺ;ͶϜϱϭ" Aug. 12th, 2014 It’s been a big part of my life for the past is also potentially the most frustrating, and RPM MSC thirty-two years. I knew them, of course, it largely depends on you and your audi- ȱȱȱȱŝŖȱȱ¢ȱŞŖȱȱ ence mates even more than it depends on mainstream radio, but it was not the kind the band. Political. Spiritual. Inspirational. These of music I listened to in high school. When I three words come to mind when describing ȱ ¢ȱȱȱȱȱȱȱȁŞŘȱȱȬ ͶϱϭϬͺͻͽͿϭϫͻ͵ͺͱϫͱЊ;ͱ͵ͷͻͺͻͺͷϜ the underground rap group, The Under- liam and Mary, they had a weekly acoustic ͷͶϭ͵ͱϬͻ" achievers’, new album Cellar Door: Terminus music showcase for students, and I kept ǰȱ ȱǯȱ ȱȱȱȱȱǰȱȱ ȱ Ut Exordium. Coming from Brooklyn, New hearing a half dozen or so Grateful Dead have tremendous respect for the students ǰȱȱ ȱ ȱȱ ȱȱȱ songs at these showcases and I got more who are and the students who want to be, ȱ ȱ¢ȱȱ ȱ ȱ ȱěȱȱȱȬ ȱ ȱȱęȱȱǰȱȱȱȱ and more interested in it. I started going to ȱȱȱȱȱȁŞřȱȱ ȱȱ lege. My statement of what my two interests the game with their originality. The album 36 times over the next six years. I still listen ȱ ȱ ȱ ȱěȱȱȱȱ ȱȃȱ has a Kid Cudi/Lupe Fiasco- type feel with ȱǰȱȱȂȱȱĴȱ¢ȱȱȱȱ¢ȱ and backpacking,” and I didn’t even own a its simple beats but meaningful verses. life. guitar and had only been backpacking once AK and Issa Gold alternate rapping about and have only been backpacking once since achieving one’s dreams, experiencing racial ϯͷϜͷ̸ͼͱͿʹͱͶϫ̹ͱͶ̸Њϫϱ͵ͺͷͶͷ;ͻ͵Ϝ͵ͽ̹ then. So, I had this sense of who I was going oppression/classism growing up in Brook- ЊϜͷϮͱ;ͷϬ͵ͱͿЊϭϫϯͺͷϱϭϯͷϜͷͱ to be, and I love it when students say that lyn, and having fun at the top. They talk ϫϬϭͶͷϬ" they really want to learn new instruments. up their own verses and rap about revolu- No, it was very much a marginalized It’s great that we have so many venues for tions. With few choruses, the rappers leave group. We had a classic college radio sta- people who aren’t music majors to play. more room to rhyme about concepts like tion that played R.E.M., what you think of ͺͱϫϬͺͷϫͻͻͻ͵ͱ͵ͷͿϭϫͻ͵͵ͺͱͷͶ how being famous means nothing without ȱȱȱȱęȱȱȱȱȱ music, and I hated all of it. There was noth- ͵;;ͷͷ͵ͱͿЊϭϫͷϫϫͻ͵ͷϱϭϯͷϜͷͱϫϬϭͶͷϬ" a mind of one’s own. Unlike so many rap- ing on mainstream radio that I liked; this The whole landscape of popular culture pers today, this thought-provoking album was the heyday of the Go-Gos, the Bangles, has changed because of the internet and the transcends societal norms. Hannah Bacchus and Michael Jackson—ěȱȱȱ ȱȱȱ fragmentation that the internet allowed. Be- now consider really awful. So this was very ing a Deadhead was very much a marginal much a subset of the student population group, but there were only about six other LEONARD COHEN and a subset of the national population of marginalized groups available out there. my age. There were also people who listened to one or two varieties of very much mainstream ͺϯͶͷϫϜͷ͵ϜͶͷͶͿϭϫͻ͵͵ͿЊͱϜͷϬͱ;ͻϮͷ music, mainstream pop and mainstream Popular Problems Ϳϭϫͻ͵ͷϰЊͷϜͻͷ͵ͷ" ¢ǯȱ ȱȱȱęȱ¢ȱ£ȱ Sept. 22nd, 2014 I love live music, and I go to about six groups, so many tiny subgroups that are Sony Music shows a year. It’s its own thing. The live ¢ȱȱȱȱȱěȱȱȱȱ music experience can be the best experi- other, that I just think that it makes for a ence of music, period. But it also can not be. ȱěȱǯȱȱ Not just because of the quality of the band, Leonard Cohen made his name as a poet but because your engagement with it is so ϯͺͱϬͶϱϭϬͺͻͽϬͺͷϜͻϫͷͻϮͻϱ;ϫͱ;ͷϫ and literary paragon. As a musician Cohen much more important than your engage- ͱͿϱϭͱͶϭ;ϬϫͻϬͺͷЊͱϫϬͷϯϱͷͱϜϫ" largely came to acclaim with his song “Hal- ment with what you’re listening to on the I think it’s cool, I had my beef against lelujah,” a staple cover song for anyone radio, on CD, on an album. If I listen to Bill young adults for killing the CD for a while, with a voice that considers themselves of Evans and I don’t connect with it that day ȱ ȱȱȱȱȱȱȱĴȱȱȱ musical talent. In Popular Problems Cohen because I get working, who cares, I’ll put if they restore interest in vinyl records. The comes back strong two years since his last the same Bill Evans album on next week, sound of vinyl is so superior to MP3s and anything you can hear over the internet release. He makes good use of his typical and it will be great. If you go to a show and can’t focus on it, or some jerk in the audi- that it’s amazing to me that the drift was so poetic lyrics and newly donned low tones. ence is singing out all the lyrics or mess- ȱ ¢ȱȱĴȱȱ¢ȱȱȱȱȬ While Cohen still sticks to his standard lyri- ing with their cell phone, you’re going to cess, so I am glad to see it switching back cal format, he has taken on a new sound. have a bad experience of it, and it’s going the other way. It does make me cry because This album is devoid of his earlier years’ to be uncomfortable, so it is the best and it I sold a lot of albums over the years at very folksy styling. The songs have down-and- low prices, so I can hardly bear to walk out grit with a doo-wop twist. If you have through the aisles at record stores when I ȱ ȱ ¢ȱ ¢ȱ ęȱȱ Ȭ see an old Charlie Mingus album poking out any musical accompaniment then look its head out at me for twelve bucks when I no further, Popular Problems has arrived to know I sold it for two. save you. Shelby Long Interviewed by Erica Vanneste Page 10: Naked Magazine WEEZER Everything Will Be Alright In The End Oct. 7th, 2014 Republic Records Why Maroon 5 Exploited Cows £ȱ ȱ ęȱ¢ȱ ȱ ȱ ȱ ȱ they’ve deserved with Everything Will Be ith the September 29 release of Ma- interpreter. Based on what we heard, the Alright In The End, which was formally Wroon 5’s “Animals” music video, cows were not happy with the situation ȱȱǯȱ ȱ¢ȱȱęȱȱȱȱ there has been an uprising amongst veg- Levine put them in. One recalls, “Blake’s your heart to forgive Weezer for ever releas- etarians and animal activists everywhere [Shelton] idiot friend took a bunch of us ing Raditude (2009), and give them another criticizing the rock group for the exploita- away to be in his stupid video… I never chance for redemption after Hurley (2010) tion of cows. Adam Levine, the group’s lead thought that he would kill them.” and Death to False Metal (2010), you will singer, very seductively rubs cow blood “I was afraid,” recalls another, “some- not regret it. Rivers Cuomo returns to his and meat all over his body in a butcher thing just didn’t feel right.” roots of odd, catchy lyrics, and the band re- shop, and hangs as though he were one of The feedback and emotions coming lives similar drum and guitar instrumentals the cows, which vegetarians, animal activ- from Shelton’s cows were heartbreaking, from their beloved earlier albums. Through ists, and even cows, have found extremely and I couldn’t bear much more. The cows tracks like “Back to the Shack,” Cuomo ac- ěȱǯ were miserable, and when shown the “Ani- knowledges their wrongful departure from Mobs have circled around Levine’s mals” video, I swear I could hear audible the alternative rock genre, and uses the al- home in hopes of confronting him. Signs cries from the herd. It was time to confront bum as a redemption piece, as well as an have been erected which can be seen from the man himself—Adam Levine—and I apology. Everything Will Be Alright is the anywhere in the city, and shouts can be wasn’t sure I was ready for that. kind of album everyone has been waiting heard from across the globe. After waiting a while in the living room to get from Weezer since their self-titled al- Among the protesters is a highly con- ȱ Ȃȱ ǰȱ ȱ ȱ ęȱ¢ȱ ȱ bum came out in 2004. Amanda Stuĵ man cerned cow. She was appalled by the grop- kicking and screaming from the second sto- ing and swinging of the corpses of her ry, as he was more than reluctant to speak relatives. As translated by cow expert and about his decision to use the corpses of his TAUK linguist Dr. Harold Moo, the cow said, rival’s cows in his music video. It required “They’ve ought to be ashamed of them- a lot of poking and prodding to get him to selves.” The cow, who goes by the name confess. Bessie, has some painful memories of loved ȃ ȱ ȱȱǰȱ¢ǵȄȱȱęȱȬ Collisions ones taken away by butchers, and Maroon ¢ȱǯȱȃ ȱȱĴȱȱȱȱȱ July 22nd, 2014 śȂȱȱ ȱęȱ¢ȱȱȱȱȱȬ [on The Voice] that I wanted, so I had to get Independent covery. back at him. Also, dead cows in a butcher Vegetarian writer Abel McDonald sides shop really went well with my song…” with Bessie, and very freely calls Levine a While even the meatiest of meat eat- As its cover art and title suggest, TAUK’s hypocrite. In an entry on her blog, McDon- ȱȱȱȱĴȱȱȱȱȱȱȱ recently released album, Collisions, is a true ald writes, “Adam Levine is a disgrace to video, vegetarians, animal activists, and es- fusion of genre (according to the band, a fu- the vegetarian/vegan community…He has pecially cows, will not let is slide as easily. sion of rock, funk, jam, jazz, and electronic). adopted the vegan lifestyle at least some- “I don’t care if it was for revenge,” said Headed by low temp beats, 70s reminiscent ȱȱȱȱȱȱ¢ȱĴȱȱȱ Bessie the cow, “that man will pay.” keys, and a groovy ballad guitarist, the vile content in his video.” When asked “[Levine] is a disgrace to the vegetarian- group’s second LP provides an unexpected about cows in particular, McDonald said, and vegan-kind!” shouts Abel McDonald at sound hybrid to drive a danceable, New “Many of my friends are cows. That made the rally in front of the singer’s home. Funk vibe. Collisions’ funky prog rock en- ȱȱȱȱĜȱȱȱȱ ǯȄ “I don’t care what people think,” Levine ¢ȱȱȱȱȬĴȱȱȱ Curious to learn more, I decided to pay later said, “everything I do is ultimately in and soothing melodies, with a promise a visit to country singer and “The Voice” the name of music. I will never regret what for variation in every track. Just when you coach Blake Shelton’s farm… Where he I did!” ȱ Ĵȱȱ Ȃȱ ȱ ȱ ȱ ȱ raises cows. Well, there you have it. It was all for some consistency or that Charlie Dolan’s “I always knew Adam [Levine] was out ǯȱ ȱ ȱęȱ¢ȱȱĜȱȱȱȱȬ bass is there to catch you if you fall, the to get me,” said Shelton of their Voice ‘ri- cept that Adam Levine is a psychopath who synth or organ completely annihilates the valry’, “but my cows? I can’t believe he ac- holds no remorse for what he did, especial- time signature. Collisions forces you to ride tually went there.” ly for Blake Shelton. He loves his cows, so with the changes. If you can’t get down, Of course, I was here to talk to the cows, Adam will have to watch his back for what you’ll be let down. Elise Houcek so I brought along with me Dr. Moo as an Blake has in store... Kelsey MaĴ hews Page 11: Naked Magazine S’mores in Four: Constructing a Community
future events, will have a focus on “integrating music across cul- tures and borders” and stated that “music is a universal language, and it needs to be used as such.” ȱ £ȱ ȱ ȱ ȱ Ĵȱȱ ȱ ǰȱ ęȱȱ ȱ s’mores and sipping on apple cider. There were even Reese’s Pea- ȱĴȱȱȱȱȱȱȱȂȱǯȱ¢ǰȱȱȱ Chord Song—a staple at any good sing-along—had its turn being passed around the circle. It was an intimate event, giving people a chance to gather around music and contribute their own musical ȱȱĚȱǯȱȱ ȱȱ¢ȱȱȱǰȱ and it will not be the last. In talking to Lauren, I was able to get the scoop on the tentative event plans coming in the future quarters this school year. For win- ter quarter, there is talk of a music trivia night in hopes to educate Ĵȱȱȱěȱȱȱ¢ȱȱȱȱȱ ǯȱ ȱ he Music Living Learning House (LLH) held its inaugural the spring, the members hope to put together a music showcase TǰȱȃȂȱȱȄȱȱȱȱęȱȱǰȱȱȱŘǯȱ of some sort, bringing in acts from the Kalamazoo area, the Ka- The aim of the event was to help build the campus community by lamazoo College community, as well as performances by each of bringing people together to enjoy two great things: S’mores and the members of the house. The Music LLH’s goals are quite com- ǯȱȱȱęȱȱ££ǰȱ ȱ¢ȱȁŗŝȱȱ¢ȱ Ȭ ǰȱȱ ȱȱȱȱȱȱĴȱȱȱȱȱ ȱ ȱȁŗŝȱęȱȱ ȱȱȱȱǰȱ¢ǰȱ¢ȱ away with an expanded perception of the musical world, as well ȱȱȱěȱȱȱȱĴȱȱȱȱȱǯȱȱȬ as a stronger connection to the musical community among them. bers of the LLH are Jill Antonishen, Andrea Beitel, Alyse Guenther, Joel Bryson Hannah Kim, Lauren Perlaki, and Lauren Zehnder. As a house, they aim to promote the idea of music as a common denominator across cultures. Lauren Perlaki ‘17 says that this event, as well as Mitten Music: TAUK at The Loft, EL and ambient guitar melodies seamlessly in their live shows. The venue, already quite packed with people for the two openers (who ęȱ¢ȱȱȱ ȱ ȱȱȦȱǼǰȱęȱȱȱȱ ȱ ȱ ȱȱěȱȱȱ ȱ ȱȱȱ ȱȱǰȱ ȱȱȱȱĚȱȱȱȱȱȱȱȱȱ dancing mass of people. They slid between one melodic tune after another seamlessly, creating an illusion of a roller coaster of a song that lasted the entire set, yet I didn’t feel like I was hearing the same song over and over. It was a set sculpted with obvious knowledge of how to provide the greatest sensory experience for the great- est number that night. In the middle of this past summer, TAUK PHOTO: JOEL BRYSON released their sophomore LP, Collisions,ȱęȱȱȱ¢Ȃȱȱȱ here are a number of venues in Kalamazoo—State Theatre, with funky fresh tunes for both the band and the audience. Mak- TLouie’s, The Mix, Shakespeare’s, Bell’s, etc.—and the same is ing their way around the country, supporting acts such as Orgone, true when one drives for an hour in any direction. There are great ǰȱȱǰȱ¢ȱȱȱȱĴȱȱȱȱǰȱ venues all across Western Michigan, and, being from Holland, I’ve with potential for exponential growth. Joel Bryson ȱȱ¢ȱȱĴȱȱȱȱȱȱȱȱȱ ȱ years. One of those venues is The Loft in East Lansing, which is a great, intimate venue in the middle of a sea of Spartans. The Loft, the second story to a popular bar, pulls fairly popular bands into ȱȱȱ£¢ȱĴȱǯȱȱȱȱȱȱǰȱȱȱȱ ¢ȱęȱȱǰȱȱȱȱȱǯȱȱȱȱȱ engaging musical experience shared with an exquisite number of fellow music-junkies. On October 3rd, the band, TAUK, played an entrancing show with special guests Desmond Jones (East Lansing natives) and ¢¢ȱ ǯȱ ǰȱ ȱ ȱ ȱ ȱ ǰȱ ȱ Ȭ ȱȱ¡ȱȱȱȱ ȱĴȱ¢ȱǰȱ££ǰȱ Page 12: Naked Magazine Undressed|Reflections an editorial by Braeden Rodriguez In Memoriam- e live in an age where information is openly available and Wexposure to new ideas can “...learning is no happen as much as one wishes. With Death Grips regard to music and culture, this has longer a choice or enormous potential for those looking for non-commercial art. The relation- a privilege, but an ship between record labels and mu- obligation.” sical success is deteriorating. Via the power of social media and mass communication, technology has a greater impact on how we come to view art, and moreover, the world. The internet has created a paradigm shift in how we think about the world around us, and the way culture moves. With this open network, learning is no longer a choice or a privilege, but an ob- ǯȱȱȱ ȱȱȱȱȱȱěȱȱȱȱ and mischaracterize their opinions for the sake of personal conve- nience. It’s incredibly easy to cling to one worldview, to AlterNet or The Beacon, and paint our opponents with broader and broader strokes. Of course, you’re entitled to do whatever you want but you should consider whether or not you’re building a personal echo n 2011, a trio of anonymous musicians gathered to form what chamber. The world is a beautifully multifaceted place, and I Iwould come to be known as one of the most elusive collectives would hate to only see it one way. ever to exist. Working under the name Death Grips, the internet re- lease of their debut mixtape, Exmilitary, sent shockwaves through ȱ Ȭȱ ¢ǯȱ ȱ Ȃȱ ǰȱ ȱ ȱ Ĵȱȱ Ȭ Live Score at the graph of a scowling Haitian man, well represented the band’s mu- sic. From the anti-materialistic opening monologue sampled from Ù none other than Charles Manson himself, it became clear that the Alamo Drafthouse ȱȱ¢ȱȱȱ ȱȱěȱȱȱ¢ȱ the world had ever heard before. Each song perfectly blends grimy, he Cabinet of Dr. Caligari is considered a hallmark of German Ȭęȱȱȱ ȱ£ȱȱȱȱǯȱ T¡ȱ ęȱȱ ȱ ¢ȱ ȱ ęȱǯȱ ȱ ǰȱ ȱ ȱ What may be most striking, however, is MC Ride’s vocal delivery. design bears striking resemblance to Tim Burton’s signature aes- His voice switches cadence and tone wildly, ranging from wheezes thetic, with sharp shadows and lights painted directly onto the set, and grunts to throat-rending shouts that treat the beat more like an producing a gloomy visual landscape. The actors play their parts afterthought than anything else. with exaggerated gestures, adding to the movies’ surreal tone, and Subsequent albums from the trio continued to push the bound- ȱȱȱȱ¢ȱȱȱȱęȱȱȱȱ aries of musical convention. The Money Store, their only commer- ȱȱȱǯȱȱȱȱęȱȱȱęȱǯ cial work to date, could accurately be deemed cyberpunk hip-hop. ȱ ȱ ǰȱ ǰȱ ȱ ȱ ȱ ěȱǯȱ ȱ Ȭ Group member Flatlander’s precise production makes this record pable sense of foreboding was increased by musical accompani- shine, painting a dystopian sonic landscape held together by the ment, which consisted “You might not be surprised tenuous strands of MC Ride’s fractured narrative. Their records No of a collection of local Love Deep Web, Government Plates, and N*ggas On The Moon, would musicians. The ensemble by its twist ending, but you raise the bar for unorthodox methods of promoting and produc- consisted of members of ing albums. From blatant surprise releases without warning to Brown Company, spazz- might be a bit disappointed cryptically-hinted puzzles bearing dates of release, the group left ȱęȱȱ¢¢ȱȱ that Hollywood hasn’t come their fans constantly hungering for more bizarre antics and more the Cops, Fuzz Town, of their music. and Satellite Records co- up with much better in the And then it was all over with a note. On July 2nd, Death Grips owner Sean Hartman. On last 94 years.” ȱȱ Ĵȱȱȱȱȱȱȱȱȱ the far-right side of the group’s reign had concluded, yet still promising the release of a movie theater sat Brown Company member Josh Miller, with an ęȱȱȱǰȱThe Powers That B, before the end of this year. immense series of pedals and analogue devices, which produced a The note concluded with one of the band’s only direct messages cacophony of otherworldly drones and squeals to accompany the ever given to their fanbase: “To our truest fans, please stay legend.” ęȱȱ ȱ ¢ǯȱ ȱ ęȱȱ ȱ ȱ ¡ȱ ȱ ȱ ¢ȱ ȱ ȱ¢ȱȱȱȱȱȱęȱȱȱ executed drum solo and overwhelming wall of sound from the en- ȱęȱȱěȱǰȱȱȱȱȱȱȂȱȱȱȱ ǯȱȱȱȱȱȱ¢ȱȱ ȱǰȱȱ¢ȱ waiting game to see how Death Grips chooses to drop their last might be a bit disappointed that Hollywood hasn’t come up with bomb upon the music world. Until then—stay noided. Alec Juarez ȱĴȱȱȱȱȱşŚȱ¢ǯȱBraeden Rodriguez & Braeden Rodriguez Page 13: Naked Magazine NAKED PERSON OF THE ISSUE
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