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B*9 C # MTV’s “Return of the Rock” Tour has
JLm.Vr\/JnL lUJI JL JL9 • revitalized the pure art of rock music
by Douglas Smith
sports editor
lineup of Stone Temple Pilots,
Godsmack, and Disturbed
will entice any pure rock fan.
This is the idea behind MTV’s Return
of the Rock Tour that kicked off in
Pittsburgh at the Mellon Arena this
past Friday, October 20. The arena
was cut in half, making the seating lim
ited, but adding a more club-like feel.
This kind of atmosphere was appeal
ing. The evening just got better as time
passed.
Disturbed came out first with a very
odd tactic of a mock execution by elec
tric chair in which a voice came over
the loudspeaker announcing various
crimes of the accused. A blaze of
strobe lights and a puff of smoke fol
lowed and then pure darkness until the
band exploded into the light, and lead
singer David Drainman arose “from
the dead” of the electric chair. Dis-
Whistlin' Dixie:
How a city girl became a Dixie
Chick in Pittsburgh, PA
This is the story of a city girl who went to a Dixie Chicks show that changed
her whole world...sort of. Well, I am happy to say that 1 went to my first country
music concert and I made it through alive. I may have even enjoyed myself. I
sure did have one helluva, cow-tipping, hay-stomping. Stetson-waving, chaps
slapping time. And if more country music sounded like what I heard last Sun
day at Mellon Arena in Pittsburgh, I would listen to a lot more of it.
Although the opening band has to go if the Chicks really want to appeal to the
mainstream, die-hard rock n’ roll crowd, they did their best to show the sold-out
Arena why honky-tonk ain’t all bad. Even the more country numbers, like “Sin
Wagon” and “Some Days You Gotta Dance,” were performed in such a rousing,
get-outta-your-seat-and-dance way that even an anti-country girl like myself
had to applaud them.
The girls began their set with the first big hit off their Fly album, “Ready to
Run.” After a put-me-to sleep opening by Ricky Skaggs (where there was nary
a drum nor an electric guitar on the stage), the Chicks promptly reminded every
one why they shelled out the minimum $4O for a seat. Lead singer Natalie
Maines belted her way through this hit, and all the rest, leaving no doubt in my
mind why she’s the front-chick of the group. Sporting a sassy, shiny, thigh
exposing, burgeoning belly-showing gold dress and matching boots, Maines
flew through this song and the rest with expected pizzazz. The fiddler on the
stage, Martie Seidel, managed to steal the show, in my humble opinion, with an
instrument that most would scoff at until they saw her kick some serious butt
with that violin. Emily Robison tied it all together and kept base with the audi
ence while blowing everyone away with an instrument I never knew existed--a
dobro, which, to my vastly uneducated eye, looks like a guitar you hold flat
while sliding some metal thing over the strings.
There were many great moments in the show. At one point the Chicks pre
sented a slide show, featuring photos from their past. Seidel pointed out that
while some things have changed for them since the beginning-‘‘we won a couple
of awards, Natalie got knocked up”-they still remembered their roots. I also
greatly enjoyed their rendition of Sheryl Crow’s “Strong Enough," delivered
from a red couch center stage. From this couch, they also sang one of my favor
ites, the more mellow “Let Him Fly.” Then there was the song that may repre
sent the signature Dixie Chicks attitude, “Sin Wagon.” While the girls engaged
in their mattress-dancing and 12 ounce nutrition, a shiny red silk cloth fell to
backdrop the stage. Stage hands grabbed hold of the bottom of the silk and
shook it, creating the illusion of flames rising up the back of the stage. Very
cool, er, hot,
The finale consisted of two obviously planned songs. First, when the encore
began, the Chicks were scattered throughout the Arena to deliver the soon-to-be
classic “Goodbye Earl.” Then they returned to the stage to finish with their
break out number, “Wide Open Spaces.” As Rolling Stone reviewer Richard
Skanse put it, "The room damn near exploded, proving that even as the Dixie
Chicks spread their wings, they still know how to kick ass.” All in all, it may
just have been the best show I have seen all season.
The third chilly reception for 98°
by Susan Taylor
staff writer
It sounded so promising. When the
new 98° CD, Revelation, debuted, there
was rejoicing in the streets. Media
Play opened at 7 a.m. as flocks of
screaming fans scooped up the latest
contender in the race for boy band su
premacy.
The brand new CD is almost an hour
in length and contains fourteen songs.
Movies Video * Music* DVD*
Charlie’s Angels Anna and the King Erykah Badu Anna and the King
BooTof Shadows Anywhere But Here Insane Clown Posse Return to Me
Lucky Numbers Fight Club Master P Touch of Evil
Little vampires Touch of Evil U 2 Where the Heart Is
♦release date is 10/31
Arts & Entert
turbed played nine songs off their first
album, Down with the Sickness. That
is three-fourths of their first album in
a little less than an hour. The show
featured nicely timed lighting, but
nothing in the way of special effects.
The band sounded a lot like the album,
which is usually preferred in hard rock.
Very few complaints were heard, and
the arena joined in on the hit single
“Stupify,” which was the last song in
the set. Drainman did make sure the
audience was still with him, having a
few question and answer sessions that
cannot be repeated in print.
Godsmack featured gargoyles on
stage, and a rotating stand for the
drummer, but once again it was basi
cally just a stage on which to play mu
sic. Lead singer Sully Erna was
quoted in Rolling Stone saying,
“there’s nothing fancy about it.
There’s no techno rock, no rap rock,
just—rock.” Indeed that was the feel
ing. Godsmack started off with the
by Liz Hayes
news editor
Cuts like “Give Me Just One Night such artists as Paul Simon, Radiohead, counterparts. Lacking the unstoppable
(Una Noche)” and “He’ll Never Madonna and Limp Bizkit. Fellowboy energy (or marketing) of BSB or
Be...(What I Used To Be To You),”
are danceable, upbeat songs with
catchy lyrics about love and girls. Oth
ers, such as “My Everything” are
deeper love ballads that would go right
to a girl’s heart.
In the month since its release, how
ever, Revelation has been bumped
back from the top five to barely mak
ing the top 25. It was pushed out by
new single “Awake” to promote their
new album coming out on Halloween
day. The single “Voodoo” may have
gotten the loudest reaction out of the
crowd as far as singing along. Ema
would often allow the audience to take
over on such songs as “Voodoo” and
“Whatever.” Godsmack also per
formed other new singles such as “Sick
of Life.” A magnificent drum solo
highlighted the show.
Still, the headliner indeed stole the
show as Stone Temple Pilots took over
around 9 p.m. STP mellowed out the
crowd in many cases, but it felt as if
that was the reason people attended.
Scott Weiland and company opened up
with “Crackerman,” which utilizes a
bullhorn and seems to be the band’s
favorite icebreaker. STP went acous
tic when performing “Sour Girl” and
“Creep.” The set list included many
more old favorites than new singles off
the recent album. No. 4, although, “Sex
and Violence” makes it into many
Blzklt
keeps on rollin'
by Douglas Smith
sports editor
Limp Bizkit released their newest al
bum, Chocolate Starfish and the Hot
Dog Flavored Water , on October 17.
Overall, it has an angry tone, but ap
peals to all senses with various songs.
The album starts with a rather an
gered anthem, “Hot Dog.” Fred Durst,
the self-proclaimed Chocolate Starfish,
takes a stand against Nine Inch Nails
lead man Trent Reznor in a song that
counts the four-letter words. Fans that
just buy Limp Bizkit because they are
popular will enjoy this song, but it does
not really express much growth. It is
more of an immature anthem for the an-
gry-hearted.
One of the best songs on the album
has been released as a video and has
been looking for a spot on TRL. “My
Generation” honors the generation that
ends with the college student of today.
The 19 to 25 year old age range can use
it as their rebuttal to all who aggravate
them. Actually it is a bunch of ram
bling about simple ideas that summa
rize the generation, but, oddly, it strikes
a chord with the aforementioned age
group.
In the on-going saga of Durst and
Christina Aguilera, “Livin’ it Up,” adds
to the controversy. This is the seventh
track on the album that proclaims, “Ms.
Aguilera come and get some.” It
samples a classic by the Eagles and is
dedicated to Ben Stiller. In all actual
ity, the song deals with stressful situa
tions that come from being caught in
the fast lane of life. Fans may recog
nize the end of this song as the piece
that Durst performed when he came on
stage with Aguilera at the VMA’s this
year.
Possibly the most intriguing song on
the album is “The One.” It’s the best
attempt at a sappy love song that Limp
Bizkit could make. Durst seems to be
band The Backstreet Boys are already
looming over the future of Revelation
with their as-yet-to-be-released album
at number 40.
In fact a quick comparison of Rev
elation and the Backstreet Boys’ most
recent album, Millennium, or N’Sync’s
latest contribution No Strings Attached,
shows that 98° has once again failed to
gain the same kind of popularity as their
ainment
shows. Weiland announced “No Way
Out” as the new single. Still, songs
like “Trippin’ on a Hole in a Paper
Heart,” “Interstate Love Song,” and
“Vasoline” were show highlights.
Weiland captured the essence of
glam rock with his silky shirt that
would soon come off and the stylish
black cowboy hat. He also sported a
blonde mohawk, once the cowboy hat
was tossed aside. Weiland captivated
the audience with the many twists and
turns he made in his unique style of
dance. He covered the whole stage,
as well as venturing into the crowd on
a small fence held by security guards
during the performance of “Plush,” the
first STP single ever.
MTV definitely has a money-maker
on their hands with this year’s edition
of the Return of the Rock Tour. The
tour corresponds with the release of the
second volume CD of the same name.
The CD features Disturbed, Papa
Roach, and other pure rock bands.
questioning his stance in life and
whether or not he can continue to live
the rock and roll lifestyle. “1 believe
that you and me, that we could be so
happy and free inside a world of mis
ery,” states Durst. In the first true shot
at love songs, Bizkit seems to hit the
nail on the head with a twisted thought
process. D.J. Lethal is virtually absent
from the song and the hard-hitting gui
tar riffs are kept to the end, but still it is
something that was bound to happen.
Many songs are worth talking about
on the new release. The best crossover
song is “Getcha Groove On,” featuring
Xzibit. Durst raps one verse, but lets
Xzibit take over for the most part. This
song is bound for clubs and possibly
TRL, if the edited version leaves any
of the song intact. The beat is differ
ent, but the tone remains consistent with
“N 2 Gether Now,” that featured
Method Man and appeared on Signifi
cant Other.
Guest stars include DMX, Redman,
and Method Man on the urban assault
mix of “Rollin’,’’produced by the num
ber one Ruff Ryder, Swizz Beatz. Scott
Weiland adds his production skills and
his voice to “Hold On.” This song mel
lows the listener out before the overag
gressive urban assault mix mentioned
above. Ben Stiller brings his nerdy
laugh to the outro that does nothing but
annoy, and Mark Wahlberg and Third
Eye Blind front man Stephen Jenkins
lend their voices for interludes.
Chocolate Starfish and the Hot Dog
Flavored Water deserves to be the top
selling album for a few weeks. There
is also a lot of potential for many songs
to be released as singles with "Rollin’,”
“My Generation,” and “Take a Look
Around” having been released some
where and somehow already. This al
bum will not disappoint proven fans and
will probably pick up a few simply be
cause of how huge Limp Bizkit has be-
N’Sync, 98° has cooled for the third
time in the shadow of those other Boy
Bands, whose presence on TRL has re
peatedly prompted record-breaking
crowds in the streets of Times Square.
It appears the quartet needs to make
some serious changes, or the back
burner could be stuck at 98° for good.
—y Sic’ Em
Fido
by Deanna Symoski
BRITNEY:
Dethroning Pop’s Princess
(you knew it was coming)
I was patiently awaiting my chalupas in the drive through when the
lunchtime radio show played “Material Girl” by Madonna. My
brother, who has betrothed himself to Britney Spears, listened for a
second, then defended his future wife by saying that when Madonna started,
she couldn’t sing either.
I immediately retorted by saying that while the songs Madonna first
released don’t necessarily showcase her talent, it was apparent on her
albums, whereas Britney’s albums only legitimize the criticism. My brother
relented, unable to defend the complete lack of talent his future wife
possesses, but said it doesn’t matter anyway.
It doesn’t matter anyway.
Is that really the state of things on the music scene these days? I know
I’m usually the first one to complain that no one appreciates the music of
today, but I never said I didn’t understand why.
I guess since the day Madonna started singing, she was more of an image
than a voice. And certainly she was not the first to get by in her early days
on an offbeat sense of fashion. It is often the image that enables the voice
to break through. But while Madonna was the pop pinup girl of the
eighties, she could sing too. She could back up that image with a voice, and
the combination of her business savvy and talent made it possible for her
career to thrive. While her image has certainly changed as she continues to
reinvent herself, her voice has only grown stronger.
And then there is Britney. She is quite probably the purest example of
where looks can get a person. She can dance, I’ll give her that much. But
sing? Not today. The problem is that she is still somehow considered a
singer, when “entertainer” may be a more appropriate term. If Britney
showed any signs of hope for her voice, I would argue that she just hasn’t
developed it enough yet, but there isn’t even a dim light at the end of this
dark tunnel.
To illustrate my point, 1 need only mention Britney’s VMA performance,
where she practically stripped. I don’t even remember what she “sang,” but
I do remember her taking all her clothes off to reveal a nude body suit. She
might as well chuck the singing all together, and devote herself to the
profession she actually seems to be good at,
The same goes for her Saturday Night Live debacle, where she attempted
to prove her voice in her second musical performance. Her live rendition of
a little-known song called “Don’t Let Me Be the Last to Know,” made us all
appreciate the miracle of the editing studio. The song was slow; she
performed it from a stool, and it received little notice except for how bad it
sounded. It was her first act, a high-voltage performance of “Oops, I Did It
Again,” that was the show-stopper. Her talent, if you can call it that, lies in
her navel and the choreography to Which she swivels it.
And no one seems to have a problem with this. As my brother said, it
doesn’t matter that she lip syncs, that she can’t sing, that she can’t make any
more changes because she just has so much choreography in her head. So
what does matter? That she looks good.
I’m not a feminist. I never have been, and I never will be. And
truthfully, I didn’t even realize I thought this until I typed that last
paragraph. But now that I see where our priorities are, it makes me a little
nervous about the legitimacy of women in society. 1 would like to think
that my talent (if indeed I have any) will be what gets me a job, not my
looks (if indeed I have any of those either). I don’t plan on joining the
entertainment field; I plan on writing about it so maybe the issue won’t
arise. But the fact that this opinion of Britney is so widespread must say
something about the average person’s view of women.
I’m sure if I asked Britney, she would think she did have some talent, and
maybe memorizing all those words to all those songs could be considered a
skill. She would probably be the last person to say she has floated by on
looks, and even if she admitted it, she would probably be hesitant to give
back all the perks the ride has gotten her. But standing for something as
shallow as her looks sends a troubling message to young girls. I’m not the
first person to argue this point, I guess I’m just surprised to find myself
agreeing with it.
If Madonna was only as good as her posters made her look, she certainly
would have fallen by the wayside before now. Instead, she has lasted three
decades. Her contributions to music (not fashion) have been documented
by her numerous multi-platinum albums, not her covers of Rolling Stone.
I am sure that this editorial won’t stop Britney from seductively posing
for magazine covers. And I am relatively certain it won’t prompt her to
take singing lessons either. 1 don’t think that this editorial will change
anything, actually, except that maybe you’ll think of it when you or
someone else says “it doesn’t matter.” It does,
H n. HI ; HO . 0 ’ U AC ON
FRIDAY, OCTOBER 27,2000