Written & Photographed by : Killian O’Neil

It’s a very rare occasion when I am in North Philadelphia and actually feel safe; this last Saturday was one of those times. As my Uber pulled up to The Met Theatre, I was greeted by a hand full of security guards, accompanied by a wall of walk-through metal detectors. The entrance of The Met was sectioned off with chain link fences that had fake grass woven throughout the openings. It turned out to be a pop-up beer garden, and a DJ was spinning Emo/EDM remixes. Everyone either had a drink in hand or was chatting amongst themselves, bopping around. Despite the heatwave that was ripping through the city, the excitement of the night seemed to trump the thermostat reading 100 degrees.

Once I entered the venue, it was wall-to-wall with people every which way. I had about 10 minutes to kill before the night began, so I did what anyone would do, and I went to stand in line for merchandise. The line was wrapped around the staircase, overflowing onto the second floor of the venue. I overheard the couple behind me getting frantic because they were worried they’d miss Something Corporate because the line was “so long.” It really shouldn’t come as a shock, seeing as it’s been nearly 14 years since they went on tour. What makes it even wilder is that this was the first time in 20 years that all five of the original members were on the road together. We were definitely in store for a very special night. I myself have been waiting for this moment patiently since I was 14. A little longer wasn’t going to make a difference.

Something Corporate came on right after nine p.m., following their opener, Days Away, who had one hell of a set. Keeping the theme of indie rock for the evening, they got the crowd roaring to go and singing along to every song they played. It was my first time seeing them, but it was quite clear they have been doing this for a very long time. I was only able to catch the end of their set, but what I did catch was profound. Right before they played their last song, the lead singer said, “It’s kind of beautiful that you can write a piece of something and give it to the world,” and immediately after, everyone went crazy.

Once Days Away ended, it was finally time for something corporate. The music cut and the lights dimmed, and next thing you know, Andrew McMahon is skipping out onto the stage. He was dressed in a white button-down, black suspenders, and black dress pants, which completely suited the evening that was in store. The band immediately went into the song “Straw Dog” without anybody in the audience missing a beat with the lyrics.

Continuing the high energy of the night, they bang out “I Want to Save You” and “She Paints Me Blue,” with a mix of nostalgia and memories penetrating the air. There wasn’t a single person who wasn’t singing along with their eyes closed, getting transported to their formative years. There were 21 songs played that night, and the band left little time for pauses and transitions.

They played every hit, including “Punk Rock Princess.” During this song, Andrew went and grabbed his daughter, bringing her out on stage. They both sang it together and danced around the stage, e

ating up every moment. Ending that song on a strong note, Andrew jumped into the crowd and ran around singing to finish it off. Following it was “I Woke Up in A Car,” and that is when I believe I lost my voice. The last time I sang along this much, it was at Taylor Swift! The lights cut and all filed off.

A few moments later, after echos of “one more song” chants and screaming from the crowd, Andrew walks out on stage, walks to his piano, and takes a seat. At this point, everyone was losing it because there was still one song in particular that had yet to be played. The first key was hit, and the crowd started to sing in unison, “Konstantine.” It’s a seven-minute beautiful song, mainly on the piano, and seeing it live was out of this world. The emotions were swirling for everyone that was in the crowd that night. I swear I saw a girl crying in front of me. The second-to-last song that evening was a throwback of all throwbacks to close out the night, for real this time. It was none other than “If You See Jordan.”.

The synergy I saw that night on the stage between the bands is something that you don’t see often. It is quite clear that their brotherhood has weathered the seasons of life together. Which has transferred beautifully to the stage. Every single one of the members of Something Corporate was having the time of their life, and you could tell that. Everyone was feeling something on some level that night. In the middle of the evening, Andrew said to the crowd, “You can’t manufacture magic; you just have to try to put yourself on the path, and if goddamn, tonight wasn’t magic.” That’s exactly what this night was to not only them but to everyone in attendance.

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Rebel Girl, by Kathleen Hanna

Written by: Lisa Melograno

As I dove into Kathleen Hanna‘s “Rebel Girl,” I was captivated by her vivid descriptions of her life, from childhood and beyond. Her recollections of the shows she watched, dance classes, music, and fashion struck a chord with me, evoking memories of my own upbringing. Hanna’s engaging narrative had me eager to delve further into her inspiring story. In this captivating memoir, Hanna offers a candid glimpse into her remarkable journey, marked by personal struggles, triumphs, and a relentless spirit that solidified her place in the punk rock scene and feminist movements.

As a musician, activist, and founding member of the bands Bikini Kill and Le Tigre, Hanna invites readers into her extraordinary life with an unapologetic voice and fearless storytelling. Hanna’s reflections on growing up in a turbulent home with an alcoholic father, who was a labor union leader, weave a powerful tale of strength amidst challenges. Kathleen Hanna was born in Portland and spent her early years in Maryland. During middle school, her sister overdosed on Jimsonweed and spent some time in a coma. As Hanna walked through the halls of her school, she would hear students discussing the incident. This event marked her first experience with “unwanted media training,” which she described as becoming “famous in a bad way.” Hanna’s family later moved back to Washington, and she started high school at Lincoln High School. She found the school to be filled with “mostly rich kids that knew each other since they were babies,” as she described it. When Hanna’s sister got married, she sang at the ceremony. After her performance, Walter Cole, her late cousin and the proprietor of Darcelle XV nightclub, praised her vocal talent. Hanna recalls him saying, “If you were a boy, I’d hire you right now to sing in my cabaret show.” She expressed feeling as if she had been “knighted by entertainment royalty.” This experience motivated Hanna to return to singing, as she realized it gave her a sense of purpose and something to live for.

In “Rebel Girl,”  Hanna invites readers on a candid journey through her college years, offering an intimate look into her personal evolution. As she pursues a photography major at Evergreen College, her memoir explores the defining moments that molded her identity and ignited her rebellious nature. From late-night sessions in the print room to the heartbreaking discovery of her roommate’s assault, her experiences range from volunteering at SafePlace‘s call center (a facility aiding victims of rape and domestic abuse) to the creation of zines, launching an art gallery, and forming a band. It was during this period that she crossed paths with her future Bikini Kill bandmates, Tobi Vail and Kathi Wilcox. Reko Muse, the gallery’s name, was a collaborative project among friends. For their grand opening, they decided to organize a concert, and Tammy Rae, an artist and close friend of Kurt Cobain, arranged for a local band, Nirvana, to perform at the gallery due to their significant following. It was at Reko Muse that Hanna first encountered the local band Nirvana and its lead singer, Kurt Cobain, marking the beginning of their friendship. Seeking refuge from her male roommate and hesitant to return home, she frequently stayed at Cobain’s apartment, which she shared with his new drummer, Dave Grohl. One night, in a state of drunken revelry, Hanna scrawled “Kurt smells like teen spirit” above his bed, drawing inspiration from a teenage girl’s deodorant ad she had seen with Tobi, who was Kurt’s girlfriend at the time. Kurt was later asked to use the phrase in a song, inadvertently sparking the creation of a legendary rock anthem. Furthermore, when Bikini Kill was asked to participate in the music video, they declined to avoid being objectified and to uphold their feminist principles. Hanna later regretted missing her final chance to see her friend Kurt Cobain. As Hanna navigated relationships and dedicated her time to volunteering at SafePlace, she found herself drawn to the ideals of the feminist movement. Volunteering at SafePlace was “gratifying but super upsetting.” She began journaling and writing poetry to cope. Unknowingly, the suppressed memories of past traumas inflicted by the men in her life started to resurface in her writing. Despite the emotional turmoil, it felt like she was “coming alive for the first time.” Tobi Vail’s fusion of punk and feminism in her songs left a lasting impression on Hanna, inspiring her to propose starting a band. With Kathi Wilcox joining their ranks, Bikini Kill was born.

In “Rebel Girl,” Hanna delves into her journey through music, activism, and feminism, shedding light on the challenges she faced as a woman in the predominantly male-dominated punk rock scene. She provides readers with a firsthand account of the hurdles she met in the music industry and highlights how she used her music and voice to combat sexism and empower women. Noticing the gender dynamics at her concerts, where males tended to dominate the front rows and harass the girls, Hanna began her performances with the empowering directive, “girls to the front.” This simple yet impactful gesture marked the dawn of the Riot Grrrl movement. The narrative explores the genesis and impact of Bikini Kill, from the iconic concert opening chant “Girls to the Front” to the practice of collecting addresses from attendees to distribute zines and updates on forthcoming shows. Drawing hearts and stars on one’s hands with a Sharpie at concerts signifies having received a postcard and being embraced as part of the community.

While on tour in Australia, Bikini Kill and The Beastie Boys both performed at the Summersault Festival, where Hanna first met Adam Horovitz of the Beastie Boys. She was enamored by him, considering him “the sexiest boy in the world,” despite his marital status at the time. Their paths crossed again after Horovitz’s marriage ended. When Hanna returned from the tour, she bought a Beastie Boys poster to admire him, kissing his face so much that the lips on the poster became distorted. During Horovitz’s first visit to Hanna’s apartment, he noticed the altered poster. Hanna initially tried to downplay it, claiming she bought it for her cousin. However, Horovitz, seeing the changes to his mouth, asked, “What’s wrong with my mouth?” Hanna tried to evade the question by suggesting water damage, to which Horovitz playfully responded, “Only on my mouth?” Hanna realized she had been caught in her lighthearted deception. Kathleen Hanna’s partnership with Adam Horovitz of the Beastie Boys brings a profound dimension to her story. Hanna recalls her surprise at his kindness, as it wasn’t something she had experienced often from men. Their relationship represents not only a shared passion for music and activism but also serves as a testament to the enduring power of love in the face of adversity. Hanna’s candid account of her battle with Lyme disease and the unwavering support from her husband during her darkest moments reveal a heartwarming aspect of her journey. Together, Hanna and Horovitz weathered storms and built a family, adopting a son named Julius.

“Rebel Girl” serves not only as a tale of personal development and self-realization but also as a narrative of collective mobilization and empowerment. Hanna’s portrayal is profoundly introspective, shedding light on her internal struggles and vulnerabilities while also illustrating the communal essence of the Riot Grrrl movement. Her narrative stands as a tribute to resilience, the significance of female solidarity, and the profound impact of art as a tool for societal transformation.

“Rebel Girl” transcends the boundaries of a mere memoir; it stands as a testament to resilience, empowerment, and the transformative force of self-expression. With unwavering courage and conviction, Kathleen Hanna’s narrative becomes a rallying cry for individuals daring to challenge the norms and embrace their distinct voices in a society that often tries to suppress them. In this captivating and profoundly personal memoir, Kathleen Hanna shines as a symbol of resilience and rebellion, underscoring the influence of our narratives in shaping our paths and motivating others to overcome challenges.

“Rebel Girl” stands as essential reading for those in pursuit of inspiration, empowerment, and the bravery to challenge conventional norms. As Hanna grapples with the complexities of fame, creativity, and personal struggles, “Rebel Girl” is a poignant exploration of resilience, love, and the transformative power of self-discovery. Her unwavering commitment to speaking her truth and challenging societal norms reverberates throughout the pages, inspiring readers to embrace their authentic selves and confront life’s obstacles with courage and defiance. In “Rebel Girl,”  Hanna emerges not only as a cultural icon but as a beacon of empowerment and authenticity. “Rebel Girl” is a compelling and inspiring account of Hanna’s life and career, showcasing her unwavering commitment to using her voice and platform to advocate for social change and gender equality. It is a must-read for fans of punk rock, feminism, and anyone interested in the intersection of music and activism. Kathleen Hanna’s unwavering courage and commitment to speaking her truth challenge societal norms, inspiring readers to embrace authenticity and face life’s obstacles with determination. Through her profound journey, Kathleen Hanna emerges as a symbol of resilience, urging us all to become rebels with a cause and fight for a more equal and expressive world. As Hanna navigated the complexities of fame, creativity, and personal struggles, her memoir stood as a call to action. “Rebel Girl” invites us to find our voice, own our stories, and reclaim our power in a world that often seeks to silence us. This captivating and deeply personal memoir is essential reading for those seeking inspiration, empowerment, and the courage to defy conventional norms.

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Photographed And Written By Liv Foltiny

On April 20th, Ardmore, PA had its very first Spring Fest, an all-day outdoor event everyone could attend free of charge. Hosted by Mirror Image Events and JFS4 Enterprises, Ardmore Spring Fest sought to bring the community together through music (with live performances throughout the day) as well as the products and services from local businesses and artists. Even though I was only there for the second half of the event, one thing was utterly clear: the festival not only met its goal of fostering togetherness and communal support but also ended up surpassing any initial expectations I would have had regarding its magnitude.

Walking up to the lot behind John Henry’s Pub a little after 2:30 pm, I encountered a mass of people, the first being children and their families playing games, which included corn hole and a large-scale version of Connect 4. While I didn’t stay in that area for long, I did end up having a few laughs as a boy who was playing corn hole with (whom I presumed was) his mom accused her of cheating or not playing fair after being told (something along the lines of) one of his shots didn’t count because it hit her before landing elsewhere. Despite this short-lived accusation, the game continued and was just as lighthearted as when I arrived.

Moving on, I found myself in the second section of the lot: the vendors’ area. From books, paintings, and vintage clothing to hoagies, local brews, and funnel cakes, the vendors’ section had a little bit of everything and welcomed everyone, including visitors’ four-legged friends. Multiple dogs visited throughout the day and added to the joyous ambiance through their presence. Many of them enthusiastically received pets from attendees, and others were shy but affectionate (yes, I’m referring to Coach, a dog I met later who snuck up and gave me a kiss while I was focused on taking a photo). Overall, the vendors’ section effectively served as a networking platform for the local community; however, it wasn’t the festival’s main attraction. That particular title was reserved for the stage at the end of the lot.

Flagged on each side by colorful Ardmore Spring Fest banners (courtesy of Mirror Image Media), the stage functioned as the primary focal point, both visually and audibly, in the lot. It not only was where each of the bands performed but also included DJ Korvez’s station. All of the music, announcements, and introductions came from the stage, and the first artist introduction I was present for was that of Melt With You.

DJ Korvez

Donning graphic tees, jeans, jackets, patterns, sequins, or a combination of those things, the members of Melt With You took to the stage. Covering a variety of songs, ranging from “I Want Candy” (The Strangeloves) to “Tainted Love” (Soft Cell’s cover), Melt With You’s set touched upon the 1960s, 1970s, and 1980s and led to many attendees dancing. The band commanded the crowd’s attention and made sure to include everyone in their performance; this was most evident during their performance of “99 Luftballoons”/“99 Red Balloons” (Nena). Playing upon the title of the English version of the song, Melt With You, with help from family, tossed red balloons into the audience. Following this, the band continued to play as adults and children happily threw, kicked, and swung the balloons around. Moments like this undeniably established a genuine connection between the artists and the crowd, and it was this connection that ultimately created the positive energy that persisted through the final performance of the day.

Melt With You

After Melt With You finished their set, there was a brief intermission; then, the Atomic Rock Band gathered onstage and began to play. Like the previous band, they performed covers of various songs; however, their setlist covered a larger span of time as it incorporated contemporary hits. Not being familiar with the band and assuming they only played rock music, I was surprised when, seemingly out of nowhere, they played a medley of Taylor Swift songs in the style of rock n’ roll. Needless to say, seeing a group of grown men confidently belting out lyrics to songs typically associated with a female audience was great; the juxtaposition of it all stood out and presented the music in a slightly different way (which was a welcome change for those who weren’t Swifties).

Atomic Rock Band

Besides demonstrating their musical prowess, the members of Atomic Rock Band also showed their ability to play up to the camera and the crowd. I undoubtedly witnessed this firsthand as there were multiple instances when I, upon being spotted by one or more of the band members, was presented with dynamic poses or funny facial expressions (e.g.- tongue sticking out). Their relationship with the cameras went further than this, though, since one of the members intermittently used the tablet embedded in his instrument to record the crowd. When he wasn’t recording the audience, he would switch the images displayed on his tablet, so pictures of MegaMan, zombies, etc. were all fair game. Unfortunately, a technical issue ended the Atomic Rock Band’s set earlier than expected; the band explained this to the crowd and, after thanking everyone for coming, broke down their equipment and stuck around to interact and take photos with fans.

After attendees left, vendors, artists, organizers, and staff stayed to clean up the lot and, even though the festival had come to an end, continued to exhibit that sense of togetherness that permeated the day. From chatting and telling lighthearted jokes to helping one another move things, everyone connected in some way, and, by the end of the day, two things were irrefutably clear: Brian Cronin, the man behind the festival and Mirror Image Media, was more than capable of organizing a successful event, and Ardmore Spring Fest, despite being in its infancy, was on its way to becoming an invaluable asset to the surrounding community.

Brian Cronin (Organizer)

You can learn more about the festival by visiting the links below!

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By Julie Ann Shaw

I had been waiting years to see ZZ Ward live, and it absolutely was worth the wait. People were lining up to get into the venue hours before the doors even opened, so I knew I was in good company. The opener for the night was a beautiful young lady with a gorgeous raspy voice and a friend on the guitar, Lanie Gardner. When Gardner first started playing, the audience continued their conversations at full volume, almost drawing out Gardner’s soulful set. However, by the time she got to her cover of Fleetwood Mac’s “Dream” from their timeless 1977 album, Rumours, the audience not only stopped all personal conversations, but everyone was singing along with her. She had won over the entire room very quickly and most likely earned herself a lot of new fans. 

After a 30 minute set change, ZZ Ward glided onto the stage with a beautiful and indescribable grace. The first two songs she opened with were from her newest album, Dirty Shine, “Forget About Us,” and “Baby Don’t.” Ward then picked up her guitar for Til The Casket Drops’ “Put The Gun Down,” and “Til The Casket Drops.” 

By this time the crowd was already immersed in the bluesy, indie rock pop artist’s mesmerizing voice and singing along like there was no tomorrow. The floor was covered in various alcoholic beverages and people were packed shoulder to shoulder but still managed to dance like the world was ending. Ward followed with “Giant,” and “Ride,” Ward’s duet with Gary Clark Jr. from her 2017 album, The Storm, and featured on Disney/ Pixar’s Cars 3 soundtrack. Next Ward performed “Break Her Heart,” “Sex & Stardust,” “Tin Cups,” “Last Love Song,” “Bag Of Bones,” and her classic, “Charlie Ain’t Home.”

For the next couple of songs, Ward paid homage to her blues heroes. First, she performed a moving cover of Son House’s “Grinning In Your Face.” Then, Ward performed a gorgeous cover of Elmore James’ “Dust My Broom.” Lastly, Ward gifted us with a heart stopping cover of Lowell Fulson’s “Three O’Clock Blues.”

After her beautiful tributes, Ward finished off her set with her own songs “Lil’ Darlin,” “The Dark,” “365 Days,” “ If I Could Be Her,” and lastly, “Move Like U Stole It,” from Til The Casket Drops.  Obviously, that was not the end of the night. Of course there were encores. The first encore was “OverdoZZe” from her new album, Dirty Shine. Ward’s second encore, and very last song of the night was “Blue Eyes Blind” which made the audience ecstatic.  

You can find ZZ Ward online at: https://www.zzward.com/

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Let’s go back to Starbucks circa 2003.  The intoxicating smell of the coffee, the amazing music that filled the air. Those days left a forever imprint on so many of us and left us with a gateway for open minds and hearts towards world music..  As much as I still love to listen to my Putumayo collections, it is also a sometimes valuable experience to listen to music with an Afro-Cuban vibe with an opportunity to understand what the song is about.   I mention this because what you are about to read highlights the work of a global treasure known by many here in Philly as Ryan Tennis.

Over more than a decade Ryan has been traveling the world playing his music.  He started to frequent Colombia with such regularity that he built a community there in addition to the community he has in Philadelphia.  Ryan became a cofounder of a well loved music festival called Sancocho Fest which works to benefit a music school in Columbia for children called the Casa del Sol Community Project. In addition to this magical festival (which I have not been to but would LOVE to attend); Ryan is so deep in the Columbian culture that he has developed inclusive music retreats to Columbia.  He calls this the SancochTrip.  He has two back to back retreats coming up this February.  With all of this said, do not be fooled by Ryan’s luscious golden locks.  Over the years Ryan has grown into a pillar for bridging the Afro Cuban music with the folky communities in Philly and beyond. 

Getting back to the release of Ryan’s new EP each song feels like Ryan has captured the feeling of this sort of music akin to an authentic vibe of a love child born from Putumayo and  Paul Simon’s album Graceland. Ryan’s latest release is called Dando Papaya and it is a three song EP that was released to support his most recent European tour which happened in late summer.  The songs are stand alone and steller.The songs are called Children of Verona, Morena, and the Valley.   Throughout years and his commitment to music, this EP boasts collaborations with some of the most prestigious players.  Ryan’s collaborators on Dando Papaya  are Grammy Winning and Latin Grammy-nominated artists.  The EP features El Caribefunk, Nidia Gongora, Hugo Cadelario and Bakithi Kumalo (who happens to be the bass player from Paul Simon’s Graceland).

There is no surprise that Ryan’s impact continues to grow with his musical endeavors. We wish we could high-five Ryan and his collaborators on the EP Dando Papaya for using music as the bridge to bring together diverse cultures.  We will continue to keep our eyes and ears open for the projects that Ryan Tennis puts his heart and soul into, because they are entirely worthy of our attention. May you and I be blessed enough to attend a SancochTrip and have more and more opportunities to watch Ryan build global bridges of connection with his music. Until then, here is a link to a music video of Children of Verona from the new EP Dando Papaya.  So fun.  Congratulations Ryan Tennis and all who collaborated to make this beautiful EP available for all of us to hear.

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Written by Tim Linaberry

By now, you have probably heard, seen, or read the latest chapter of the culture wars: stadium country star (and mass shooting survivor) Jason Aldean had his derisive music video yanked off CMT just 4 days after airing. The planet is experiencing its hottest summer in recorded history. Labor strikes are erupting all over the global north. But let us not lose sight of what truly matters right now.

JUST WHO DOES JASON ALDEAN THINK HE IS CLAIMING THAT HE’S FROM A SMALL TOWN?

Let me make something clear here – I can count on less than one hand how many Jason Aldean songs I have ever willingly listened to. To me, stadium country (not to be confused with folk country) music exemplifies everything wrong with music nowadays. Millionaires hiring songwriters to pen lyrics that pander to rural America from the comfort of their private jets is just not my mug of transphilic beer. Country capitalism aside, the chance to dissect the backlash to “Try That in a Small Town” is my kind of party.

After amalgamating a career that has netted him somewhere in the ballpark of $50-90 million through extensive touring and ten studio albums, Aldean has – no doubt – been seeking continued relevance (and income) in a rapidly-changing world. After experiencing three of the strangest years in a country with a rapidly deteriorating social fabric, I cannot blame Jason for attempting to use his platform to throw his oversized black hat into the social change arena. The song is now one of the highest selling songs in the US.

He knew this song would be divisive. The lyrics do not sugarcoat anything. The attempt to galvanize his conservative fan base, many of whom have been fed a steady diet of fear through the rhetoric of pundits who profit from misrepresenting the ongoing cultural awakening, had the intended effect of enraging the progressives. The Twitter-sphere’s backlash was fierce. Millionaires with microphones – and many others — on both sides of the ideological spectrum commented on Aldean’s music video, which depicted images and clips of nearly all the lyrics of the song, projected upon the ivory-white exterior of a Tennessee courthouse, draped with a massive American flag. 

I found the imagery of “Try That” a little contrived. Did the songwriters find the clip of the protester spitting in the cop’s face prior to penciling the lyrics, or did they ask ChapGPT to locate it in the post? Did they not feature the grandad’s gun because they were not sure whose grandad to include, or was it because they had too many guns to choose from? Was that the same burning flag featured in my band, The Resistance Company’s latest music video? [To further the sidebar: while both TRC’s video and Aldean’s video may appear similar on the surface, TRC would like to mention that we are physically present in the protest footage of our video.]

To many – especially those who are engaged in activism, fighting for a better world – the American flag is no longer seen as an emblem of American exceptionalism, but a symbol of structural racism and white supremacy. The burning of the flag is now more common than ever, as the deeply-rooted disconnection in this nation’s sordid history bubbles to the surface, as evidenced in the music video’s clips of the George Floyd protests, and most recently, the embattled activists struggling to prevent Cop City from being erected in the forests of Atlanta. 

Team Aldean did a terrific job constructing an anti-woke musical mosaic pyre, leaving matches and all. From choosing a set backdrop historically known for lynching, to mentioning how the good ole boys who were raised up right are out there looking for a fight, connotations of sundown towns abound. 

Aldean defended his video and its imagery:

“Try That in A Small Town, for me, refers to the feeling of a community that I had growing up, where we took care of our neighbors, regardless of differences of background or belief. Because they were our neighbors, and that was above any differences. My political views have never been something I’ve hidden from, and I know that a lot of us in this country don’t agree on how we get back to a sense of normalcy where we go at least one day without a headline that keeps us up at night. But the desire for it too – that’s what this song is about.”

To his credit, we do get the stereotypical view of rural “small town” ‘Merica flashing before our eyes during the final chorus of the video. There truly is nothing quite like the image of a poor, white farmer, gazing at the horizon of a setting sun, while his genetically-modified, mono-cropped, nutrient-depleted, dust-bowl-waiting-to-happen slice of the American dream withers away. The accuracy of that metaphor has never been more on the nose. 

If the purpose of the video had truly been to highlight community and togetherness, why does the song seek to further drive the wedge between the rural and urban ways of living? Both cities and towns have incredible examples of communities that seek to improve the lives and well-being of their inhabitants. Why then spend most of the song evoking polarizing imagery, charged emotional footage designed to trigger our amygdalas? Country capitalism, obviously. Fear smells; fear sells. If the goal of the song, as Aldean claims, had been to move the needle toward concepts of care and community, perhaps he should not have composed one of the more threatening choruses of all time.

Lastly, and to wrap up this opinion piece with a red, white, and blue bow: JASON IS NOT FROM A SMALL TOWN!

He bounced back and forth between Macon, Georgia, the principal city of a metropolitan area with a population of nearly 250,000 people, and a Miami suburb, before relocating to country mecca Nashville – the 21st largest city in the US. While we spend the next month squabbling about the (de)merits of a mediocre country diddy, sanctifying our moral outrage in the bowels of the internet, we lose sight of the bigger picture: capitalism and its quest for endless growth setting the world on fire. The elevation of this story to front-page news seeks to distract us from questioning the economically-oppressive regime which has pitted both rural and urban ways of life against each other. Little does Aldean know, that we ALL need to be crossing THAT line – together.

TIM LINABERRY

IG: @the.inverse.converse

Blog: medium.com/@theinverseconverse

Photographs by Ester Segarra and Jimmy Hubbard

“Hey, Boys & Ghouls! Are you ready to raise the dead?” said the late Lux Interior of The Cramps on a 1995 Halloween episode of Beverly Hills, 90210. 

Yes, rock music has been no stranger to macabre-themed content. Along with The Cramps, my childhood was peppered with bands whose songs and stage shows were a tongue-in-cheek amalgam with a darkly B-rated Horror Show vibe. From Alice Cooper, KISS, The Damned, and The Misfits to Gwar, Slipknot, and Rob Zombie, it seemed that rock & roll was the perfect place for Halloween to exist year-round. 

In the 80s, the great ‘satanic panic’ of Heavy Metal spawned from conservative religious sects had bands leaning into devilish language and imagery as “music to piss off the squares to” became a selling point for albums and merchandise (See any Iron Maiden album cover by comparison to the college credits in history & mythology you earn by listening to a single record!).

However, in a day and age where the internet provides shock and spook with a touch of a key, it lends to a music scene that has “seen it all.” So, imagine my surprise when I heard the band Ghost while finagling the radio dial one day. Their sound is a vintage early 80’s hard rock, akin to The Scorpions, REO Speedwagon, and Def Leppard; however, the lyrics seemed more fitting for a Death Metal band. I was confused and intrigued but thoroughly entertained! I could not foresee the rabbit hole the band would drag me down with its album themes, stage shows, and media content, a venerable realm of fictitious characters, and long-running storylines. Some bands have concept albums, but the entirety of Ghost is beyond that. There is lore, character development, and imagery like nothing I had experienced before. So, as we prepare for Ghost performing this summer at The Freedom Mortgage Pavilion on the Camden Waterfront, let’s take a deep dive into every dark corner and a modicum of the band and allow this to serve as a ‘Rosetta Stone’ for new fans who, like me, are still trying to wrap their brains around what it is they are listening to.

Ghost is the brainchild of Swedish musician and songwriter Tobias Forge. An artist with experience in a full spectrum of genres, Forge fronted everything from Glam and Punk Rock bands to the more recent Alternative Rock act, Magna Carta Cartel. Forge has cited various inspirations for the band’s image and music. In interviews, he has mentioned being influenced by classic rock bands such as Black Sabbath, Blue Öyster Cult, and Kiss, as well as horror movies and the occult. But the crux of Ghost was birthed from his catholic upbringing. The stories and imagery in his childhood church and the regalia of it all terrified Forge as a young child. In an interview with the Chicago Tribune, he said: “I grew up with a lot of stories about exorcisms, and the devil, and angels, and all of that. And I think that’s probably where some of the darker elements of my music come from.”

Forge has described Ghost as a “theatrical rock band” that aims to offer a unique and entertaining experience to its fans with an importance to the band’s image and live performances, which includes elaborate costumes, sets, and props, as well as the use of various characters and personas. Forge has also spoken about his interest in creating a larger-than-life mythos for Ghost, with a focus on showmanship and storytelling. He has described the band’s music as “melodic rock with a pop sensibility,” with a focus on catchy hooks and melodies. Regarding the band’s lyrical themes, Forge has explored topics such as death, Satanism, and the macabre, often with tongue-in-cheek humor. Overall, Ghost’s music and image create a unique and immersive experience for fans, focusing on theatricality, storytelling, and rock anthems that have you singing the hooks in your head all day.

Ghost’s early years were shrouded in mystery, as the band members wore masks and used pseudonyms to hide their identities. Forge, who goes by the name Papa Emeritus, is always portrayed wearing a skull mask and a cardinal’s hat. The rest of the band members, known as the Nameless Ghouls, wear identical masks and robes, making it impossible to identify them individually.

Initially, Forge did not want to be recognized at all. His original idea was to have a “different” Papa Emeritus for every album and subsequent tour. Using face prosthetics and variations on his makeup, as Papa changed, so did the story of the albums and even the uniforms of the Nameless Ghouls band onstage. During a 2017 court filing over royalties, fans discovered that each different Papa was the same – Tobias Forge. As for the Nameless Ghouls, musicians from all walks of life have been cited as being a part of Ghost. Clever fans have connected the dots to former members of Magna Carta Cartel, Ugly Kid Joe, and even the tribute band Lez Zeppelin.

In addition to their music, Ghost has also developed a complex and intriguing mythology around their image and lore. Each band member is associated with a particular persona, with Papa Emeritus being the most well-known. Other characters include Sister Imperator, who serves as the band’s “mastermind” and communicates with fans through videos and social media posts. The Papa, for each new tour, carries with him new backstories, interactions with supporting characters, and new themes to their songs. 

Breaking down Tobias Forge’s alter egos in Ghost – 

Papa Emeritus I – The first lead singer of Ghost, portrayed as an older, bearded man wearing a skull mask and a miter. He appeared on the band’s first album, Opus Eponymous, and in the music video for “Secular Haze.”

Papa Emeritus II – The second lead singer of Ghost, portrayed as a younger version of Papa Emeritus I with a black mask and miter. He appeared on the band’s second album, Infestissumam, and in the music video for “Year Zero.”

Papa Emeritus III – The third lead singer of Ghost, portrayed as an even younger version of Papa Emeritus with a white mask and miter. He appeared on the band’s third album, Meliora, and in the music video for “Cirice.”

Papa Nihil – The next Papa Emeritus, also known as Papa Emeritus Zero, is portrayed as an old, frail man with a white skull mask and miter. He appeared in the music video for “Rats.”

Cardinal Copia – Portrayed as a more flamboyant and energetic character than his predecessors. He wears a black and silver outfit with a red scarf and white skull makeup on his face. He first appeared on the band’s fourth album, Prequelle, and in the music video for “Rats.”

Papa Emeritus IV – The current Papa, formerly Cardinal Copia, was officially anointed and has been the longest-running lead singer avatar. Seen in videos like “Spillways.” 

In the realm of Ghost, a host of recurring supporting characters enrich the band’s narrative and performances. Among them, Sister Imperator assumes the role of a wise and aged nun, serving as a guiding mentor to the band members. Offering her counsel and guidance, she appears in various videos and live shows. Another notable character, Papa Nihil, takes the stage as the band’s former frontman and the father of Cardinal Copia. Portrayed as an older man with a cane, Papa Nihil regales the audience with tales of the band’s past. On the other hand, the Nameless Ghouls maintain an air of mystery and anonymity as the anonymous musicians accompany the lead singer. Clad in identical costumes and masks, they add to the enigmatic allure of the band. The Ghuleh, a seductive and dangerous female character, makes her presence felt in various GHOST songs and videos, contributing to the band’s theatricality. Additionally, the Ghoulettes, female backup singers, join the lead singer on certain songs, donning matching costumes and masks, enhancing the visual spectacle of the band’s electrifying live performances. These supporting characters collectively bring depth and visual intrigue to the immersive world of GHOST.

Above all, these characters are the true architects within the stories; The Clergy. Never truly seen, The Clergy are responsible for anointing new Papas and handling all of Ghost’s social media as every post on Youtube, Instagram, and the like always starts the same way, “A Message from The Clergy…”

In just a short time from their 2010 debut release of Opus Eponymous into the world, the band’s nostalgic sound and wildly entertaining & creative ethos they immerse their fans in have made Ghost t-shirts ubiquitous worldwide. Their videos and multimedia shorts have tied together stories, engaged fans, and kept them wanting more. In fact, Loudwire Magazine named Tobias Forge as the Metal Artist of the Decade in 2019. 

All the band’s success is not without nay-sayers. Heavy Metal purists have lashed out at Ghost for cosplaying in a sandbox of Metal without the authenticity of bands like Slayer or Judas Priest. However, those critics need to look deeper into what Ghost is. A fun submersion into an undead circus of pop rock. A love letter to our collective youth and the torchbearers of the next generation of Alice Cooper and KISS. If you get it, you will find yourself more than thoroughly entertained. If you try and compare a Ghost LP to Sepultura, you will surely find yourself wanting.

Either way, Tobias Forge and Ghost press on with appearances in Iron Maiden’s RPG game, Legacy of the Beast, their own soon-to-be-released game, merchandise, new albums, and undoubtedly new Papas and stories to come. Those that see Ghost, and more appropriately Tobias Forge, for the genius creativity in storytelling in the modern era, the stage shows. The sound of the plucks on the heartstrings of Gen-X’ers, millions of fans globally, are here for all of it and waiting with bated breath for the next theme, the show, and the next anointing! 

Tickets are still available to see Ghost with the opening act, Amon Amarth, on August 25th at the Freedom Mortgage Pavilion in Camden, New Jersey. 

To purchase Ghost’s new album, Phantomime, Click here.

Follow Ghost online

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According to Google, the definition of Toxic Positivity is “the pressure to only display positive emotions, suppressing any negative emotions, feelings, reactions or experiences. ” That term has become a social norm in our society today; it’s absolutely sickening. Humans have been conditioned to ignore the truth of our feelings and pretend everything is okay to keep the status quo. So it is no surprise that The Used and John Feldman teamed together once again to produce an album and claimed to have fallen into it Toxic Positivity. 

With Feldman and The Used in the same studio together again, the only certain thing is that the Magic will be made. Feldman has produced a handful of their albums, ranging from their self-debut album The Used in 2001 to their most recent release in 2020 called Heartwork. He is the Peanut butter to the band’s jelly and has been for over the last 23 years. They have worked hand in hand and produced hits like “The Bird and the Worm,” “I Caught Fire,” “Take it Away,” and many more. The Synergy between them is like no other I have ever encountered. Feldman is an essential keystone in the success and career of The Used, and how they create is so fluid and utterly Sympatico.

If you know anything about The Used, you know they like to push boundaries and speak their truth no matter how harsh it may come out or whom it may piss off. The band has used their career to express their most vulnerable moments and intimate Traumas they have been through and transmute them into a work of artistry. It reminds the rest of the world and their fans that nobody is alone. Toxic Positivity is no exception to this formula that the boys have used for the last 23 years with how they write music. This album showcases Frontman Bert Mccracken‘s “most sincere words he has ever written,” focusing on mental health and well-being over the last few years. On the coattails of the pandemic, Toxic Positivity claims to act as an outlet for The Used and express all of the struggles that have internally been going on for the last three years, which is a direct result of living in this weird hell that has become a life in a Pandemonium era. 

This album keeps the integrity of everything that makes a Used album great. It plays as if someone took a bite of the sound from each album, remixed it, and decided to call it Toxic Positivity. The 11-track album pulls you in immediately; the first track, “Worst I’ve Ever Been,” kicks off with the old sounds of heavy drums and guitar. Bert even returned to his roots of screaming for a portion of this song. My two favorite songs off this album are “Pinky Swear” and “Top of the World,” which couldn’t be more opposite. If you’re looking for that OG sound from The Used, look no further; the song is filled with heavy riffs, drums, and tons of screaming. Part of the chorus is “Save me, I need to know what it feels like before I fade away, “it almost sounds like it could belong on their second album, Maybe Memories, with how it all flows together. The second song that was a pleasant surprise for me was “Top of the World,” As an avid listener; I was initially unsure. It starts with their signature drum sound and transitions into a light pop esq. I don’t know if it was the lyrics or just how catchy the hook is, but I can’t stop playing the song. Toxic Positivity is an album that directly explains the aftershock of Covid-19 and what they went through. In this deeply personal album, The Used shines a beacon of light with their raw gut-punching lyrics that you are, in fact, not alone in this vast universe. I highly suggest you take it for a spin.

The Used

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Photos courtesy of the TheCure.com

It was the mid-90, and I was a high school student, listening to the boombox in my room while getting ready to take the Q14 bus to another day of the finest education one could hope to achieve in Queens, New York. On the radio, like many others, I first heard of the grunge conquistadors, Pearl Jam, and the fight they were taking to Ticketmaster. Hearing of the band embroiled in a legal battle with a ticket service over unfair and monopolistic business practices didn’t command my attention and support then. Still, it did set the stage for a gripe I would have the rest of my days, the exuberant cost of seeing a live show.

At the time, Ticketmaster was the dominant ticketing company in the United States and controlled most concert ticket sales. Pearl Jam objected to Ticketmaster’s high service fees, which they believed were excessive and unfair to fans. They also criticized Ticketmaster’s exclusive contracts with many large venues, which they argued limited competition and made it difficult for alternative ticketing companies to enter the market. So, in 1994, Pearl Jam attempted to book a tour without using Ticketmaster but faced resistance from many venues that had exclusive contracts with the company. The band then filed a complaint with the U.S. Department of Justice, alleging that Ticketmaster violated antitrust laws.

While Pearl Jam’s fight against Ticketmaster did not result in a complete overhaul of the ticketing industry, it did draw attention to the issue of high ticketing fees. It helped pave the way for alternative ticketing companies to enter the market. Unfair pricing practices have long plagued the music industry, but a hero from the most unlikely places recently stepped up to the front of the charge and forced the ticket giant to take the onus of their actions.

 Enter Robert Smith of The Cure.

Smith recently took a stand against Ticketmaster and Vivid Seats. Known for their exuberant fees and price-gauging, they have been the bane of many concertgoers’ existence for years. But thanks to Smith’s public criticism and advocacy on Twitter, the companies may have finally changed their ways.

The iconic frontman of The Cure has always been known for his outspoken views on social and political issues. So, when he learned of Ticketmaster’s shady pricing practices during the release of seats of The Cure’s 2023 U.S. Tour, Lost World, he didn’t hesitate to speak out. In interviews and on social media, Smith criticized the company for its greed and urged fans to boycott Ticketmaster and buy tickets directly from the venue. As a result, more and more people started buying tickets directly from venues or using alternative ticketing services for pending North American tour dates, hoping to start a longstanding wave of change.

And change they did! In response to the backlash and mounting revenue pressure, Ticketmaster announced a new pricing policy that eliminated many fees and made tickets more affordable for fans. It is a massive victory for Smith and music lovers everywhere, who had long felt exploited by ticket-pricing practices.

The impact of Smith’s tweets, interviews, and actions wasn’t relegated to mere fees but a revamp of a verified pre-release ticket-buying practice that has long been taken advantage of by scalpers, as well. By using his platform to call out Ticketmaster and raise awareness about their pricing practices, he was able to effect real change in the industry. His actions helped to level the playing field for fans and ensure that the cost of attending live concerts is more reasonable and transparent in the future.

Robert Smith’s victory over Ticketmaster is a testament to artists’ power and ability to effect change in the music industry. By speaking out against unfair pricing practices and advocating for the rights of fans, Smith has helped to create a more equitable and just concert experience for all.

Sometimes, the ‘Good Guy’ doesn’t ride in on a white horse wearing a white hat, but rather, black eyeliner and red lipstick.

The Cure’s 2023 North American Tour, Lost World, has kicked off and is coming to a venue near you soon! Visit www.thecure.com/#shows to see where they are stopping next, along with ticket options. 

The tour stops in Philadelphia on June 24th at the Wells Fargo Center. You can still buy tickets directly through the Wells Fargo Center. Click Here

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Written by Nick Hopton

So here I sit at 2:08 am on a Thursday; well, it’s Friday now, but not really. 

I’ve had more than a few drinks this evening, vodka and tonics, mainly as they tend to do the trick. But as I did, a thought came across my mind, oh so close to the midnight hour. 

That holy jolt of the realization that the masters of metal’s new album had just dropped. The new era of a band that has built and influenced so much of the last 30 years of music. Are they back? Can they still be that band that everyone now, unfortunately, remembers because of an episode of Stranger Things!? Are they in their greatest hits, a purgatory era that Journey and KISS are stuck in, or do they have something left in the tank? 

Oh yes. 

Oh yes, they fucking did. 

72 Seasons?

This is Metallica’s Magnum Opus.

Metallica. 

Fucking. Metallica.

Title tracks have to rip your head off, and 72 Seasons leaves nothing left to be desired. That unmistakable chainsaw of a guitar riff screams, “We’re fucking here.” And from this point on, it’s no-holds-barred. Light the fuse, buckle up, and let’s go. “Shadows Follow” does not let up. The song takes us up a notch. Honestly, how can you get much heavier than this riff? It hits you in the head like a hammer, and you will bang your head like a hammer. A fucking killer surprise as a mean track before the MVP of this album…

“Screaming Suicide” is a new classic. This song’s foundation and overall build rivals the previous efforts of “One” and “Fade to Black,” but in a “Kill Em All” manner. It’s pure, angry, pissed-off rock and roll. Something this band has needed for years, and they found it on this track. If this is their last legendary album, this is their bookend. “Sleepwalk My Life Away” rips in with a filthy bass line…the rest of the band is just sitting behind…but then, HOLY SHIT, the second coming of the “Enter Sandman” riff takes your head off. One of those perfectly built hard-hitting rock tracks like “Sad But True” or “Fuel.” It’s just got that goddamn grit about it. 

Leading into “You Must Burn,” I figured we’d keep the speed up, but they threw me for a loop. This is the old-school flow flip that is so often forgotten. Bang your head until your neck hurts, and then keep going.

“Lux AEterna,” which happened to be the first taste we had of this album a few weeks ago, was the precursor to everything we’ve had thus far. Angry, heavy, fucking metal. The shit that they made their name on. “Crown of Barbed Wire” follows a similar build to “You Must Burn” in a somehow new but recycled view of the style. Somewhat of part 2, but never really sits to be a staple of the album. One of the few missed hits, if you can even call it that.

“Chasing Light,” the first 20 seconds, I thought, “dammit… it’s a cop-out song.” Wait until that riff kicks in, and it’s a complete restart. Metallica has always been the king of hiding a ripper in an intro, and they did it again here. Oh, and wait until the bridge, the change will kick you in the chin. Another track that I’m completely blown away with. “If Darkness Had A Son” feels like a journey through time with them. Showing all the styles they’re capable of showcasing on any given recording. Another old school headbanger that will ignite memories of tracks past.

“Too Far Gone” doesn’t change much of what we’ve heard. Does it kick ass? Absolutely. Is it more or less what we’ve heard from the previous nine tracks? Yes. That said, it’s by no means a bad song. Hell, it might end up being a single because of the style. It’s got this contagious pop feel about it. I’m sensing a trend here, as “Room of Mirrors” hits just as hard as any track before it. The song would be a #2 on any other album, but not this one. It is a perfect final chapter for this epic.

Oh, wait? There’s one more. “Inamorata” is the slowly burnt crust on top of the 5-star dish that Metallica has made with this album. A long, drawn-out musical number that brings out the song-building qualities of the band in a beautiful way. 

It’s hard to be the king. It’s even harder to stay the king. Metallica, once again, has proved that they are the kings of metal. And it will take one hell of an effort to take their throne. 

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